tonal and rhytmic principles- jazz improvisation

The Scale-tone Seventh Chords The harmony of popular music and jazz is based on the diatonic or major scale Fig 1.. 8 and 5, the scale-tone seventh chords are derived by com- C bining

Trang 1

TONAL

AND

RHYTHMIC PRINCIPLES Jaz Improvisation I REVISED AND ENLARGED EDITION

John Mehegan

Watson-Guptill Publications/New York

Ò Amsco Publications New York/London/Sydney

Trang 2

To Linda

Tara and Gretchen

Lucille and Ron

Copvri

oyised edition published 1984 in New York b

I4 ¬»4 of Billboard Publications Inc

Broadway, New York, NY 10036 Ỷ

Exclusive distributors to the

Music Sales Corporati O

257 Park Avenue South

Key of Eb—“The Man I Love”

Key of E—“These Foolish Things”

Key of Ab—“Spring Is Here”

Key of B—“Just Friends”

Key of Db—“Bewitched, Bothered and Bewildered”

Key of F#—“Come Rain or Come Shine”

Key of Gb—“I Didn’t Know What Time It Was”

Twelve Key Transposition—“I Only Have Eyes for You”

Inversions—“Liza”

Inversions—“Waltz For Debbie”

95 Inversions—“Giant Steps ” SECTION IV

Modulation— “V11 Remember April”

Modulation—“All the Things You Are”

Sl Modulation—‘“Autumn in New Yor

32 Transposition-Modulation—"In You Own Sweet Way”

Rhythmic Combinations—“Green Dolphin Street”

Sixteenth-note Arpeggios— Át Lơi Last Love,” in C

Rhythmic Combinations—

“Sophisticated Lady,” in Ab Rhythmic Composite (ballad)—"I Got It Bad,” in G

Rhythmic Composite (up-tempo)—

“You Took Advantage of Me,” in SECTION VI

The Dominant Scale—“It Could Happen to You,” in Ab

The Minor Scale—“Little Girl Blue,” in F

The Half-diminished Scale—“Do Blame Me,” in C

The Diminished Scale—‘“Birth of the Blues,” in C

The Sixty Scales Scale-arpeggio Alteration—““Like Someone in Love,” in C Eighth note Scales—Scale Fragments—‘“Blue Moon,” in E Eighth-note Triplet Scale Fragments—-“Cabin in the Sky,” inG

Sixteenth-note Scale Fragments—

“Dancing on the Ceiling,” in F Rhythmic Combinations—“Roun: Midnight,” in Eb minor

Rhythmic Composite (ballad)—

“Have You Met Miss Jones?” in Rhythmic Composite (up-tempo)

“QPullaby of Birdland,” in B

Trang 3

60 The Blues (harmonic) 146

61 The Blues (melodic}—“Willow Weep

66 Minor Scale-tone Arpeggios—“My

Funny Valentine,” in C minor 161

67 Minor Scale-tone Scales—“Just One

of Those Things,” in D minor 162

SECTION XI

68 Open Position—Axis of the Seventh—

“When Your Lover Has Gone,”

69 Open Position—Axis of the Third—

“I’ve Got You Under My Skin,”in Eb 167

70 Open Position—Mixed Axis—““Lover Man,” in F

71 Basic Professional Piano (melodic)—

“Tenderly,” in D

72 Basic Professional Piano (improvised)—“Gone with the Wind,” in Eb

SECTION Xi For Further Study

“Dolphin Dance”

“Invitation” and “West Coast Blues”

“The Summer Knows,” “Time After Time,” and “For All We Know”

“The Preacher” and “Desifinado”

“Our Love is Here to Stay” and “Here’s that Rainy Day”

“The Girl from Ipanema” and “One Note Samba”

“Just in Time,” “Tune-Up,” and “The Shadow of Your Smile”

“Nica’s Dream” and “Four”

“Quiet Nights and Quiet Stars” and

“What Are You Doing the Rest of Your Life”

sation can ever be explained down to its roots; therein lies the

mystery and joy of spontaneous creation And any improvisation will vary greatly in proportion to talent, mood, colleagues and endless personal factors

Still, there is a basis to improvisation of any kind: a coupling 0 traditions and techniques And that basis can be explained, difficult though it may be I suppose it is this difficulty that as prevented such a book from having been written hereto ore; but at last there is a Johnny Mehegan who has the ability to do

it He has that peculiar combination of abilities which is apse

lutely necessary for such an endeavor: academic and scholarly knowledge (and insight and interest), plus an immense prac-

tical knowledge (and insight and interest) born of long years

of simply doing it himself and teaching others to do ity am proud to be able to write this preface to what I am sure

a highly important and valuable publication

Leonard Bernstein

Trang 4

INTRODUCTION

This book is an attempt to describe the book process that occurs when

i musician improvises This process is not a mysterious and esoteric

rae anit y enacted without discipline or precise knowledge Rather, it

cae ncise application of logical and comprehensible musical concepts,

attains amazing heights of expression when utilized in conjuncti

with a trained and imaginative talent mạ

nụ To do anyiing well, some intuitive knowledge of the material at hand

i equi intuition we often call talent But talent without knowl-

edge and hard facts is nothing Talent does not need to be described;

muse pak analyzes the basic musical facts utilized by every jazz

mus uddy Bolden to Dizzy Gillespie These facts, strangely

gh, can be expressed in the eternal trinity of all music (1), Melody;

(2) Harmony; (8) Rhythm oe

1 Melody Each jazz generation develops its own repertoi i

Dest suits its own specific ideas of rhythm (time) and harmony, (chord

ct anes) The melodies referred to in this book are more adaptable for

interpretation However, the basic materials of this book are ada

able and essential to all jazz styles

2 Harmony Jazz harmony is diatonic or major scal

in the mainstream of classical music from 1600 to 1900 fn othe, words

jazz harmony is classical harmony following the identical rules and con-

ventions found in a Bach fugue, a Mozart sonata, a Brahms rhapsody

musi me confusion in this area has resulted from the single fact that jazz

mrusicians B ve, by nature, been gifted people whose sole concern has been

0 play to leave it at that Analyses and descriptive material have bee

avoided by jazz musicians and have, in general, been left to popular theori ¬

who possess little insight into the real structure of the musie, "

