4 ImprOVisation
Jazz
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.
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Contemporary Piano Styles' By John Mehegan
Introduction by Bill Evans Preface by Tom Glazer
AMSCO MUSIC PUBLISHING COMPANy
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JAZZ IMPROVlSATION VOLUME IV
Contemporary Piano styles
JAZZ IMPROVISATION VOLUME IV Contemporary Piano Styles
John Mehegan
Watson-Guptill Publications/New York
~ Amsco Publications New York/London/Sydney
To my family: Gay, Tara, Sean, Sophie and Bronson
Copyright © 1965 by Watson-Guptill Publications, a division of Billboard Publications. Inc., 1515 Broadway. New York. N.Y. 10036 ISBN 0-8230-2574-8 Exclusive distributors to the MusiC Trade Music Sales Corporation 24 E. 22 Street New York. N.V. 10010 Music Sales limited 8/9 Frith Street London W1V 5TZ Music Sales Ply Limited 27 Clarendon Street Artarmon Sydney NSW 2064 Library of Congress Catalog Card Number: 58-13525 All rights reserved. No part of this publication may be reproduced or used.in any form or by any means-graphic, electronic, or mechanical. including photocopying. recording. taping. or information storage and retrieval systems-without written permission of the publisher.
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PREFACE For twenty years or more, I have spent most of my working time as a singer of folksongs. But I have never been able to withstand my fascination with all music, so that at times I have written popular songs, . composed orchestral scores for films and T.V., played tuba and bass fiddle as a young man in bands and orchestras, sung in church choirs and madrigal groups - and in between, listened hard to music from preGregorian chant to post-Stravinsky.
It behooved me some years ago to take another musical busman's holiday and study jazz piano with Johnny Mehegan. My ears sprang up almost literally; I had been listening to jazz, I discovered, without hearing it. I found out why I really didn't get too moved by its most important element:improvisation. It is one thing to like the singing of, say, Billie Holiday; it is something else entirely to understand what the musicians behind her are doing with the underlying melodic, hannonic and rhythmic structure, without which there would be no musical Billie Holiday. It is this structure which is jazz, no matter how pretty Peggy Lee is, or how many teeth Louis Annstrong shows when he grins, or how tricky the acrobatics of Gene Krupa or how many prizes awarded by jazz magazines. Johnny Mehegan has built a unique musical monument. History remembers with exceptional honor those men gifted enough to sift and winnow the complex variables, of human knowledge into a Code of Law. This Johnny has done with these melodic, hannonic and rhythmic laws of consonant jazz improvisation, and, in four books, has given it, at long last, a "habitation and a name." Tom Glazer May, 1965
CONTENTS Preface by Tom Glazer Introduction by Bill Evans
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INTRODUCTION
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Oscar Peterson - "Joy Spring" Bill Evans - "Peri's Scope"
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SECI'lON I
29
OSCAR PETERSON
1. General 2. The @ Form - "Stella By Starlight" 3. The Fonn - "J Don't Stand A Ghost Of A Chance With You" 4. The Combined @ Forms - "I Wish I Were In Love Again," inG 5. Left-Hand Major Voicing - "I'n Take Romance," in F 6. Left-Hand Dominant VOicings - ''I'm In The Mood For Love," in Db 7. Left-Hand Minor Voicings - "I Get A Kick Out Of You," in Eb 8. Left-Hand Half-diminished Voicings - "You'd Be So Nice To Come Home To," in C 9. Left-Hand Diminished Voicings - Inversions - "From This Moment On," in Ab 10. Modulation - @ and @ Forms 11. Alternate @ and @ Forms - "Embraceable You," in G 12. The Altered Dominant @ and @ Forms - The Dominant Form - "By Myself," in F 13. The Suspended Minor, Half-diminished and Diminished @ and @ Forms - "Better Luck Next Time," in F 14. Melodic Adjustment - @ and Forms - "Poor Butterfly," in Db 15. Right-Hand Modes with @ and ® Forms - "Ten Cents A Dance," in Eb 16. @ and Forms Summation - "Right As The Rain," in C
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SECTION II 17. Solo Piano (General) - "But Not For Me," in Eb 18. Root-Voicing Patterns, and ® Forms - "Be My Love," in G 19. Root-Voicing Patterns, ® and Forms - Ballad - "My Ship," inF 20. Root-Voicing Patterns, ® and ® Forms - Bass Fifths "Where Are You?" in G 21. Root-Voicing Patterns, and ® . Forms - Minor tonality "You're My Thrill," in D minor 22. Root-Voicing Patterns, ® and ® Forms - Superimposition "This Is New," in Bb 23. Root-Voicing Patterns, and ® Forms - 8/8 time - -I Fall In Love Too Easily," in Eb 24. Root-Voicing Patterns, and ® Forms - 12/8 time ''Twelve-Bar Blues," in Bb 25. Root-Voicing Patterns, and ® Forms - Bounce Tempo Syncopation - "Rose Room," in Ab 26. Root-Voicing Patterns, ® and Forms - Bounce Tempo Syncopated Swing Bass - "Ain't Misbehavin'," in Eb 27. Root-Voicing Patterns, and Forms - Up-tempo Syncopation - "The Lady Is A Tramp," in C 28. Root-Voicing Patterns, ® and Forms ..... Up-tempo Syncopation (without Roots) - "Limehouse Blues," in Ab 29. Root-Voicing Patterns, ® and Forms - Improvised "Peace" in Bb 30. Scale-Tone Conversion to and Forms - "I Concentrate On You," in Eb . 31. "Walking" Bass Lines - "You Stepped Out Of A Dream," in C 32. 'Walking" Bass Lines - "Blue Room," in F 33. "Walking" Bass Lines - ''The Way You Look tonight," in Eb 34. 'Walking" . Bass Lines - "Fine And Dandy," in F 35. Left-Hand Arpeggiation - The Scale-Tone Tenth Chords Eighth-note - 'We'll Be Together Again," in C 36. Left-Hand Arpeggiation (R-5-9-3-7 and reverse) - Eighth-note "Jet," in Eb 37. Left-Hand Arpeggiation - Mixed elements - Eighth-note triplet "Sometimes I'm Happy," in F 38. Left-Hand Arpeggiation - Mixed Elements - Sixteenth-note "It Never Entered My Mind," in F 39. Left-Hand Arpeggiation and Forms and Modes "Ruby," in C
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'Comping (Accompanying) - "I Love You'," in F Turnarounds - "Down By The River" in Ab Building a Bass Line - "Small Hotel," in Ab Modified @ and ® Forms - Modem "Funky" Piano Harmonic Distortion The Perfect and Augmented Fourth Chord Structures @ and Forms with Shearing Blocks The Modal Fourths - Minor Blues The Modal Fragments
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229 235 238 240 244 246 267 277 282
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INTRODUCTION The aspiring jazz musician - and jazz pianist in particular - has been long faced with the dilemma of the lack of any clearly organized field of thought which is true to tradition, comprehensive, and yet presents the materials that he desires without stylistiC constriction. As one of those who was forced to wade into this vast area in order to select, sort, aIld organize these materials so that I would have the tools to be a developing musician I can testify to the frustrations and discouragements that this task entails. Yet, unless one is to be a slave to vogue, and dependent on the questionable rewards of mimicry, one must know in some clearly organized way about the materials which one wishes to use in improvisation. It is only through thorough understanding of these materials and the principles involved in their use that increasing degrees of freedom in performance are gained (or won). The more clearly one understands the fundamentals, the more encompassing can be the generalization - and thus the more true freedom is won (attained). It is my opinion that the presentation of materials to be found in John Mehegan's books on improvisation are the most concise, thorough and comprehensive, and will offer the talented pianist a priceless saving of time, and the benefit of a concept which will not impose style, and therefore will allow his individual treatment to develop. Bill Evans May, 1965
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INTRODUCTION The history of ·jazz piano from 1950 to the present has beed an intense ·struggle between the forces of the present and those of the past to create an amalgam of both which can inherit the future. These forces are represented by individuals who fall roughly into the following groups: the traditionalists, the moderates and the avant-garde. This volume will deal mainly with the efforts of the first two groups with some commentary on the avant-garde which at this writing appears to be embattled with the age-old problem of the artist's relationship to freedom on the one hand and discipline on the other. The follOwing outline illustrates the major (indicated by·) and minor figures in this turbulent period: THE TRADITIONALISTS Oscar Peterson· Les McCann Gene Harris Barry Harris Eddie Costa THE MODERATES Bill Evans· Wynton Kelly Ahmad Jamal Horace Silver Bobby Timmons Red Garland McCoy Tyner THE AVANT-GARDE Don Friedman Claire Fisher Bob James Herbie Hancock Andrew Hill Cecil Taylor
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THE TRADITIONALISTS The traditionalists are sometimes referred to as the "funk" school. which is a reference to the presence of blues and gospel idioms in their playing. McCann and Gene Harris are definitely in the "funk" school. Barry Harris is probably the outstanding exponant of the traditions of style and idiom established by Bud Powell. The late Eddie Costa was a successor to the "hard bop" idioms of Horace Silver, expressed through the aggressive mallet technique employed by vibraphonists. Peterson is the major figure in the present struggle to preserve the vast repository of style and idiom extending back to the Mid-Thirties. In an unheralded Carnegie Hall concert in 1949, this Canadian pianist established himself as the major consolidating figure of the Fifties and, simultaneously, one of the central figures in the contemporary scene. This was indeed fortunate, since in the course of the tumultuous years of the Forties, much had been overlooked, prematurely discarded or overemphasized, to the general detriment of jazz piano. More important, Peterson, almost Single-handedly. rescued jazz piano from the secondary accompaning role it had assumed, and re-established it as a major voice in the noble jazz tradition of Hines, Waller, Wilson and Tatum. Many neglected innovations introduced by such keyboard figures as Art Tatum, Nat Cole, Jimmy Jones, Bud Powell, Erroll Gamer, Nat Jaffe, Lennie Tristano, Thelonious Monk, Horace Silver, Cy Walter, George Shearing, Jess Stacy, Dodo Marmarosa, Tad Dammeron and Ellis Larkins, plus a host of hom men from Benny Carter and Coleman Hawkins through Lester Young, Dizzy Gillespie, Charlie Parker and Miles Davis - this vast amalgam of sound - were added to Peterson's personal geniUS to forge one of the most persuasive keyboard styles of the Fifties and early Sixties. Despite this seemingly eclectic background, Peterson has made im~ portant innovations in areas equally as vital as those altered by Powell and Silver. First, Peterson, by virtue of his vast technique and knowledge, can swing "harder" than any other pianist in the contemporary jazz scene. He possesses a sense of form and dynamics sadly missing in many present-day pianists. Above all, he displays the ability to communicate his intentions to an audience with the sureness of an experienced concert artist. He is a pianist in the entire connotation of that term. An important aspect of Peterson's genius is his ability to play "horn lines" - ideas accessible on the saxophone or trumpet, but generally "unpianistic" when applied to the keyboard. This ability has endowed Peterson with a melodic quality in his improvised lines generally lacking in jazz pianists. This ability, translated into practical pianistic terms, signifies that Peterson seems to possess the ability to "pre-hear" any succession of intervals and Simultaneously to translate these steps into
14
finger strokes - something even the most skilled jazz pianist will find difficult. Most jazz pianists content themselves by playing easily accessible lines through manual mechanics rather than attempting "unpianistic horn lines" that are more melodic. Unlike his contemporaries, Peterson possesses the ability to play these inaccessible horn lines - a part of his distinguished sound. Figure 1 illustrates the contrast between a pianistic phrase and a relatively unpianistic phrase by Peterson. Fig. 1.