When the need to communicate with each other arises, or on bein

pressed to describe the process of their music, jazz musicians have tured

to the makeshift spelling of lettered chords found in sheet music as a means

of expression despite the fact that chord letters can offer only a carel

approximation of what occurs in a musical function Today, this makeshift

knowledge is not enough to meet the theoretical and technical levels

existing in jazz The young jazz musician can no longer leave the basis of

his ,nowledge to such idle devices as have prevailed in the past

The use of chord letters among musicians may seem strange when one considers that an organized method of spelling any musical function has existed for some two hundred years — Figured Bass This is the first serious attempt to apply figured bass to jazz Using figured bass, the jazz musician can for the first time correctly and completely indicate his music with recision An irony here is that the jazz musician plays out of one ear and talks out of the other No jazz musician thinks of lettered chords when he

is playing; he hears interval steps based on the distance between one chord

and another Distance can best be described by number In other words,

the jazz musician plays by the natural system of figured bass In describing this music, it is reasonable that the same system should be used

For instance, in the problem of transposition and modulation so im-

portant to the jazz musician, letters break down completely because they can refer only to one key at a time Of course it is possible to work out twelve spellings for the twelve keys, but with figured bass one spelling using numbers can be used for twelve keys, since the relationships in one key obtain for all other keys

This symmetrical system of relating the keys to each other must even- tually be adopted by jazz musicians as a means of meeting the increasing demands for communication and teaching Top jazz musicians today acknowledge the need for this new language as @ meals of bringing jazz into the family of the arts on a permanent and secure basis

8 Rhythm This is a projected four-volume series in which we will learn first what to do (tonal) and then how to do it (rhythmic) Book If will trace the history of the improvised line (the heart of the jazz matter ) from 1900 to the present day Specific examples will enable the student

to develop his own sense of lineal harmony

It is in the area of rhythm that the jazz musician has made his most magnificent achievement It is these rhythmic qualities that have en- chanted people all over the world and have become the universal symbol

of the sound of jazz.

Trang 5

There is no counterpart in classical music for the unique rhythmic

elements in jazz This combination of rhythmic elements can best be

described as a form of florid counterpoint involving three levels of time

played simultaneously:

Eighth-note—-first level;

Half-note—second level;

Quarter-note—third level

Here is the catalyst that converts conventional harmonic elements

into the excitement of a jazz performance The function of this book is to

explore fully the tonal material which forms the basis for this rhythm

Problems of style are beyond the scope of this volume and will be

treated in Volumes II, Ill, and IV

in writing this book, the author has kept in mind the large cross

section of the musical public which has comprised his students for over

twenty-five years—professionals, aspiring semiprofessionals, dedicated

amateurs and the Sunday pianist All have experienced the need to sup-

plement their talents with an orderly body of musical facts

There seems no point in deprecating previous attempts to assess

these facts Two streams of endeavor have been pursuing slowly con-

verging lines of activity for the past twenty years—the improviser on the

one hand, the theorist on the other Until recently, these two factions

have trod their separate paths, often with mutual hostility and certainly

with misunderstanding

Today the art form has evolved to a point at which the improviser

and the theorist can calmly exchange their views

“Popular” piano methods are completely outmoded in terms of

moder music Most of these methods are based upon antiquated rag-

time concepts (swing bass) that have no resemblance to the realities of

piano as it is played today This book is an initial attempt to bring to all

who love jazz some understanding of the beauties of this great art

It is hoped that this book will be a further contribution to the grow-

ing literature of jazz which already bears witness to its significance as a

vital art form

The author wishes to express his indebtedness to the following

whose efforts in behalf of the revised edition of this book were so valu-

able: Els Sincebaugh, Linda Pomerantz, Robin White Goode, Ginny

Croft, Elen Greene, Richard Grossman, Clarence Foy, Richard Rodgers,

Dr Albert Sirmay, Paul Rosen, Norman Monath, George Elber

SECTION 1

LESSON I The Scale-tone Seventh Chords

The harmony of popular music and jazz is based on the diatonic or

major scale (Fig 1) Each of the twelve scales is a frame forming the

Fig 2

13 +-

i

aN $4 Or3

By combining these two movements using the root (one), third,

fifth and seventh, we derive the scale-tone seventh chords in the key o

Trang 6

| iti i isorientation, the student may be Fig 4 illustrates the scale of G, Fig 5, the scale-tone seventh chords In extreme conditions of register disori

area to

in the key of G

the left hand

Ệ above the left hand

In Figs 8 and 5, the scale-tone seventh chords are derived by com- C

bining the following tones of each scale: |

hand is as follows:

=

Bass line motion and the register requirements of melodies wil]

sometimes force the left hand down to low C (see below)

Fig 8 Scale of Bb — Scale-tone seventh chords

Trang 7

rer wWwivvww iq

Fig 11 Scale of E—Scale-tone seventh chords,

Trang 8

DRILL: Practice the scale-tone seventh chords in the twelve keys — both

During this period of his development the student should strive to keep

his eyes on the keyboard rather than on the printed page

LESSON 2,

Intervals

Intervals represent the distance of one scale -tone t ‘Fi

illustrates the intervals in the scale of C e to another Fig 1

aa ath th groups ary th, 5th, 8th; Secondary — 2nd,

If a Fourth, Fifth or Octa (Fig 2) r ve falls in the scale of the Root, it is Perfect (P) ; s

If it is lowered — Diminished (0) (Fig 3)

If it is raised — Augmented (+) (Fig 4)

Fig 2 Fig 3

G - s+ + P4th P5th P8th

If a Second, Third, Sixth or Seventh falls in the scale of the Root, it

is major (M) (Fig 5) If it is lowered —- minor (m) (Fig 6)

M — Major

m — Minor

These rules apply to all twelve scales Fig 7 illustrates the scale-tone

seventh chords in the key of C

NOTE: The student should be careful not to confuse the “key” of C with the

“scales” of C, D, E, F, G, A and B used to determine the intervals for each chord The chords belong to the “key” of C; their intervals are

determined on the basis of the major “scale” of each root

Trang 9

We may now proceed to the chord values or qualities formed ty the

interval combinations in Lesson 2

The following outline illustrates the interval] combinations, thei:

Position and chord qualities for

QuALiTy Major Seventh Chord

Dominant Seventh Chord Minor Seventh Chord Half-diminished Seventh Chard

The I chord is always Major The If chord is always MINoR The HI chord is always MINOR The IV chord is always Major The V chord is always DOMINANT The VI chord js always MINOR The VII chord is always HALF-DIMINISHED

i in jazz harmony which does not

“ chore emir hed seventh chord This chord

Pe pun ah an sat on the keyboard by building an inte i may we forme ng “08, Pr The o7 interval is lowered twice T oon vecition and is written in Fig 1, as a M6 for scale po convenience

Fig 1

kinds of chords necessary for jazz

We now have the five qualities or th the

h ony y The following table is the complete Quality Seri interval combinations:

INTERVALS QUALITY POSITIONS QUALITY

MP i Dominant Seventh Chore

— in the following patterns:

L- VI - H - V -~ 1

I1 IV VH HI VI H V

Trang 10

¢ — Half-diminished Chord

0 —~ Diminished Chord

one quality to another The follo ;

from the four natural qualities (a Me may ibes the Alteration Series

The first group of this series reads as follows:

To alter a Major chord to a Dominant — flat the seventh;

To alter a Major chord to a Minor — flat the third and flat the seventh;

To alter a Major chord to a Half-diminished chord, flat the third, flat the fifth and flat the seventh;

To alter a Major chord to a Diminished, flat the third, flat the fifth and double-flat the seventh

The remaining series read in the same manner The symbols for these alterations are as follows:

I means I Major (understood);

oe + + t+ "Oe SF

I Ix Im 1ø Io DRILL: Practice the following alterations in 12 keys:

Ix - Im - I¢ - Io IIM - IIx - I¢ - To IHM - Iilx - HI¿ - IHo IVx - IVm - IV¿ - IVo

VM - Vm - Vệ - Vo VIM - VIx - VI¢ - VIo VIIM - VIIx - Vilm - Vilo

LESSON 5

Chromatic and Altered-chromatic Scale-tone Seventh Chords

Any scale-tone chord may be raised or lowered chromatically by sharp- ing or flatting each note in the chord one semitone (m2) Thus, in Fig 1,

II in the key of C can be raised or lowered by simply indicating #11 or bú

Since II in any key is Minor, #11 and pII will also be Minor

Fig 1

Trang 11

it is also possible to alter any scale-tone chord before raising or lower- ing the chord Thus, Fig 2 illustrates:

DRILL: Play the followin g chromatic scale-tone chords in 12 keys:

#I - pH - ÿ1I - pIH - pV - §V - pVI - #VI - pVH

Although ‡ÿV and }VI appear on the same tone, their quality will vary

since V is dominant and VI is minor On the other hand, #II and IIT will

be of the same quality since both II and ILI are minor chords

Play the following altered chromatic scale-tone chords in 12 keys:

bllx - $1lo - pIlIx - pIlo - #1Vm - #IVo - pVm bV¢ - #Vo - pVIx - pVI¢ - #VIo - bVIlx - bViIm - pVHo

LESSON 6,

The Sixty Chords

Jazz harmony utilizes five qualities We have leamed in Lessons 4 and 5 that these qualities can be applied at any point on the keyboard

There are twelve tones in the octave, each capable of supporting the five

qualities Thus, jazz harmony employs a Sixty Chord System Fig 1 illus-

20 trates these sixty chords

Fig 1.° The Sixty Chord System

DRILL: Practice the five qualities on twelve tones with both bands These

series should be played without constant reference to the p

ic knowledge of the key- The student must develop automatic

board on three levels: 1 Muscular (hands); 2 Visual (eyes);

3 Auditory (ears)

laying must be done without reference the sty Pocds automatically is the first step in this development

to written music; learning

in “spelling” these chords Also,

i and o is for ease in “spel se chor Ae NOTES: mm bolonks ‘to aus and E * all sharp keys: Cio belongs to D a sharp Cho belongs to no key but is most easily spelled in

Trang 12

procedure to be followed The melody (an original melody) has been trans-

ferred from sheet music to manuscript paper leaving a bass clef for the

Roman numerals,

See Fig 6 ”

Trang 13

One chord to a bar indicates that the chord is held f i

Two chords to a bar indicates that the one 1 four beats

first beat, the second chord on the third beat

Three chords to a bar are accomp

ing best values

Four chords to a bar indicates that each chord falls on one beat in the

PUSPENSION The dominant and minor chords are occasionally suspended

or purposes of melodic adjustment or harmonic suspense The suspensions

are easily made and affect the dominant and minor chords as follows:

SYMBOL

Fig 5

Vv

nẾ#? n§?

The minor suspension may involve only th ji

both (Fig 4 & Sy y e only the sharp seventh (Fig 5) or

; The dominant suspension is known generally as the Eleventh chord

t often appears in sheet music as the suspended fourth

AnpeD lu CHonp The major and minor chords employ the Added Sixth

either for melodic adjustment or for a feeling of finality In either case,

the seventh is omitted and the major si jor sixth of the scale of th :

to the three remaining tones (see Fig 6) © of the Toot is added

Sa

oe 1+6 vịt86

of these songs is strictly forbidden by copyright lạc

It should be noted that the author is not allowed to reproduce melodies for the songs appearing in this and successive volumes The sttu-

dent must have access to sheet music, folios, or “fake” books in order to

structure the lessons properly

Fig 7 is a bass line for “Fools Rush In.” Transfer the melody from sheet music to manuscript paper using alternate staves so that the Roman numerals (bass line) may be added beneath the melody, as in Fig 1 of this lesson

Fig 7

Ws!’ Ws! / WIWo/ WW / VI/ U/ plik /1/ Ho/ W/V / I†* / VI / Ix9° Hx / VI plo / Ú / V IV H pH / ee’ we" / UW Wo / WE / Vi / Wet H!*/H V / bVHx / VIx / 1 WL / Wm pbVUx / II / VI / HH / V®/1†9 /1?9 /

FOOLS RUSH IN—Words by Johnny Mercer, Music by Gus Kahn

Used by permission

LESSON 8

Key of G

The following is a bass line for “Nice Work if You Can Get It.” Trans-

fer the melody to manuscript paper, as in Lesson 7

Hix Ux / Ue px / I+* Ivx / Ux filo / I VI /

II HI / IV+*° V#* / 1#* / Hx plilx / Ux pix / 1+* Ivx /

Ix #Ilo / HE VI / 1 HH / IV †* V$* /1†9/ VI†* / Im TW / VỊ? VỊ?! / VI pVix / Vm†° HI¿ / VI Ux / HH HI / IVm VẼ° /

Ix pik / Ik pik / I†* Wx / Ux filo /

II VI / II HI / pVUx Vk / WU Vee s Its / It ff

NICE WORK IF YOU CAN GET IT—George Gershwin and Ira Gershwin

Used by permission.