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15
This style, as presented in the Peterson trio, was a signal for the return of "vertical" hannony, which had languished through the "horizontal" period of the Forties. At the same time, it made clear to all jazz pianists that the prevailing shell style was no longer tolerable, and, regardless of hand span, that some other solution must be evolved to meet the growing resurgence of vertical harmony in the emerging keyboard image. Although Peterson, himself, played no active role in the emerging image of the new pianism, his re-statement of the past both in beauty of line and effortless performance will remain a permanent document in the history of jazz piano. THE MODERATES The first indications of a general move away from both tenth and shell formations in the left hand appeared in the Mid-Fifties. Initially heard in recordings of ceRed" Garland and Wynton Kelly and later in popularized versions by Ahmad Jamal, the new "sound" gradually emerged in the form of left-hand vOicings, or ornamental structures employing various componants of ninths, elevenths and thirteenths. However, this style remained in a fallow state until the turn of the decade and the appearance of Bill Evans. Much as Peterson had captured the best of the Forties, Evans immediately established himself as a sensitive consolidator of the harmonic explorations of the Fifties and, in addition, brought this incipient style to its fruition through his personal genius. Evans' achievement was multi-faceted in that the previous concepts of rhythm, hannony and melody were subjected to a searching analysis, and many preViously revered · ideas were either abandoned ·or seriously modified. This stylistiC sound, which is adaptable to the left hand for supporting a ccblowing line" or to the right-hand for cc 'comping," (accompanying) purposes, will be treated thoroughly in this volume. Since any organization of musical sound derives its final character from the rhythmic crucible which surrounds it, Evans' innovation in the time factor of jazz Simultaneously altered the prevailing harmonic and .melodic values. First, the previous tenet of a hard, percussive, unpedaled line was abandoned in favor of a legato, pedaled attack in which the marcato eighth note was replaced by a filigree of sixteenths and thirty-seconds, interspersed with highly syncopated clusters of chords. In Evans' work with bass and drums (especially with Paul Motian and the late Scott LaFarro), time values were even more modified to such a point that the underlying quarter-note pulse was perceptable only to the most acute listener. As in contemporary painting, Evans did much to destroy the photographic image and to create a delicate world of the abstract and the surreal. In the previous period there had been some general exploration of the hannonic idioms of French Impressionism, but under the direct influence of Miles Davis and arranger Gil Evans, pianist Bill Evans extracted
16
an entirely new body of idiom from the early Twentieth-Century Spanish composers, Albeniz, de Falla, and Granados, as well as the French Impressionists. In general Twentieth-Century Spanish music is, on the one hand, more introspective than its French counterpart and, on the other hand, is infused with the rhythmic vitality of the Spanish temperament, which is closely akin to our own pulsating energy. The essence of this style, to a large extent, can be described as the use of a highly selective group of "textures" or "voicings" which are capable of conveying chord values with great definition, although, in most cases, the tones of the structure have been totally rearranged and the root completely deleted from the total sound. The term "voicing" is usually applied to a chord in which one or more of its basic components (root, third, fifth, seventh) has been reaSSigned to an entirely different register of the keyboard or transferred to another instrument - usually the string bass. The melodic factor in jazz is usually to be found in the improvised line. In this area, Evans introduced many startling innovations. Aside from the previously mentioned introduction of the pedaled, legato touch, the older concept of "target" tones, also known as the Parker "hinges" (see Vol. I, pp. 127 - 131), were to some extent abandoned in favor of "vertical" lines moving in long, extended phrases without any particular horizontal connections. Furthermore, previous concepts of the memorable melodic line, as evinced by Peterson, were largely abandoned. Unheard of structures, such as unmodified scales and modes (displaced scales), appeared as part of a revolutionary attack upon the traditional, improvised line. THE AVANT-GARDE What these various innovations will come to mean to the future of jazz piano is difficult to evaluate at this writing. First, it should be pointed out that a small segment of the jazz-piano Establishment has been slow to accept these innovations, which represent a major assault upon timeworn concepts. Many pianists have remained within the "funk" school; others have remained loyal to the enduring Powell idiom, which dates back to the early Forties. The innovations of Evans and the avant-garde have raised serious problems regarding both the essence of the jazz art and its future as the music approaches the vanishing point of both tonality and the rhythmic symmetry that sent the image of jazz to the far reaches of the earth. Even at this writing, it is apparent that jazz has already lost the enormous periphery of its audience; jazz clubs are closing or changing their poliCies to the major recipiant of the "floater" sections of the jazz audience, the folk musicians. Perhaps jazz is about to go "underground," as it did in 1940, to begin another painful transition. If this is true, the present struggle will be pOSSibly a struggle for actual survival, since the contemporary terms are much more severe than those of the
17
Forties; this time the conflict is not between two levels of tonality or two images of the jazz beat, the conflict is between tonality and atonality on the one hand and the classic symmetry of the jazz beat and the free form of serious contemporary music on the other. It may very well be that the future of jazz will be decided in tins musical Armageddon. The avant·garde has challenged this sound barrier. armed with the "freedom" of free form, but, at the same time, held captive by the very lack of freedom which, in the past, had made the jazz musician free. In the past, the jazz pianist had evolved an intensely expressive idiom based in part upon a fierce premise of what was to be played joined by an equally fierce premise of what was not to be played. .This privilege of chOOSing the "best of both worlds" no longer exists for the jazz musician. At the same time, an art form must go on to its own personal destiny, whatever that destiny may be. There are many factors here: the painful need for acceptance, the desire to escape from the night.club "entertainment" atmosphere and, above all. the aspiration to transform the art form from a parochial craft into a major art. The freedom and status of the serious musician is a constant reminder to the jazzman of the monetary and psychic rewards that await the successful practitioner in a "high" art. There is a double burden here for the Negro musician, who sees both himself and his art held in either silent contempt or distant admiration. For this reason, in recent years many leading Negro figures in jazz have increasingly appeared to use the art fom} as a forum to project a variety of personal and social angers. This is an inevitable step since, if the Negro people can rightfully claim an art form, it is certainly jazz. The use of art as a social platform is not new; in fact, there .is a compelling argument maintaining that all great art is the result of dramatizing social injustice. There is a strange poetry here, for jazz certainly began as a form of protest against the social injustice of the Reconstruction period in the South. Eventually, it became an important facet of American popular cuI· ture serving as entertainment for those millions of people throughout the world who recognized the charm of the symbol while, at the same time, forgot the pain of the reality that created the symbol. Perhaps jazz must momentarily return to. its womb of protest in order to revitalize the joy and affirmation that has always been its personal testament. John Mehegan May 15, 1965 New York City
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47
SECTION I LESSON
1. General
The voicings to be considered in this section will be referred to as the @ Form and the ® Form simply to distinguish one from the other. These two forms constitute the basic textural sound of contemporary jazz piano. It is important to remind the student that these structures are not chords, since the roots, do not appear, and they are therefore incomplete . structures. The voicings will be presented first, followed by a section dealing with solo piano in which the various devices of integrating roots and voicings will be described. Following this, sections on fragmentation, •• 'compini' and the improvised line will complete the material on the @and <.ID Forms. The history of the @ Form begins in the classical piano literature of the Nineteenth Century. This form first appeared in the piano works of Frederick Chopin and became one of the vernacular sounds of the Nineteenth-Century piano concerto. In this form, the third appears in the bass of the minor voicing, the seventh appears in the bass of the dominant voicing, and the third again appears in the bass of the major vOicing. This is the older of the two forms and is usually more familiar to the average pianist for that reason. The ® Form appeared about one hundred years later in the piano compositions of Maurice Ravel. This form clearly reveals the poignant textures characteristic of the impressionistic music of the Twentieth century and represents the sound of "modernity" in contemporary orchestration. In this form the seventh appears in the bass of the minor voicing, the third appears in the bass of the dominant voicing, and the seventh or added sixth appears in the bass of the major voicing. As the student willlearn, one form is an "inversion" of the other, although the term "inversion" is not proper because the root is absent, thus making the structQre incomplete; the more appropriate term is '·permutation." The history of these forms in the popular music of America dates from the Mid-Thirties in the scores of Fletcher Henderson and Duke Ellington. Here the voicings appeared in the part-writing of the saxophone sections, and became the accepted sound for sax-section backgrounds for vocals and hom solos. In the beginning the ® Form was seldom used, but by the Mid-Forties, this fonn had been permanently integrated with the @ Form. Also during this period, guitarists explored these voicings, although the appearance of Charlie Christian completely changed the emphasis of the guitar from the vertical concept of Lang and Van Eps to the modem horizontal style.
49
Pianists began isolating these vOicings in the Mid-Forties, first the @ Form and later the Form. These vOicings are employed by modern pianists for many purposes. They are used in the left hand to support a melody, an improvised line, or with modified Shearing bloch in the right hand to form the two-handed "concerto" sound of the modem period. These same vOicings are employed in the right hand, coupled with roots in the left as a major ...comping" device. Strangely enough, the indisputable master of this 'comping idiom is Horace Silver, who made a major transitionin his style from the shell style of the previous decade. The student is strongly advised to listen to the more recent recordings of Silver in order to become acquainted with this aspect of the @ and ® Forms.
®
LESSON
2.
The
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Form
(See the Introduction and Lesson 1 for a general description of the Forms).
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The general keyboard register of the Fig. 1.
@ and
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It~~ These voicings win be initially studied on the basis of the 11-V-I pattern in twelve keys - the basic cadence pattern of all jazz harmony. For the moment, we will consider these voicings in the right hand while playing the roots in the left hand. This device will enable the student to hear the entire structure before placing these · voicings in the left hand without the roots. Since the entire five-quality system may be easily derived from the II - V - I pattern, the follOWing modal table will be employed: CHORD
QuALrrY
Major Dominant Minor HaH-Diminished Diminished 50
MODE Ionian Mixolydian Dorian Dorian (modified) Dorian (modified)
H the student is not familiar with this material, it is suggested that a thorough study be made of Vol. I, Section VI. The
@ Form voicings are as follows: II (Dorian) 3 5 7 2 V (Mixolydian) 7 2 3 6 I (Ionian) 3 5 6 2 (See Fig. 2.)
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D-root F-minor third A-perfect fifth C-minor seventh E-ninth
Chord - D minor ninth
G-root F -minor seventh A-ninth B-major third E-thirteenth
Chord - G' dominant nine thirteenth
C-root E-major third G-perfect fifth A-added sixth D-ninth
Chord - C major ninth added sixth
v
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(all intervals based on the prevailing mode of the chord) 51
In the tone row, 2 becomes 9, 6 becomes plus 6 in M and m, 6 becomes 13 in x (Fig. 3).
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~~:~~1~~~3~~~5~~~l~~~~~~~~~~~~~~ The explanation of 6 becoming 13 in the dominant chord may be tested by the student. Play C EGA, C Eb G A and C E A Bb as broken arpeggios, striking the A in each chord ' with more intensity in order to hear the relationship of the tone to the chord. Upon striking CE A Bb, the student will detect a color value of A not present in the remaining two chords. This value is formed by the specific presence of the major third and minor seventh comprising the dominant chord: this unique value is referred to as "Thirteen," Figure 4 illustrates the @ Form voicings for the remaining 11 keys. Figure 5 illustrates the inner-voice movement of each interval in the transition from II to V to I. Fig. 4.
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DRILL: Study and memorize the voicings in Figs. 2 and 4 for automatic facility. Figure 6 is a bass line for "Stella by Starlight." Thjs tune was treated in an inversion study in Vol. I, Lesson 24. The present bass line represents a conventional chord chart. ' NOTE: The student is advised not to employ various trick devices of dealing with these vOicings: i.e., II in @ Form involves a II root with a IV scale-tone chord. Such devices can only result in a permanently distorted visual and auditory conception of these important vOicings.
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VI J
/ /
bVm / VIIx / II / V / Vm / bV / IV / bVlIx / I VI /
bVcp VlIx / III / VIcp: / III J II III/IV'"
/
10/ VII / IIIx / VIx #11
/ bVIIx / III / VI VI 2
/
/
blIIx / II #'
/
bVt(> / VIIx / lIlt(> / Vix /
IIcp / bIIx / I / I / / STELLA BY STARLIGHT - By Ned Washington and Victor Young - Copyright @ 1946 by Famous Music Corporation.
II
LESSON
3. The
®
Fonn
®
We will now consider the Form voicing. For reasons of texture, register and voice leading. it would be impossible to build an adequate harmonic system through the use of only one form. The
®
Form voicings are as follows:
II (Dorian) 7 2 3 5 V (Mixolydian) 3 6 7 2 I (Ionian) 6 2 3 5 The voicings are based upon the prevailing mode of the chord. In Fig. 1 the formations are as follows: II
D-root C-minor seventh E-ninth F-minor third A-perfect fifth
Chord - D minor ninth
G-root B-major third E-thirteenth F -minor seventh A-ninth
Chord - G dominant nine thirteenth
C-root A-major sixth D-ninth E-major third G-perfect fifth
Chord - C major ninth added sixth
V
I
Fig. 1. Key of C -
®
Form
" I:~~~~~~~~~~~~ • u ~
•
(C)
13 V9
55
Figure 2 illustrates the ® Form voicings for the remaining 11 keys. As with the @ Form, the ® Form voicings are illustrated in all keys. It is important for the student to become automatically familiar with both voicings in all keys for future extended studies.
Fig. 2.
",
I
-
t•
,
~
1\.iIo
•
13
~
(D)
,
-
t ·• ,
0
fo_
il 0
u
13
-'U V
, .. .iIo ~
a1
..
I
t•
r~_ o
~
e-
-o
U
•
-
V9
r~
• l'
13
(F)
56
0
1~
(E)
~
t
e
•
V9
~
rt6
4
I
,
9
V9
I\~ ~
-
t•
'U
13
9
rt6
V9
'\.
0
•
"
,
u
41
U
0
(F#)
-
.g,.
e-
o13
u
V9
~ ~
\
"
r
tJ
t
rP" e
~
"
••
I
1\ ~ ~
'\L
r
~
tj
e
•
tr
.•
J.L
e 13 y9
(A)
rte
e
e 13 y9
(At,)
+fo
t ..
~
1r
.•
-
13 y9
(G)
I
..
~
• "G
I
e :r • .. 13 y9
~
"U
U
13 y9
9
rt6
.~
J.L
' li
U
(Bb)
tr
(B)
Fig. 3.
2: I (G)
,: #
:: 7th
:
6th
9th
13th
9th
e
e
e
"
'U
5th
9th
3rd
e 'U
3rd
'U
::
Ij
(G)
:
'U
e
7th,
II
II
3rd
0
II
.0.
e
II
5th
Fig. 3 illustrates the horizontal movement of the voices: 7th 9th 3rd 5th II
becomes becomes becomes becomes
3rd 13th 7th 9th
V
becomes becomes becomes becomes
6th 9th 3rd 5th
I
57
Although they are not strictly speaking "inversions" (the root remains in the bass), Forms represent "permutations" of the @ Form (see Fig. 4).
®
DRILL: Study and memorize the voicings in Figs. 1 and 2 for automatic facility.
Figure 5 is a bass line for "Ghost Of A Chance."
Fig. 5.
I I
bIIx I
1114> bIIIx I 114> IV4> I III VI I II V I bVlIx VIx I
bVlx
V I I I blIx I 1114>
I +.