Trang 14

P aul i deira and Timmy Dorsey A) - IS YOU (In This W, is

World of Ordinary People}—Words and Music by

941, 1942 Morley Musi

tional copyrj ¥ Music Co © renewed 1969, 197 m

LESSON 10,

Key of D Since learning to play i Play in twelve keys is so important to jazz ;

i

HH hec the scale-tone seventh chords are as applicable in ote " oy

ih ton i ne only thing to be transposed is the melody Lessons 10 H

› 1Ð, 1/, 18 and 19 involve transposition of the melody from one key

transpose these assignments can only prevent the

Note that melody tones appearing out of the key signature are indicated

by adding + or } to the number Figs 1 and 2 illustrate this treatment to

a fragment of the melody appearing in Lesson 7, Fig 1

Fig 3 “Misty.”

pick-up

blix’> //1 VI /Vm Ix /1V /IVm bVIIx /IH VỊ /1I V /bVHx VIx /

Hx bllx?š /I VI /Vm 1x /IV /IVm bVHx /HH1 VỊ /II blIx /I*S $I / I*® VỊ / Vm#"7 Vm#7 / Vm bV / IV Vm / VI HH / bVYm VHx / pVm IVx#ð /TJII bIHlx / II bllx°5 /T VI /Vm Ix /IV /IVm bVHx /

IE VI / JI V / bVIM bVHx /115 Z MISTY—Lyrics by Johnny Burke, Music by Enroll Gamer

Used by permission.

Trang 15

The following table identifies the proper spellings of the inversions

appearing in Lessons ]] through 19,

MAKESHIFT SPELLING IDENTIFICATION Lesson 1]: e223

The following is a bass line for “Ill Wind,” in Bb Transfer the melody

to manuscript paper, as in previous lessons,

see note

PTV / VEE Tx? / WT Vix / Vm bVIx / HL VI / 16 V6 / WEEE

PHEk / HH / bHhx /199 IV /VH H5 /THT VỊx ⁄TVm bVIx /HỊ VỊ ¿

Hộ bHx /1°%/ 819/1 /1V/11x HẺỂ/vọ vŸ /Tm vụ /

HH VIx / Hx HH / vo vet yt Vix / Hộ bllx / I IV /

VIL IIx? / WE Vix / 1Vm bVIx / II VỊ / Hộ bllx /1*® VIy /

bVIIx VI / bVIx”5 V / bV 1V+9 / HIẾểỸ Jị /1«e z

Mr WIND (You're Blowin’ Me No Good}—Words len by Ted Koehler, Music by Harold

Controlled outside the United States by Mills Music, Inc All Used by pennission rights reserved

IV / IVmt' pbVIlx / u VI / Ixb* / IH##?' Hf'* / 1 bó

IV##® bVo / vite #IVo IV##R / IV / In by / m ni

JIx°° / 112? H#? / 1T bllx / TVE#E pVo / IVm†* ÿIVo TỶ? /

ix / ÍẾ VIk pViEx / VI / HH VE / VI / He / 1V / Vm kk /

IV / IVm!! bVIk / IH VI / ha / 1#? T?? / WL bHlx /

IV??‡*® bVo / IVm†*° ÿIVo IV? /

ills : ' W-—~by Hudson, DeLange, and Mills _ )

Used by permission

LESSON 18

Key of Eb

” the

The following is a bass line for “The Man I Love.” Transfer

melody to manuscript paper

I / Im / Ilo / plllx / We / px / DI pile / I pix /

I / Im / HI¿ / blx / Hệ / px / I†* ÿI / 1†°* pVilx /

Ht v4 1x bVHx / VI†* bVệ / VI†* pV¿ / VŨx pVHx / VÍ bVẹ VŨx / b me VIIx Ix / Il plllx / I plik /1 / Em / IH¿ / bHlx / Hệ

blx / I†* pVIkx / It* /f

Used by permission

29

Trang 16

LESSON l4,

Key of E

The following is a bass line for “These Foolish Things.” Transfer the

melody to manuscript paper, transposing from Ep to E major

ME / AE plik / IÝ* VI / H V / Vm pV / IV gio /

ox / H px / IÊ*° VI / H pH /T1**° VI / Hy /

Vm pV / IV $lo / It pix / [+e Vix / Il+plig /

bVe Vix / WE 1#8® 7 by Ims™ / VIm In / VI Ux /

HH pHx‹ / H px / I†*° VI / H blx / I†* VỊ /

1 V / Vm pV / IV flo / 1 pik ý 1+e

TH Fok FOOLISH THINGS—hy Strachey, Link, and Marvell

»y Boosey & Co Ltd., London, England © renewed All rights for the

United States and Canada assigned to Bourne Co

VI IV”? / b1IHJ pVỊy / H VỀ / bVIx / JVZzR / bVó IVx /III VỊ /

Vm Ïx /IVm bVIIx / HH@ bHHIx ZJI blIIx /1 ]Ị / HH VỊ / blII bVlx /

1l IVó /HI VI /II bỊx ⁄]*8 /1*% Ø

SPRING IS HERE—by Lorenz Hart and Richard Rodgers

€ 1938, renewed [966 Robbins Music Corp All rights administered by CBS Songs, a

§ ¥ permission

The author would like to acknowledge the harmonic innovations of

Bill Evans in the above chart

LESSON 16

Key of B

he following is a bass line for “Just Friends.” Transfer the melody

,anuscript paper, transposing from G to B majo

to Manu:

pick-up

AW /1V+® /IVm / bVIlx /HHI / VỊ /bIH / bVIlx /H /V /1/

pV /Yix Z1Ix / TLV 7 Vm bV /T1V /IV*S /IVm /bVHx /IH / VI /

-Maver Inc © renewed 1959, ca Dịy:

Ki ahb CÀ Dạ Robbins Music Corp., a catalogue of CBS Songs, a right: ) Divi

bHx // I #lo / H flo / WI Ik** / IV IVo / Il??? pHHo /

Il ilo / I / pix / I lo / HỆ ÿHo / Il xt /

IV Ivo / UW?#® pHo / H V Vm pV / IV W** /

HỊ blllx / II??? H#f' / HH bx / I pix / I VI ju i /

IV IVo / II plllo fu blx / I #lo / ae /

HI IHx?° / IV IVo /Hf?°? bilo / I plix / It+* / Ite yy

BEWITCHED, BOTHERED, AND BEWILDERED—by Richard Rodgers and

Lorenz Hart ved

Ch Il & Co., Inc © renewed

Used by permission

*The pick-up chord covers the pick-up notes which sometimes occur in pop

Trang 17

32

LESSON l8,

Key oÍ F‡

The following is a base line for “Come Rain Or Come Shine.”