#1 I I + #10 I
bV4> I
41
bllIx I
114> IV4> / III VI I II blIx I
II II I f II II' I II blIx I I + 41 IT I III IV I
VlIx I III blllo I II blIx I I I bIIx I 1114> bIIIx I 114> IV4> I III VI I II bIIx I I + 41 I I + 41 II
I DON'T STAND A GHOST OF A CHANCE - Copyright 1932 by American Academy of Music, Inc. - Copyright renewed 1960 - Used by permission of the copyright owner.
58
LESSON
4.
The Combined
®
@ and
Fonns
The student will notice in playing the ® Form in Lesson 2 that as the II-V-I pattern ascends through the keys. the resonance of the voicings becomes thinner in the keys from F# to Ab; in A. Bb and B the voicings are too low to convey an easily accessible sound.
®
Form in Lesson 3. the voicings from C to Eb Also in playing the are again too thin to be effective; in the keys of E and F. vOicings are placed too low. To avoid these problems, the octave will be divided into two key areas:
® ®
Form II-V-I: keys C. Db. 0, Eb, E. F Form II-V-I: keys F#. G. Ab. A, Bb. B
This arrangement of the succeeding chapters.
®
and
®
Forms will be utilized in
®
Form in keys C to F and DRILL: Repeat intensive study of II-V-I II-V-I ® Form in keys F# to B (see Fig. 1). Fig. 1. ,
"
"
I
eJ ~
. \
u II@
(C)
I
.
~
8&.
-
e
V@
I@
"~
~
e.
If'"
W
V@
u I@
U
tr
II@
V@
it
~
~
. (Db)
"
U
I
..
I
~
•• (0)
e II@
e
0
(E~)
II@
V@
I@ 59
I
•
~
I
.1r
a
~.Il ~
TI
(FI)
u
II@
~
IJ
~
fr
0
-
-o
n@
v@
I@
(G)
II@
V@
:r
• 'l
:iP0
r
:r
. n®
(A~
I
I@
V@
(A)
II@
V@
1\ ~ ~.
f
tr'
~
tr ••
II@ V@
(B)
~ -e-
~
.
I@
I
~
.•
--LL
l'
I@
~
~
1\
.
~
'"
60
I@
o
•
(BI,)
-
11
0-
~
~
~ .Il ~
r
.
rP"
'U
•
\
I@
0-
0
,
•
~
V@
.•
11
·•
~
(F)
r
~ ~
~
~
~
I@
11
..
j
V@
t:f"
-
o
II@
(E)
'"
tt
. 0
j
..
r
11
••
I
"
-
" .Il ..
U
II@
V@ I@
'U
(C)
II@ V@
.D....-
r
-0 I@
.
Figure 2 is a bass line for "I Wish I Were In Love Again." Fig. 2. pick-up
blIx / / I / IVx / I / IVx / I / IVx / III bIllo / II blix / I / 1/ I
I
IVx / I / IVx / I / IVx / III II / Ix Vm Ix / bV4> IVo / VI ~ bIllo / II blIx / I + 6 IV / VII bVIIx / VI VIx + 5
/
VI I1x / V blIx / I /
IVx / I / IVx / I II / III VI/III{> bIIx / 1+ 6
/ /
I WISH I WERE IN LOVE AGAIN (Lorenz Hart and Richard Rodgers) - Copyright @ 1937 by Chappell & Co., Inc. - Copyright Renewed. Used by Permission.
LESSON
5.
Leh-Hand Major Voicing
®
Since the immediate purpose of the @ and voicings is to support a right hand "trumpet" line, we will now consider these voicings in the left hand.
®
In dealing with @ and voicings the same temporary or parentkey principles employed in the improvising scales (Vol. I, Section VI) will be used: Major: I or temporary I Dominant: V or temporary V Minor: II or temporary II Half-diminished and diminished chords will be considered separately in relation to a minor-dominant-major (I1-V-I) framework.
61
Since the I chord will employ the voicing of the prevailing key: I I
@
®
Form: keys C to F Form: keys F# to B
the on~y problem is that of IV, which will be treated as a temporary I. Thus in the key of C:
@ IV @ I
Form Form (temporary I of F)
However, in the key of Eb: I
IV
@
®
Form Form (temporary I of Ab)
RULE: The major chord is a I or a temporary I of a parent key and takes the voicing of that key:
@
Form: keys C to F interval combination 3 5 6 2 (based on the Ionian mode of the chord)
®
Form: keys F# to B interval combination 6 2 3 5 (based on the Ionian mode of the chord) Figure 1 illustrates the 12 major chords in their appropriate voicing to be played in the left hand. Fig. 1.
@FORM
2:
.0
It;
eM
,
. b9~ DbM
@FORM
,~
G\,M 62
g! GM
e
A
I~
bq;
#mf« #
DM
EbM
EM
b~
,#!!
A!,M
AM
.Jl Ii
BbM
• eJJ
II
"FM
#~l.! BM
II
DRILL: Study Fig. 1 for automatic left-hand facility with the 12 major vOicings. Figure 2 is a bass line for "I'll Take Romance" in F. Here the conversion from 3/4 to 4/4 is effected by removing one beat from each bar. Note the key changes. Fig. 2. VI I II IV0 I III (Db) V I I I (F) II> I I VI I #10 I II blIx I (F) 1+ 8 VI I II blIx I 1+ 8 VI I II IVo I III (Vb) V II I (F) ll4» II
(F) I +
8
(F) VI I #10 I II blIx I I + II #1 I I + II VI II (Db) II IVo I III b1IIo I (Db) II bIIM /10 I +8 II (B) II V I I bV4» II (F) VI I #10 I II blIx I (F) 1+' VI I II IVo I III (Db) V I I I (F) 114» II VI I #10 I II blIx I
1+ 8 I 1+ 8 II -rLL TAKE ROMANCE" By: Oscar Hammerstein II and Ben Oakland - ® Copyright 1931 by Bourne, Inc., New York, N. Y. - Used by Permission.
LESSON
6. Left-Hand Dominant Voicing
The dominant voicing is a V or a temporary V. If either a V or a temporary V belongs to keys C to F, use the @ Form; if it belongs to keys F# to B, use the Form.
®
Thus, in the key of C: Ix IIx IIIx IVx V VIx VIIx blIx
-
temporary V temporary V temporary V temporary V natural V of temporary V temporary V temporary V
of of of of C: of of of
F~
G: A: Bb: 0: E: Gb:
Form Form Form Form Form Form Form Form
RULE: The dominant chord is a V or a temporary V of a parent key and takes the voicing of that key:
@
Form: keys C to F interval combination 7 2 3 6 (based on the Mixolydian mode of the chord).
®
Form: keys F# to B interval combinations 3 6 7 2 (based on the Mixolydian mode of the chord). 63
Figure 1 illustrates the 12 dominant chords in their appropriate voloings to be played in the left hand.
,
Fig.l. .0.
~
I
2~!
Cx@ (V ofF)
=2:
,: ,:
It!
D bX@ (V of at,)
~ II
Dx@(VofG)
Ii!
~~
#
I
&x® (VofA~)
#I~
e
EX@ (VofA)
FX@ (VofBb)
-e
.n
I~
~
F#x@ (VofB)
Gx@ (Vofe)
#~
Abx@ (V of Db)
-e
9~
I
#J!
Bbx @ (V of E~)
Ax@ (VofD)
II
Bx@ (V of E)
DRILL: Study Fig. 1 for automatic left hand facility with the 12 dominant voicings. Figure 2 is a bass line for "I'm In The Mood For Love" in Db. Fig. 2. I VI/II V / II blIx b 5
/
I II / _III bIIlo / II # #1 II #1
III bIIIx II blIx / I VI/II V / II bIIx b II II # #1 II IT
/
II blIx b 5
/
/
I II / III
II IV0
/
I II / III bIIIo /
I + S VI/II IVo / III bIIIx / II bIIx /
I VI / bV~ IVx / III #1 III II blIx b 1\
/
/
bIllo
I
VI~
IIx / II blIx / I VI
/ II # #1 II IT
/
II bIIx b 1\
/
I II V / I +e
/ /
I'M IN THE MOOD FOR LOVE (Lyric and Melody by Jimmy McHugh and Dorothy Fields) - © Copyright 1935 Robbins Music Corporation, New York, N. Y. - Copyright Renewal 1963 Robbins Music Corporation, New York, N. Y. - Used by Permission.
64
LESSON
7. Left-Hand Minor Voicings
In Vol. I, Lesson 44, the problem of the minor chord was explored. In dealing with modes, any minor chord may imply II, III or VI of some key: II of Bb - III of Ab - VI of Eb
Cm -
However, in building the minor voicing, all minors become II or tem-
porary II of some parent key. Thus in the key of C: 1m II III IVm Vm VI VIIm bVm
-. -
temporary natural II temporary temporary temporary temporary temporary temporary
II of II II II II II II
of C: of of of of of of
Bb:
®
Form A Form D: Form Eb: Form F: Form G: Form A: Form E: Form
All III and VI chords are treated as temporary II chords. See Vol. I, Lesson 44 for rule concerning the use of modes in the right hand.
RULE: The minor chord is a II or a temporary II of a parent key and takes the voicing of that key:
@
Form: keys C to F
interval combination 3 5 7 2 (based on the Dorian mode of the chord).