Transfer the melody to manuscript paper, transposing from F to Ff

major

I IV /Vim Hy /VIZ?? / VIZT / VI x “HH V /Vm ]x /Vm bV /

IVm bVlx / Im IVx /IVm bIH /HH V /bVộ VIx / Hệ VEx /

bVlx V bV IVx / HIx bHlx [ix bllx /1 IV / Vilm Ix / VIE*7 /

VIZ7 VỊ / Hx / pH bV /VIHm /1HIx /VIx VIẾP? /1o TẾP? /]Nx H9 /

IVx #IVó /VT Hx /IVx IHx?3 /VỊx / Vix ý

COME RAIN OR COME SHINE—by Harold Arlen and Johnny Me Ter

sed by pennission

LESSON 19

Key of Gh

The following is a bass line for “I Didn't Know What Time It Was.”

Gb is, of course, equivalent to F#; it is well, however, for the student to

become familiar with both spellings Transfer the melody to manuscript

paper, transposing from G to Gb major

Vilm Tx / VI Ux / Vim IIx / VI Ux / IL VU /VI IV**8 /TV Ill /

If Im / Vilm IIx / VI IIx / Vim IIIx / VI Ix / II VII / VI IVZ#R /

1V WE / 1 OV / VFR I / VIE IIx / VIL bVIIx /VI Ik /HV /

I VIFfR / VI x / UW Im / Vim Hx / VI Ux / Vilm IIx / VI IIx /

HH VH / VI IV7ZR /TV HI /IVm bVHx /III VỊ ⁄ZII V*3 /118 /1+8 /

a clear picture of the value of this system (Roman numerals) in transp- ing to any key

pick-up

#lo // II ÿÏllx / II V / HI bIHx / H pix /1 Nt? / Wl We /

HH Vlx / pl pVix / ÿlIx / H V /HI bIHx / H pH /

1 HT*° / II bVHx / Vix / HI bIHx / H / Hạ bHx / I H ; Hil VI / bVé / IVm bVHx / HI VIx / bĂIMH pbVlx / H ÿH1x / H V ;

II bIHx / HH bũx / I H†* / HI IVYm / VHm HIz / TH¿ bHH /

HH / px / I†* / It) Vf

Used by pennission

33

Trang 18

SECTION III

LESSON 91,

Inversions

An inversion is a rearrangement of the tones of a scale-tone chord to

allow for more smoothly progressing bass lines,

Fig 1 illustrates the inversions of the I chord in the key of C

An inversion breaks the series of thirds characteristic of all scale-tone

chords Each inversion contains a second (B to C in Fig 1) The second

is the characteristic interval of the inversion and is used to spell the chord

The distance from each note of the second to the bottom note is used

to identify the position Thus, in Fig 2, in the first inversion, the distances

are as follows:

C down to E—sixth ) bol_— 18

B down to E— fifth ( SYmbol—T5

In Fig 8, in the second inversion:

C down to G — fourth 2 tbol I4

B down to G — third § ymbøn

In Fig 4, in the third inversion:

C down to B — second symbol—I,

Fig 4 ,

lạ

NOTE: In Fig 4, it is only possible to spell C down to B

NOTE: The quality of the interval (major or minor) does not affect the spelling

IV IVỆ IVỆ Iv,

Fig 8 illustrates the V chord in the key of C with its inversions

vi vu§ vag VI,

It is also possible to invert altered (Lesson 4), chromatic (Lesson 5)

and altered-chromatic (Lesson 5) scale-tone chords,

Fig 11 illustrates the 60 scale-tone chords with their inversions Jez

is basically a “root position” music, but a facility with inversions can be » invaluable in strengthening a jazz bass line.

Trang 19

36

Trang 21

NOTE: It will be noticed that no second appears in the “inverted” diminished

chord Thus, the diminished chord cannot be inverted There are

twelve diminished chords grouped in three series (Co, Epo, Gho, Ao ~

Cito, Eo, Go, Bho — Do, Fo, Abo, Bo) The diminished chord is always

in root position

Since the M, x, m and ¢ can be played in four positions, this gives us

192 chords Adding the 12 diminished chords, this gives us a total of

204 chords — the complete harmonic system of jazz

LESSON 22,

Inversions

The following is a bass line for “No Moon at All.” It is written in D

minor, which is the relative minor of F major The symbols refer to F

major Transfer the melody to manuscript paper

VI+* / Wix® / Vo / Vim? / Vil* / 5V¢, Wxt* / VIt* Ix /

IVx Hx / VI+¢ / Wlx* / Vo / Vilm! / VIL" / pVệ¿ HIx? / VI+* /

VI†* / Vix / Vix / Ux / Ux / V/V /1 IV / VU pV / VI+* /

1x / Vo / Vilm' / Vil / pVệ; Hlx?° / VI+* / VI+S //

NO MOON AT ALL—Words and Music by David Mann and Redd Evans

€ 1947, 1949 Jefferson Music Co., Inc © renewed 1975, 1977 RYTVOC, Ine

Intemational copyright secured Ail rights reserved

Used by permission

8 NOTE: Vĩ +° is also }V¢*, but the function of the chord is an adjusted VI

chord rather than an inverted bV¢

Ï V` / ÿ§Ho VIx* / Hạ" #IVo / Vm Ix / IV IV** / HH pH /

II pÏlx / It* #1 /TV* / #Ho Vix? / Hạ" #TVo / Vm lx / IV IV?*/

II px / H px / 1** pVHx / VI†* bVé / VI pVIHx / VI bVlo /

Vm bV / IV IV+* / TH¿ bIHx / HH; / pVix V /1VỶ / #Ho V? / H¿* #IVo / Vm Ix / IV IV+†* / HI bIHx / HH plx / I†* //