®
Form: keys , F# to B
interval combination 72 3 5 (based on the Dorian mode of the chord). Fig. 1 illustrates the 12 minor chords in their appropriate voicings to be played in the left hand.
65
,M
Fig. 1.
##~
Cm@ (IIofBf.)
I Dm@ (II of C)
C#m@ ,(II of B)
~
#1
? a,m@ (II of Df.)
Em@ (II of D)
,
Fm@ (II of Ef.)
I ~~a.
btl
AJ,m@ (n of Gf.)
Gm@ (II of F)
F#m@ (II of E)
#te I
,~ B~m@ (IIofAJ,)
Am@ (II of G)
Bm@(nofA)
DRILL: Study Fig. 1 for automatic left-hand facility with the 12 minor vOicings. Figure 2 is a bass line for "I Get A Kick Out Of You" in
Eb.
Fig. 2. II / IVo /
m /
bIIIx / II / blIx / I / VI/II / IVo / III / bIIIx /
II / blIx / I +., / VI/II / IV0 VI/II / IVo /
m/
bIlIx / II /
/
III / .bIIIx / II / bIIx / I /
blIx / I + e
/
#IV0 / Vm / Ix I' /
Vm II j IV / 1114> / VIx / 1114> / bIIIx / II + 4' / VII / 1114> bIIIx / II • f II / VI / IIx / II / V / II / IVo /
m /
bIIlx / II / b1Ix /
I / VI/II / V / m4> / VIx / II / bib: / I +., / I +., / / I GET A KICK OUT OF YOU - Copyright 1934 by Harms, Inc. - Used by Permission.
66
II
LESSON
8. Left-Hand Half-Diminished Voicings
In Vol. I. Lesson 45, the half-diminished chord was treated as a VII or temporary VII. since that represents its position in any key. However, here we are dealing with a fundamental II-V-I (minor-dominant-major) pattern that does not account for the half-diminished and diminished qualities. In seeking a half-diminished voicing within a major-dominant-minor pattern, it seems reasonable to tum to the minor voicing, since it is nearest in structure to the half-diminished:
minor vOlcmg = m3, P5, m7, 9th = II or temporary II half-diminished VOicing = m3, oS, m7, 9th = IIb ft or temporary IIb s If we apply this interval principle to the we derive the follOwing combinations:
." @
,
@ and
®
minor voicings.
Form: 3 b5 7 2 tit ® Form: 7 2 3 (based on the Dorian mode of the root)
b5
Figure 1 illustrates the half-diminished @ Form on D. Figure 2 illustrates the half-diminished ® Form on A. Fig. 2.
Fig. 1.
,i
II
~1
II
'U
A~®
D¢@
®
In playing Fig. 2, the student will notice the "harsh" sound of the Form; however, it is important that the student be aware that both the half-diminished and the diminished voicings represent contemporary mannerisms found in nearly all present-day keyboard and orchestral music. In other words, the student should not indulge a conservative attitude in these matters.
Actually. "hearing," as reaction:
oppose~
to "listening," involves two levels ·of
1. Externalized listening dealing with emotion reactions to recordings, sound tracks, etc. 2. Internalized hearing dealing with those reactions to the resources employed by the student in his personal performance.
67
It is apparent that the externalized experience is broader, more indulgent and less arbitrary. The internalized tends to assume the active levels of experience felt by the student, which may be quite circumscribed.
®
Figure 3 illustrates the six half-diminished Form voicings derived by lowering the 5th of the minor @ F~rm (II b & ®). The interval combination in each case is 3 b5 7 2, based on ~e Dorian mode of the root.
Fig. 3.
.
~~-
•
.118 "U
~® (111,5 @ of C)
I1e
E~@(IPS@of ~)
• ·• o
F ¢@ (1It,s@ of E~)
I •
·•
,.0 F#¢ @ (IIt,s@Of E)
68
Fig. 4.
" . ,~
11'-
,. ..,
~11-
G'¢@ (llb5
A!IJ® (1lb5 ® of G)
® of F#)
v~1r
••
B~j1S® (llb5 ®of AJ,)
I
.."
B~® (1lb5@ of A)
.. ~tr
<
••
C~ (1lb5® of 81,)
C#¢@ (IF5® of B)
®
Figure 4 illustrates the six half-diminished Form voicings derived by lowering the 5th of the minor Form (II ,5 ®). The interval combinationin each case is 7 2 3 b5, based ' on the Dorian mode of the root.
®
Thus in the key of C: It/> lit/> IJ.I> IV> V> VIt/> VII bVt/>
-
temporary temporary temporary temporary temporary temporary temporary temporary
II b5 II b5 II b5 II b5 II bG II bG II b5 II bG
of of of of of of of of
®
Form Form D: A Form Form Eb: F: Form G: Form A: B Form E: Form Bb:
c: @
®
69
RULE: The haH-dirninished chord is a Ubi or a temporary Ubi of a parent key and is treated as follows: In keys C to F: minor @ Form flat 5; interval combination: 3 b5 7 2 (based on the Dorian mode of the root). In keys F# to B: minor ® Form flat 5; interval combination: 7 2 3 b5 (based on the Dorian mode of the root). DRILL: Study Figs. 3 and 4, playuig the voicings in the right ,hand with the root in the left; also, play the vOicings in the left hand. Figure 5 is a bass line for '"You'd Be So Nice To Come Home To" in C. Note key changes including the A minor sections. Fig. 5. • ick....
/ / I +. VI /
(a) V"
n
V / I +.
/
vn / /
(F)
n/
bIh / I I. /
(F) VI VI. / / (a) U / V /
Ih / U /
(a) V / 1+' VI / II V /
vn / 1m 1m. / VI / 1+' / vn / / (C) Vm / bV /
IV +. IV. /
bVh
/ V. I V /
(C)
n /
#llo / ill / IV +. / IV #lVo / VI. (C) I +.
/ I +. / /
YOU'D BE SO NICE TO COME HOME TO (Cole Porter) - Copyright @) 1942 by Chappell ~ Co., Inc. - Used by Permission.
LESSON
9. Left-Hand Diminished Voicings - Inversions
The diminished voicing has no "status" in the major scale-tone system. However, the minor voicing can easily be altered to diminished by lowering the fifth and the seventh (Symbol: ng~): ' m3, pS, m7, to m3, oS, 07,
9th} 9th
or
{ minor vOicing n or temporary II diminished vOicing IIt~ or temporary
H we apply this interval principal to the we derive the follOwing combinations: o o
70
® ®
@
and
®
nt:
minor voicings
Form = 3 b5 b7 2 Form = b7 2 3 b5 (based on the Dorian mode of the root)
Figure 1 illustrates the diminished @ Form on D. Figure 2 illustrates the diminished ® Form on Ab. In both combinations forming the diminished voicing it is understood that the position of 6 in the Dorian mode actually functions as the 7th of the chord. Fig. 2.
Fig. 1.
"
• I
'U
Do@
L..n.
"7
(Ub5 @ of C)
Again in playing Fig. 2, the student will notice a similar "harshness" noted in the haH-diminished Form. In a later chapter modified versions of the haH-diminished and diminished voicings will be disCU$sed.
®
Fig. 4.
Fig. 3. ~
I
..,
<
I
•
I.~
Do
Fo
Fo
Bo
Bo
In Vol. I, page 46, we learned that the diminished chord always appears in root position (Fig. 3). However, each diminished chord also offers three permutations or voicings which may be used interchangeably, provided the root is respected. These permutations may appear in the root (Fig. 4) or in the chord (Fig. 5). (See note.)
Fig. 6.
Fig. 5.
"
opposite form
•
'U
'U
'U
'U
Do
Do
Do
Do
Do@
Do@ Bo
71
®
®
These series also function with the and Form voicings, again in the root (Figs. 6 and 8) or the voicings (Figs. 7 and 9).
Fig. 8. opposite form
~
•
"6
I~
,b~
-e
-e
Ao@
I~ ~
AO@ Co
Ao@ ElK>
1.0..
I-G-
...
~
AO@ GIx)
Fig. 9.
"
t ...,
, <
•
~ AO@
72
.Q
CO@ Ao
EIK>@ Ao
opposite form ue;.
F#o@ Ao
We shall return to the series in Figs. 6, 7,8 and 9 later. For now, we shall illustrate the six @ and six ® Forms derived from the modified minor voicings (II~~ or temporary II~~). See Figs. 12 and 13. NOTE ON INVERSIONS: In Figs. 4 and 5, the basic rule prevailing in classical harmony of avoiding the doubling of the root, except when it appears in the soprano (top voice), has been respected. The rules regarding doubling in as illustrated in Fig. 6.
®
and
®
®
Forms vary somewhat,
®
RULE: \Vhen dealing with inversions in and Forms, doubling of the root is permitted except when the root appears in the bass of the voicing; in this case, the opposite form should be employed. See Figs. 10 and 11. In Fig. 10, I: @ forms an impermissible octave. In Fig. II, Ix2 @ also forms an impermissible octave. Fig. 10. ~
I(~~~~~~~~~~ ~ ~ solution opposite form ••
I~
I@
Fig. 11. 1\
..
j,tr
tMI'
solutionopposite form b.o~
e-
Ix@
o
Ix~@
Ix~@
impermissible
Ix2®
Ix2®
73
Figure 12 illustrates the six diminished @ Form voicings derived by lowering the fifth and the seventh of the minor @ Form voicing.