LYZA—by Gus Kahn, Ira Gershwin, and George Gershwin

be treated more extensively in Volume IV For now, here are the two charts for “Waltz for Debbie.” Note modulation to the key of A and the return to the key of F The “head” chart appears in 3/4 time with a transition to 4/4 time in the final six measures of the tune; the “blowing”

chart appears in 4/4 time with a transition to 3/4 time in the final four measures in preparation for a return to the “head” chart

4i

Trang 22

42

HEAD CHART: Key of F, 3/4 time

(E)$ P / VI / 11 / VIhŠ / Hứẹ / Vbể / Ibạ / VỀ / họ / HỖ /

(F)$ 13 / Ÿ IÝ /IH /VÑo bŨgŠ Vi / 1Ø Ý VĨ / VŨ Ï HÍ /

(F)$ /VI /1 /V / Hỗ / Vbẹ / Ihể / Vạ / x5 / ỐT Vi, //

(A)šj H /U Ý,/IHI/H/1/1 ⁄⁄/ (3 M /V Z1H /VIx /H /

(F)$ HIx#5 / VI / Vm / IV / HIIx / VI / 1x ⁄ bẴHIM / bVIM /H /

(F)$ V / /VI /I1 / VHxỄ / Hy / VIỄ / 1x, / VỀ / Bọ / HỂ /

()$ Hợ3 / VÍ, Ý, / HI / VIx / bVm / VIxŠ /® ŸÌ /1x /IV /

(F)$ IIIx?5 / VI / bVlx / VI, / VM'5 / V*3 / V%5 //(E)4 VI, VMẼ5 /

3

(F)4 V23 Ves / VI, VM#5 / V89 V95 /]+6 / +8 /

BLOWING CHART: Key of F, 4/4 time

(F4 HI VI /1I V / Hlx VIx / Hx V /]x IV*S / Hệ V /III VI /

(F)4 HH V /IH VI /H V /IHx VIx /Hx V /HIx VI ⁄(A)$ H V /1/

(A14 1 ⁄/ Œ)‡ H V /HH VIx /1I Hlx / VI Vim / IV IIx / VI Ux /

(F)4 bllim bVIM /HI V /IH VỊ /1I V /IHx VỊ /Hx V /1x IV*8 /

(F)4 Ug V / WL Vix / bVm VIIx / HI Ix /IV Hlx / VI /1Ix bVo /

(Œ)4 HI blHlo /HH V ⁄/ Œ3Ÿ I*S /bHlo /H /V Z

Da Capo to head

WALTZ FOR DEBBY—by Bill Evans and Gene Lees

London, WC1 for the territory of the world excluding USA and Canada

Used by permission

LESSON 2.5

Inversions

The following is a bass line for “Giant Steps.” Unlike the bass lines

in this volume, the chords are indicated by letters instead of the usual Roman numerals The reason for this is that “Giant Steps” has no prevailing key center but, instead, a series of implied key centers

4

BM Dx? / GM Bbx? / EbM / Am Dx / GM Bbx? / EbM Fax? /

BM / Fm Bbx /EbM / Am Dx /GM /Citm Fx /BM / Fm Box /

4

EbM /C#m F#x /BM Dx?/GM Bbx? /EbM / Am Dx / GM Bb? /

EbM FH#x° / BM / Fm Bbx / EbM / Am Dx / GM / C#m Fx /

BM / Fm Bbx / EbM / EbM / GIANT STEPS—by John Coltrane

Used by pennission

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

M—major x—dominant m -minor

43

Trang 23

SECTION IV

LESSON 26

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

key to another in the course of a 32-bar chorus, This modulation is seldom

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

changes for simplicity and order The following six lessons will deal with

tunes of this type A simple rule for identifying the presence of a new

key is the appearance of a major chord on other than I or IV (ie, ILM,

pVIM, etc.)

The following is a bass line for “Body and Soul” in Db The origi-

nal key of this tune is C major, but since 1930, the year the tune was

written, convention has prevailed in favor of Db Transfer the melody to

manuscript paper using the following signatures: bars ] - 15, key of Db;

bar 16, beats 1, 2, key of Db; bar 16, beats 3, 4, key of D; bars 17 - 20,

key of D; bars 21 - 23, key of C; bar 24, beats 1, 2, key of C; bar 24, beats

3, 4, key of Do; bars 25 - 32, key of Db The letters in parentheses

indicate the key in which the symbols are to be played

(Db) H” #7 HZ? / II bllx /1 HH / HH bHHlo / TT Hy /VH bVHx /

(Db) VĨ IĨ bÏlx /T #To / IIZ#? JIZ? /II bHx /1 11/1 bIHo /

(DÈÐ) H HH; / VI bVIlx / VE Ti blix +6 = (D) Vs 8 aT /

(D) VỀ IVm /HI VÍ lĨ Iốo /Im bIIIx II bHx / (C) II V /

(C) 1 bHHo /11 bHX /ÏÍx VĨx (Db) ŸÍx /HI#? JT#? /TI bỊJx /

(Db) FW / Mi ðIIo Z II H, / VII bVHx / ÝÍ IÍ blÍx /1+S ø

BODY AND SOUL—Lyrics by Edward Heyman, Robert Sour, and Frank Eyton, Music v John Green

Used by permission

LESSON 27,

Modulation The following is a bass line for “How High the Moon,” in the key

of G Transfer the melody to manuscript paper following the signatures

indicated by the letters

(G} V**//1/1#* / (F) II /pHx /1/1?* / (Ep) HH / bik / (Eb) 1 VI / pV¿ VIx / HI** / (G) V%* /111 / I Ive (G) 1H px / HH V** /1/12* / (E) H/pHx/1/1#*/ (Ep) HI/

(Eb) px / I VI / (G) Hệ V /IH /HIIV°* /1H pH /

(G) H pHx / 1†° / I†* /

PC Ti by ChappolÍ & Có, TH O rau vd Nancy Hamilton

As indicated above, “Laura,” in the key of C, does not start in the key

of C However, the tune comes to a final close in the key of C which definitely establishes the key

LESSON 29,

Modulation The following is a bass line for “I'll Remember April,” in the key of

G Transfer the melody to manuscript paper following the signatures

Trang 24

() 1/1/TWx/1/Im/ Im, / Vig / Hx/H / V /

and assigned to MCA Music, a Division of MCA Inc and PIC Corp., New York, N.Y

Used by permission

LESSON 30,

Modulation

The following is a bass line for “All the Things You Are,” in the key

of Ab Transfer the melody to manuscript paper following the signatures

indicated by the letters,

The following is a bass line for “Autumn in New York,” in F Transfer

the melody to manuscript paper following the signatures indicated by the

letters

(F) HD II / IV ves ⁄ IT° l /IHII bl / I HI /

(F) VV / Il vix / Ulg pk / UO 1m / (Ap) IE pix /

(Ab) I H / (Eh) VI VI / 1£+ bÝY¿ / (C) IE bủx / I VI /

(F) HH bHI / H 1H / IV Vt / 1+* Ị / 1 II IV /

(F) Vm VI / (Dp) II HIx‡*° / VỊ VŨ; / bVọ TVx / IH †°®VHx£s /

(Dp) Il pq i blix / I pllx / I vit vi Ym / (F) II II /

(Œ) IYm V?' / Im†*° / Im+s ⁄

Fig 1 “In Your Own Sweet Way.”

Trang 25

Both Fig 1 and Fig 2 present the essential “facts” of the composi-

tion, Fig 1 represents the composer's original conception of the piece,

and Fig 2 represents the author’s view of the essential structure of the

tune seen through twenty-five years of social usage

Note the appearance in Fig 2 of key changes which social consen-

sus has established as part of the fabric of the tune

The key series for transposition will be:

1—bVI—I—bVI—]—III~—II-—]—bVI~—]

The following is a bass line for “In Your Own Sweet Way” in Bb

The key order is as follows:

(D) WV/1/ (CC) I V /1 VIx95 // (Bb) IVm bVIlx /VIx #VIo /

(Bb) VIlm IHx / VI Hx /II V/I IV /⁄/(Gb) II V /I IV /⁄

(Bb) Họ bHx /1 ⁄

IN YOUR OWN SWEET WAY—by Dave Brubeck

Used by permission

When transposing this tune, number the melody tones according to

the prevailing key in the bass line Transpose to various keys as a trans-

SECTION V

LESSON 33

Arpeggios

The basic problem of jazz improvisation is to abandon the melody

and build an improvised line on the elements of the chords in a tune

Thus, we will combine the vertical (left hand) with the horizontal (right hand) The chord elements are as follows: (1) Arpeggios; (2) Scales;

(3) Chromatic tones Thus, jazz improvisation employs a twelve-tone line (twelve chromatic tones in the octave) superimposed on the sixty chord system

An arpeggio is a “broken” chord moving in alternate steps The following illustrates the arpeggios of the five qualities on C for two octaves

Trang 26

50

Using the chord chart on pages 25 and 26, practice the arpeggios for

the sixty scale-tone chords using the following fingering

Ep m (the only arpeggio with all black notes) 123412345

Eb— D‡ $—o 281234198

These sixty arpeggios must be thoroughly mastered, ascending and

descending, so that they can be played automatically with correct fingering

LESSON 84

Arpeggios in Rhythm

Rhythmic problems in jazz will be thoroughly studied in Volumes

If, III and IV The student must first learn “what” to play before learn-

ing “how” to play it For now, the following basic material on rhythm

will suffice

The rhythmic division of the front and rear lines of a 1900 New

Quarter-note (J) — drums Technically this is a form of florid counterpoint involving three kinds

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

This rhythmic counterpoint is always present in jazz, although these three levels of time can be assigned to various instruments In a modem group, the rhythmic breakdown is as follows:

Eighth-note (J) — trumpet Whole note (Z) or half-note (3) — piano

Quarter-note (J) — bass

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

Eighth-note (J) — right hand Whole note (2) or half-note (J) — left hand

Quarter-note (J) — foot beat

This rhythmic composite is occasionally interrupted, but its continu-

ing presence is essential to jazz improvisation

As soon as the student has become familiar with the chords of a tune,

a quarter-note beat should be tapped by the foot in order to create the basis for a jazz beat

In succeeding chapters, we will explore the three fundamental rhythmic structures used in jazz improvisation —~ the eighth-note, the eighth-

note triplet and the sixteenth-note The jazz line can employ rhythmic values up to the thirty-second-note See Fig 1 However, for practical purposes we will limit our work to the three above-named values

S1

Trang 27

eighth notes eighth-note triplets sixteenth notes sixteenth-note triplets thirty-second notes Rest values of both more and less than an eighth note are equally

important in the jazz line

A dot adds half the value to either a note or a rest

II chord — sixteenth-note rest

Fig 2

Right hand

Foot beat IVm

33

Trang 28

LESSON 35

Eighth-note Arpeggios

Fig 1 is a bass line for “I Could Write a Book,” in the key of Dp

The sheet music appears in the key of C, so the melody must be transposed Transfer the melody to manuscript paper using three staves —- one for melody, one for an improvised line and the third for the chord symbols

As a starting point for improvisation, abandon the melody and play the arpeggios of the chords in eighth notes Try to keep an uninterrupted quarter-note beat with the foot — no pedal

Do not “set” the improvised figures Use the arpeggios both ascend-

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

fifth and seventh) Respect the fingering shown on page 50 at all times

The following rules will be helpful in fingering problems:

1 All inversion arpeggios beginning on a white note begin with the thumb,

2 All inversion arpeggios beginning on a black note begin with the index finger (except Ep minor which begins with the thumb) and

go to the thumb on the first white note

Fig 1

pix” // 1 Vi / H To / HH px / H px / Iu /

HH VI / H HI / IV IVo / VI” pIHo / H V / bVệ IW /

HI ÿVio / HH” pVHo / VI BV / V IV /HIH /1VI /

M Wo / HỈ bHx / H px / TH / HĨ VI /H HH /

IV WWo / VIỶ pHo / H V / Vm BV / IV Im /

I plik / I pik / It* ; Its

I COULD WRITE A BOOK—by Richard Rodgers and Lorenz Hart

Used by permission Fig 2 illustrates a drill using the arpeggios of the chords in eighth notes

Trang 29

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

DRILL: Study Fig 2 and explore various eighth-note arpeggio lines on

the chords of Fig 1 In the beginning, the student may write out a line as a starting point

LESSON 36,

Rhythmic Combinations—~On Green Dolphin Street

Fig 1 is a bass line for “Green Dolphin Street” in Eb Transfer the melody to manuscript paper using three staves as in the previous lesson