Fig. 12.
I ~
" • .Q
I
Ie
•
v
Do@
\,7 (1l\,5@ of C)
•
e
~7
Eo @ (U\,5@ of D)
74
~e
\,7 &o@ (1l\,5@ of Jl,)
®
Figure 13 illustrates the six diminished Form vOicings derived by lowering the fifth and the seventh of the minor Form vOicing.
®
Fig. 13.
~t
alo@
(1l\,5® of F#)
Ao ®
Bo®
"7
(1l\,5® of a)
~7
(1l\,5®of A)
• •• ~7
~7
Co@ (lIf,5®of J3t,)
Clo@
(WS® of B)
75
®
NOTE: The diminished vOicing of the Form is constructed by lowering the inside voices of the minor voicing; the diminished voicing of the Form is constructed by lowering the outside voices of the minor voicing.
®
In the key of C: 10
110
-
temporary temporary
"" of Bb: ®
I]b 7 ~Ii
JI?7
'
of C:
1110 - temporary IIg~ of D: IVo
-
temporary
Ilg~ of Eb: 1,11
Vo
... temporary I1b 7 of F:
VIo
-
temporary
I1~~
of G:
!,,,
VIIo -
temporary IIb 7 of A: .,~
bVo -
temporary
111,7
of E:
@ @ @ @
Form Form Form Form Form
® ®
Form
@
Form
Form
~r.
,~
RULE: The diminished chord is a IIh7 or a temporary II,1 of a parent key and is treated as follows: In keys C to F: minor Form flat 5 flat 7; interval combination: 3 b5 b7 2 (based on the Dorian mode of the root). In keys F# to B: minor ® Form flat 5 flat seven; interval combination: b7 2 3 b5 (based on the Dorian mode of the root).
®
DRILL: Study Figs. 12 and 13 playing the voicings in the right hand with the root in the left; also play the voicings in the left hand. Figure 14 is a bass line for "From This Moment On" in Ab. Note the transitions from f minor to the relative Ab major. Fig. 14.
I VI I II I V I I II (Ab) VI I Vm I bV / IV I IV + 8 I IV b • I bVllx I I I IV I (f) II I blix / I + , / VI/II I V / I /1 (Ab) VI I Vm I bV I IV I IV + '/ IV" 3/ bVlIx I I / VI I Vm / bV I IV / IV +, I IVm / bVllx I I + I VIIx I 1114>: I Vix I VlIm I III / VI I IIx I V I bV I IVx 1/ (f) V / 1+' / VI/II I V / I / / VI / Vm / bV I IV / IV+' / IVm / bVllx / 1/ Vllx /1114>: /
(f) I + II (Ab) (Ab) (Ab) (Ab) (Ab)
/I
(Ab) Vix / IIx / II bllx / 1+ fI
/
I + II
/ /
FROM THIS MOMENT ON (Cole Porter) - Copyright @ 1950 by Cole Porter - Used by Permission of Buxton Hill Music Corporation.
76
LESSON
10.
Modulation
®
and@ Forms
Now that we have completed the @ and ® Form vOicings for the sixty chords, we can proceed to apply these voicings to a specific tune. "Cherokee" in Bb has been chosen as an interesting study in key modulation in a II-V-I pattern. Figure 1 illustrates an Bb. Note the key changes.
@ -
®
Form bass line for "Cherokee" in
In normal group playing the roots would be played by the bassist. For now we will employ the simple device of playing the chord on the first beat of each bar and the root on the third beat. For a full sound the student is advised to pedal through each bar, thus connecting the chord with its root. DRILL: Build a right hand improvisation on Fig. 1. F'Ig. 1
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CHEROKEE - Words and Music by Ray Noble - Copyright MCMXXXVIII by The Peter Maurice Music Co., Ltd., London, England - Assigned to Skidmore Music Co., Inc. for U. S. A. and Canada - Used by Permission of Skidmore Music Co., Inc., 666 Fifth Avenue, New York, N. Y. 10019.
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LESSON
v@
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11. Alternate
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and
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Forms
In Vol I, Section IX the various patterns common to all jazz were considered. The importance of these patterns cannot be overestimated in dealin1. with any facet of jazz piano. This is particularly true of the @ and @ Fonn patterns, since they are constantly employed as "temporary" factors in shifting tonalities. The following pattern drill is strongly recommended to insure the automatic facility necessary for employing these voicings. The student will note that the @ and ® Fonns alternate in the chromatic patterns. The overlapping of the Fonns in some patterns is to preserve smooth vOice-leading; the C - F, F# - B key segments are for general voicing and may be occasionally suspended in the borderline keys (F, F#, B and C). These patterns are to be played with the root in the left hand and the chord in the right. When the student has become familiar with the son~rity of these voicings, the chords (omitting the roots) should also be played again in the left hand for an automatic facility. Keys C to F V @ - I@ (Note) II@-V@-I@ II @ - blIx I @ (Fig. 1) I @ - VI II @ - V @ - I @ (Fig. 2) III @ - bIUx U @ - bIIx ® - I @ (Fig. 3) VUm lUx @ - VI Ux ® - V @ - 1 @ (Fig. 4)
®-
®®®-
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NOTE: The ability to proceed directly to V or temporary V without first passing through the related II is of the utmost importance. 83
Keys F# to B
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II®-V@-I® II ® - bIIx @ - I ® (Fig. 5) I ® - VI @ '- II ® - V @ - I (Fig. 6) III ® - bIIIx @ - II ® - bIIx @ - I ® (Fig. 1) VIIm @ - IIIx @ - VI @ - IIx @ - V ® - I @ (Fig. 8)
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Figure 9 is a bass line for "Embraceable You" in G that employs @ and Forms. Improvise on Fig. 9. Figure 9 employs a chord-root design in the left hand to add motion to the study. In general, a chord-root motion prevails in most modem playing in order to avoid the outmoded swing-bass sound of the traditional root-chord.
®
Fig. 9. ••
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EMBRACEABLE YOU - Copyright 1930 by New World Music Corporation Used by Permission.
93
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95
12.
LESSON
® and ® © Form
11te Altered Dominant The Dominant
Fonns -
We learned in Vol. I, Lesson 56, that the dominant chord, in particular, lends itself to alteration. These alterations are easily assessible in the ® and ® Forms; the © Form is a modified ® Form. The basic alterations of the dominant chord are as follows:
®
®
FORM
FORM
xDn,II
X,I'I
omit 13 (modified ® Form forming the Form)
XliII
©
XIl(jI.~)
Xlll
XIII
x omit 9 (® modified) "diminished" 9th
omit 13 (® modified) "diminished" 9th X
(a) The dominant flat nine ® and ® Forms are illustrated in Fig. 1. Flat nine involves lowering the second of the voicing one half-step.
Fig. 1. .0.
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(b) The dominant flat nine flat thirteen @ and Forms are illustrated in Fig. 2. Flat nine involves a lowered second; flat thirteen involves a lowered sixth. Fig. 2.
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(c) The xl' omit 13 (augmented dominant ninth) occurs only in Fonn and is employed on all 12 dominants, including the @ Fonn area. Because of the frequent occurrence of this chord and the awkward symbol necessary to identify it, the letter © will be used in future studies when referring to any XIII omit 13 (e.g. E x ©). The principle of the dominant © Fonn involves raising the ninth one half step and omitting the 13 of any of the 12 dominant ® Fonns (see Fig. 3). The 13th must be omitted in order to achieve the characteristic "open" sound of the dominant augmented ninth. Fig. 3.
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This voicing, involving the illusion of a chord simultaneously containing a major and minor ..third" (a harmonic cross-relation), is a familiar devi~ and will be recognized as a common harmonic mannerism in the jazz-influenced compositions of George Gershwin. (d) The Xli or "suspend 4," as it often appears in sheet music, represents the suspended dominant chord studied in Vol. I in the primitive form of xla. Figure 4 illustrates the xu, and Forms, for the 12 dominant chords. In each case the ·normal resolution accompanies each XU chord. The student should note that the XU chord is actually a II voicing with a V root.
®
®
Fig. 4.
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(e) The X#ll (augmented 11th) is a common ornamental dominant, often referred to as the "flatted fifth." Figure 5 illustrates the 12 dominant augmented 11th chords in @ and Forms. Although the X'l1 may be used as an isolated chord, it often appears as a segment of a familiar inner-voice movement on the dominant chord. Figure 5 illustrates this movement from 5 to b5 (.#11) to 4 (#3) and finally to a position of "rest" on 3.
®
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(f) The ninth is sometimes omitted from the dominant order to gain clarity. -&
Fig. 6
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(g) The 13th is sometimes omitted in the dominant order to gain clarity.
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Form in
omit 9
(C)
Fig. 7
@
(AI.)