Note the modulation to Gb major and the return to Eb

(Eb) 1*6/1 / Im /Im/ Il / bIIM, /1 / #10 / IL / bx /1 / VI /

(Gb) H / bllx /1 IV // (Eb) bHx / I*8 /T / Im / Im / IIx, /

(Eb) bIIM, / I / #lo / II Hy / VII bVIIx / VI VỊ, / bVó TVx /

(Eb) HI bHlx / II bIIx ZI /1*® Z

ON GREEN DOLPHIN STREET—Words by Ned Washington, Music by

Bronislau Kaper

57

istered by Leo Feist, Inc a catalogue of CBS Songs, a Division of CBS, Inc

Used by permission

:

Trang 30

39

Trang 33

vot / pp / 0, / VH / ni {VE 7, Ite / ple st) /

VI / VI / HI” / ik vm? / gio my / Wt / IV /

bV¿ / Hệ" / HH / pHx / H / pHx / 1+* / 1+* //

AT LONG LAST LOVE—by Cole Porter

Trang 34

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

LESSON 38

Rhythmic Combinations

Since the problem of shifting from one rhythm to another is of the

utmost importance in playing a jazz line, we will now consider combining the rhythms in Lessons 35, 36 and 87 Under no circumstances can the

shift from one rhythm to another be allowed to disturb the quarter-note foot beat

Fig 1 is a bass line for “Sophisticated Lady,” in Ab Transfer the melody to manuscript paper using three staves Note key changes

Fig 1

(Ab) neh er a 1 bVUx VIx pVix V / I Ivx / (Ab) Ix Vilx bVix Vkx / Hx / H pHx / 1 / #lo / (Ap) Its Wes Wy / pVlx Vix pVix V / I TW / (Ab) Ix VIlx bVHx VEx / Hx / Il pix / I +* / (G) Hệ bHx / (G) LVL/ H V / II px / H px / ivi / 0 V/

(G) I pV (Ab) Ul / H VH H¿ pUly / 1Í?! Tí?! Tí Í/

(Ap) pVHx VIx pbVlx V / I IWx / Ix Vix pbVHx Vx /

(Ap) Hx / H px / I†* / 1+* /

SOPHISTICATED LADY—by Ellington, Mills, and Parish

U y permission

67

Trang 35

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

Trang 36

70

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

eighth-note triplets and sixteenth note rhythms Keep an unin-

LESSON 39

Rhythmic Composites (ballad)

Now that we have some facility with abandoning the melody and using the arpeggios of the chords, we may consider combining the note and rest values studied in Lesson $4 into four-bar composites which allow

us to shift suddenly from one rhythm to another or introduce a rest value without disturbing the foot beat Fig 1 is a possible four-bar composite for a slow tune:

This composite reads as follows:

The first line will apply to the first bar of a tune;

The second line to the second bar;

The third line to the third bar;

The fourth line to the fourth bar

Then we start over again:

The first line to the fifth bar;

The second line to the sixth bar; and so on until the end of the tune

71

Trang 37

Fig 2 is a bass line for “I Got It Bad,” in G

Fig 2

I il / JH VI / Ux VE / Io BIVd / UW IL, / bVIIx Vix bVix V /

I*® #lo /II blix / 1 I / WE VI / x VỀ /IVo $IV¢ / II Il, /

bVllx Vix bVix Ÿ /Í?® VĨ bVĨ / Vm bV / IV+6 / IV+8 / IVm*6 /

bVIIx / 1 IV / WE bux / 0 / V8 /1 U/W VI / x VB /

IVo SIVd / II HH; / bVHx VĨx bVix V / +8 /1+6 /

1 GOT IT BAD AND THAT AIN'T GOOD—by Paul Francis Webster and

Duke Ellington

Trang 38

Fig 1

I Slo /1L V / IL bilo / 11 V / Vm Ix /IV bVILx / Ix VIx Ix V /

Ie $1 /1 Slo / TV / UL bilo / IV / Vm Ix / IV bVIx /

IHx VIx Hx V /I*® pVIIx / VĨ*S bW@ VĨIx / Ix VIx / x V /

DRILL: Transfer the melody to manuscript paper using three staves: one

for melody; one for the student’s improvisation; one for the bass I bVIlx / VĨ!® bÝ@ VĨIx Z HIx VIx / Ux V /III bHIx IL bIIx /

line Using Fig 3 as a model, the student should write out, if

necessary, an improvisation using the composite and the ar- IElo/HV/HI bHIo / II V /Vm Ix /TIV bVHx /IHx VIx IIx V /

YOU TOOK ADVANTAGE OF ME—Lyrics by Lorenz Hart, Music by Richard Rodgers

Used by permission

If we apply the composite to the arpeggios of Fig 1, we derive the

LESSON 40 Fig 2 following drill

Rhythmic Composite (up-tempo)

In the quicker tempos in jazz, the composite usually becomes more

simple in order to avoid a cluttered sound and to insure a strong pulse

24 Fig 1 is a bass line for “You Took Advantage of Me,” in Ep

75

Trang 39

note foot beat Above all, do not use any pedal

DRILL: Transfer the melody to manuscript paper using three staves: one

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

bass line Using Fig 2 as a model, the student should write out,

if necessary, an improvisation on the bass line in Fig 1

Tỉ

Trang 40

78

SECTION VI

LESSON 41,

Modes

If we play the scale-tone chords in C and play the C major scale from

root to root of each chord (Fig 1), we are playing the various modes of

the scale of C A mode is a displaced scale played from root to root of

Fig 2 illustrates the modes of the scale of G:

The following table illustrates the modes existing in any key:

These modes built on the twelve major scales represent one of the

most important elements of jazz improvisation They are highly effective

in building a horizontal “blowing” line so long as the harmonic line moves

in the normal scale-tone chords without alteration or chromatic adjustment Since the previous lessons have made it evident that even the simplest tune utilizes altered and chromatic chords, this simple modal system must be expanded to meet the requirements of a sixty chord system

The next six lessons will deal with this problem In preparation for these chapters, the student is strongly advised to play the scale-tone chords in twelve keys with accompanying modes in the right hand as in Figs 3 and 4,

Fig 3 Key of C

Tiêu đề	Tonal And Rhythmic Principles - Jazz Improvisation
Trường học	University of Jazz Studies
Chuyên ngành	Jazz Improvisation
Thể loại	Lecture Notes
Năm xuất bản	2023
Thành phố	New York

Định dạng
Số trang	112
Dung lượng	9,73 MB