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Form, also in
8 II
II
omit 13
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(h) A unique relationship exists between any dominant chord and the diminished chord one-half step above. In Fig. 8 the superimposed Dbo chord over the e root forms the following intervals:
e - Db: e - E:
flatted 9th major 3rd perfect 5th minor 7th
C - G:
e - Bb: Formation -
ex"':
the series (Fig. 9). Fig. 8.
This relationship also functions in any chord of
,:
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Cx~9
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Figure 9: This chord is often erroneously referred to as a "diminished" ninth. Referring to Fig. 10, if the dominant @ Form voicings of the Db, E, G and Bb diminished chords are s~perimposed over the ·C root, a dominant series is created which may be employed as an extension series on any dominant chord - see Lesson 29, Fig. I, bars 18, 20. (This device was first illustrated in Lesson 9, Fig. 7 in the original diminished formation.)
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This minor third series may also be played in root position (see Fig. 11).
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E~x#9 Figures 12 and 13 illustrate the identical formations for the
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Figures 14 and 15 illustrates the identical formations for the dominant Form.
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RULE: Any dominant chord may be extended by superimposing thediminished @ or diminished Form series one haH step above the root (Figs. 10 and 12). A similar series may be built on the root employing the dominant Form (Fig. 14).
® ©
A further interesting relationship of this dominant-diminished superimposition is illustrated in Figs. 16 and 17. Figs. 16. ,
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0
Abo+6 ))/'xa©
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Co+6
FX~©
NOTE: Referring. to Fig. 17, the diminished added sixth structure represents a root, seventh, third and the added sixth of the diminished scale of the root (021212121). There is a further implication of an dominant four-three structure in this voicing (Abo+6 or Db x Co+" or F x © ~); however, the 0+ 6 feeling appears stronger and is more practical within the scope of normal jazz mechanics.
©:;
DRILL: Study Figs. 1 through 5 for automatic facility. Explore Figs. 6 through 17 on the 12 dominant positions.
105
Figure 18 is a bass line for "By Myse1f" in F, illustrating the use of the altered dominant chords. Fig. 18.
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106
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107
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13.
The Suspended Minor, HaH-diminished and Diminished @ and ® Forms The follOwing table describes the alteration technique of the minor, half-diminished and diminished chords: minor chord half-diminished chord diminished chord
Fig. 1 Fig. 2 Fig. 3
Fig. 2.
Fig. 1.
e
2: I'D Cmtt7
1,1
!:u
Cmt7
Cm7
II':
Fig. 3.
I,~H c~t7
1"1 C~7
The student will note that the suspended half-diminished and diminished chords are identical, although their resolutions are, of course, different. Unlike the suspended dominant chord (Vll), which often passes to the succeeding chord while still suspended (Vll • I), the three chords under consideration here usually resolve as in Figs. 1, 2 and 3 before proceeding to a new chord.
lOB
I
In the @ and @ Fonns, the identical alterations appear. Figure 4 illustrates the @ Form in keys C to F and the ® Fonn in keys F# to B, employing the following patterns: C to F: IIl:r@ II@ bIIx@ I@ IIlI7 @ II@ blIx@ I@ F# to B: Note that in moving from II to I through bIIx, the opposite fonn appears in the dominant. Fig. 4.
.
v (C)
1I~7 @ II @ ~IIx®
& (D)
.
j,v
V
II~ @
&
II@
(D~)
&-
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11#7 @ II @
~~
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11#7 @ II @
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109
11
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-
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n 17 @ II@
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I@
11'7 @
(A)
u@ ~IIx ®
Ul
(B~)
11#7 @
II@ ~IIx@
I@
(B)
Figure 5 illustrates the suspended half-diminished chord in the following patterns:
C to F: 114»l!1 @ F# to B: 11>,7
®
114» @ II>
®
bIIx © I @ V©
I
®
The student will note that the ninth (2) of the suspended half-diminished (Fig. 5) and the suspended diminished (Fig. 6) has been omitted. This is necessary in order to avoid the diffuse sound of the suspension.
110
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'U
n~17@ n~ @ ~IIx ©
(D)
b#~
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n~17@ n~@ ~IIx©
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111
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II~#7 @ II¢@ V ©
Figure 6 illustrates the suspended diminished chord in the following patterns: be
e
to F: blllo##1 @ blllo @ II @ Vb 1H @ I @ F# to B: blllo##1 ® blllo ® II ® V I@
©
Fig.6.
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112
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Figure 7 is a bass line for "Better Luck Next Time" in F, illustrating the use of these various suspensions. In bar 29 the use of the milT chord is illustrated.
115
Fig. 7.
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"'BETIER LUCK NEXT TIME" - Words and Music by Irving Berlin - Copyright 1947 Irving Berlin - Used by Permission of Irving Berlin Music Corporation, 1290 Avenue of the Americas, New York, N. Y. 10019.
116
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Figure 8 illustrates the minor added sixth chord. In all cases of the added sixth (+6) chord, the seventh is omitted and the sixth tone of the prevailing mode is added.
Fig. 8.
.• 'U
Dm+6®
118
Am+6 ®
-
LESSON
14.
Melodic Adjusbnent -
®
and
®
Forms
®
Although in jazz terms the principle of the @ and Forms is to establish an interesting harmonic underpinning for an improvised line, these forms are often employed to support a straight melody. As a result an occasional conflict will arise between a melodic tone and the voicing. Maior Chord: Conflict seldom arises with the major chord since most melodic tones fall in the appropriate Ionian mode. Dominant Chord: Adjustments on the dominant chord are quite simply made since this chord allows for so many alterations. Fig. 1 illustrates the usual conflicts and their adjustments. In the seventh example of Fig. 1 the C# does not represent a conflict as much as it does a tension, which is permissible.
Fig. 1.
.
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conflict
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adjustment
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adjustment
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b~
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I1u bIIx©
Minor Chord: The minor chords present the majority of ronflict<; In playing straight melody. The normal solution is to lower the ninth a . major second to the eighth or octave of the root (Fig. 2). The symbol 8 over the Roman numeral indicates this adjustment.
Fig. 2. '\
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adjustment
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adjustment
Vm@
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120
II@
'U 8
II@
8
In dealing with minor and half-diminished chords, a special problem arises in all keys with the III @ and Form and VII @ and Form voicings, since the ninth of each voicing does not appear in the prevailing key (Fig. 3). This is due to the half steps in the major scale: 3-4 and 7-8. Here again, the ninth must be lowered to the octave in order to make an adjustment (Fig. 4). All other minor and half-diminished chords in melodic conflict follow these rules.
®
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Fig. 3.
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vn@
VII@
In@
(F)
Diminished Chord: Conflict seldom arises in the diminished voicings; . in any case, the ninth in either @ or @ Forms may be lowered a whole step for consonance.
Figure 5 illustrates the various adjustment problems in "Poor Butterfly" in Db.
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Fig. 5. •
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122
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123
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. V1x@ III@
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124
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8
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15.
LESSON
Right -Hand Modes with
@
and
®
Fonns
In Vol. I, Section VI a thorough study of applying modes or displaced scales to jazz improvisation was made. In this study the following principles were established: IMPROVISING ·FRAME
CHORD QuALITY
Ionian Mode (1-1) Mixolydian Mode (5-5) Dorian Mode (2-2) Phrygian Mode (3-3) or temporary Dorian Aeolian Mode (6-6) or temporary Dorian Locrian Mode (7-7) Semitone combination: 0 2 1 2 1 2 1 2 1
Major Dominant Minor II Minor III . Minor VI Half-diminished Diminished
®
The general application of these modes to the @ and is identical to that aSSigned the basic scale-tone chords in Vol. I. Figure 1 illustrates the major ate modes. RULE: The major
@ and
®
@
and
®
Forms
Forms with the appropri-
Forms employ the Ionian mode.
Fig. 1.
-
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-
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e CM@
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Ionian of C
~
Ionian of G
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125
@
Figure 2 illustrates the dominant propriate modes.
®
and
Forms with the ap-
®
Forms employ the Mixolydian mode. RULE: The dominant @ and Altered dominants studied in Lesson 12 require similar adjustments in the appropriate m~es.
Fig. 2.
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41
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Mixolydian of C ••
Mixolydian of G
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u Dx@
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In Vol. I, Lesson 44 the special problems of the minor chord were considered. These special problems rest with the fact that the minor chord appears in three positions of the diatonic scale - II, III and VI. We learned in Vol. I that: II is always II III may be III III may be temporary II VI may be VI VI may be temporary II All other minors are considered as temporary II. Figure 3 illustrates the minor ate modes for the function of II.
@
and
®
Forms with the appropri-
®
RULE: In all II chords or temporary II chords the minor @ and Forms employ the Dorian mode. Exceptions involving III (Phrygian) and VI (Aeolian) may still remain, although the Form itseH is constructed as a temporary II.
126
Fig· 3.
-
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I
..
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•
Dorian of C
It
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8
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Dorian of G ••
~
u Am@ (II of .G)
Dm@ (II of e)
Figure 4 illustrates the minor @ and ® Forms with the appropriate modes for the function of III as a temporary II.
®
RULE: In functions in which III appears as a temporary II, the minor and ® Forms employ the Dorian mode of the temporary key. Fig. 4. '\
I <
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•
Dorian of D
'\
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.
~
t
Dorian of G
#tl
·
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• ~ .fL#~ ~ f
~.
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e Em @ (temp. II of D)
Am @ (temp. II of G)
Figure 5 illustrates the minor @ and ate modes for the function of III as III .
®
Forms with the appropri-
®
. RULE: In functions in which III appears as III, the minor @ and Forms employ the Phrygian mode of the prevailing key. In this case the ninth must be lowered to eight (octave of the root). Fig 5. '\ ~
~
Phrygian of C ~
e 8 Em @ (llI of C)
.
-
Phrygian of F a~
Am
® (III8 of F) 127
Fi~e 6 illustrates the minor
®
@
and Forms with the appropriate modes for the function of VI '.as a temporary II. RULE: In functions in which VI appears as a temporary II, the minor and Forms employ the Dorian mode.
®
@
Fig. 6.
••
•• E~'m @ (temp. IT of D~)
Figure 7 illustrates the minor @ and ate modes for the function of VI as VI.
B~m® (temp. IT of A!.)
®
Forms with the appropri-
®
RULE: In functions in which VI appears as VI, the minor @ and Forms employ the Aeolian mode of the prevailing key. No adjusbnent of the ninth is necessary.
Fig. 7.
Aeolian of D~
E~m@ (VI of G~)
128
B~m® (VI of D\,)
®
The half-diminished @ and Forms present a special problem, since the ninth employed in these voicings does not fall in the appropriate mode (Locrian 7-7) (see Fig. 8).
Fig. 8.
1...~3/9th
appropriate mode Locrian of E~.
(E natural)
I~~~~~~~ "0"
DJ!S @ (temp. nbS of C)
A,0@ (temp. n~S of G)
The half-diminished chord, which is the weakest in terms of key. inference of the four natural qualities (M, x, m, 4», is further weakened by the introduction of the ninth, since this tone destroys the tonic of theimplied key. As a result, the half-diminished ninth @ and Form voicingsassume the non-key reference found in the diminished chord. The most practical solution here is to build a tone-row similar in structure to that employed by the diminished chord. The tone-row is as follows:
®
o2
1 2 1 2 2 1 1 (See Fig. 9)
RULE: The half-diminished
o2 1 2 1 2
@
and
®
Forms employ the tone-row
2 11. The adjusted half-diminished (4)" ) takes the same
tone row.
129
-
1\
I Fig. 9.
..
_'\: iI
tone row 0 2 1 2 1 2 2 1 1
~
1....
I
u
DsIJ ® (temp. U~5 ® of 1\
C) ~_
I
<1+.
...
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~
~ne
row 0 2 1 2 1 2 2 1 1
'ii&-
••
.
A~® (temp. U b5 ®of G) Figure 10 illustrates the diminished appropriate tone-row: 0 2 1 2 1 2 1 2 1. RULE: The diminished
o 2 1 2 1 2 1 2 1.
@
and
®
@
®
and
Forms with the
Forms employ the tone-row s
The adjusted diminished (0) takes the same tone
row. Fig. 10. ~
I
I
..
~
I.~
~
,~~.~~~~~~~~~~~ 7 ~
~
Ao@ (temp. Ub5@ of G)
Do ® (temp. Ub5® of C)
®
DRILL: Explore the @ and Form voicings for the sixty chords with the appropriate modes or tone-rows. Figure 11 is a bass line for "Ten Cents a Dance" in Eb.
130
Fig. 11.
·
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~~
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LESSON
16.
@ and
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Form Summation
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In view of the complexity of the @ and Form system, this chapter will summarize the important facts considered in the previous fifteen lessons. This summation will bring not only a distillation of the material studied, but will also offer the student an easily accessible outline for convenient visual reference. In the follOWing outline all interval combinations are based on the prevailing mode of the chord.
The Major Chord: I or temporary I of a parent key Keys C to F: @ Form; 3 562 (Ionian Mode) Keys F# to B: Form; 6 2 3 5 (Ionian Mode)
®
The Dominant Chord:
v
or temporary V of a parent key Keys C to F: @ Form; 72 3 6 (Mixolydian Mode) Keys F# to B: ® Form; 3 672 (Mixolydian Mode)
The Minor Chord: II or temporary II of a parent key Keys C to F: @ Form; 3 572 (Dorian Mode) Keys F# to B: ® Form; 7 2 3 5 (Dorian Mode) The Half-Diminished Chord: IID~
or temporary 111)4 of a parent key Keys C to F: @ Form; 3 b57 2 (Dorian Mode) Keys F# to B: Form; 723 b5 (Dorian Mode)
®
The Diminished Chord: 05
br.
lI~r
or temporary II" of a parent key Keys C to F: @ Form; 3 b5 b7 2 (Dorian Mode) Keys F# to B: Form; b7 2 3 b5 (Dorian Mode)
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Figure 1 illustrates the sixty jazz chords in their appropriate @ and Forms. The modified half-diminished and diminished Forms are also included.
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Automatic, memorized facility with Fig. 1 is imperative in employing these forms of the sixty chords. INVERSIONS: When an octave is formed between the bass note of the vOicing and the root, use the opposite form. Figure 2 illustrates a bass line for "Right. As . The Rain" in Forms.
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RIGHT AS THE RAIN (E. Y. Harburg and Harold Arlen) - Copyright @ 1944 by The Players Music Corporation .- Used by Permission.
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SECTION II
Solo Piano LESSON
17. Solo Piano (General)
®
®
The first systematic application of and Form idioms to modem popular piano was made by Cy Walter. Walter drew upon the various harmonic resources of Chopin, Scriabin, Albeniz, Debussy and Rachmaninoff to forge these elements into a handsome frame f()r a popular tune. This stream of improvisation stems from the bravura pianists of the Nineteenth Century (Liszt, Busoni) and appears in an American line of descent from Leopold Godowsky through Herman Wasserman and George Gershwin to Walter. Form voicings represent a practical distillation of The ® and harmonic devices found in Nineteenth- and early Twentieth-Century piano. Perhaps the most familiar employment of these idioms is in the classical piano concerto of the period. In general, the @ Form can be traced back to Chopin, the more modem Form derives from Ravel CyWalter is an important figure is the development of modem vernacular piano and is undoubt~dly the master figure of a school of pianism variously known as "society" or "cocktail" piano. In the Forties the reaction within strict jazz ranks against the romantic individualism of the Thirties resulted in the re-assignment of the piano to the minor role of an accompanying unit in a rhythm. section that occasionally played "hom-like" lines in the right hand, supported by 7-3 shells in the left (Bud Powell). Post-Tatum piano is a non-solo, group piano style invaribly supported by bass and drums. Isolated forays of solo explorations by Dave Brubeck, Dave McKenna, Lou Levy and others have been inconclusive, precisely because of the flagging nature of these explorations .. As a result, general mainstream solo piano remains in a crippled state. Oscar Peterson and Bill Evans are the two figures in the contemporary scene capable of dealing with the problems of solo piano, but, up to this point, neither Peterson nor Evans has elicited any sustained interest in this medium. (See note.) Walter is not a jazz pianist, yet his architectural approach to contemporary improvisation remains ' the finest expression of this ultimate challenge to all pianists - the keyboard as an unsupported "orchestra." The name of Ellis Larkins should also be mentioned here, although this pianist has remained within the circumscribed limits of the accompanist's art.
®
®
141
NOTE: The original compositions of Powell ("Un Poco Loco," "Glass Enclosure," "Parisienne Thoroughfare," "Dusk in Sandij are fantastic, surreal explorations in the tonal and rhythmic elements of contemporary jazz. Many of these compositions were performed unaccompanied. It would seem that any future developments in solo jazz piano would emanate from the point achieved by Powell in the late Forties. ' The primary devices of contemporary solo piano are as follows: 1. 2. 3. 4. 5. 6. 7. 8.
Improvised lines (Vol. I) Mixed positions (Vol. III, Section II) 7-3-7 design (Vol. III, Section III) Block chords (Vol. III, Section IV) @ and ® Forms (Vol. IV, Section I) Swing bass (modified) (Vol. IV, Section II) "Walking" bass lines (Vol. IV, Section II) Left-hand arpeggiation (Vol. IV, Section II)
Succeeding chapters will deal with modified swing bass, "walking" bass lines and left-hand arpeggiation. In general, it is permissible to employ any device considered in this present volume, or in previous volumes, when dealing with solo piano - surely a "moment of truth.. for any jazz pianist. SWING BASS (MODIFIED)
This idiom involves the ® and ® Forms supplemented by swing bass designs between the voicings and their roots.
These lines simulate those played by a bassist in a modem jazz group. Such contrapuntal lines move in symmetry with the foot beat. LEFT-HAND ARPEGGIATION
This is an ad-lib concerto device to create a harp-like underpinning for an ad-lib melodic line.
F~e 1 is a bass line for "But Not For Me" in Eb employing and @ Forms.
142
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BUT NOT FOR ME - Copyright 1930 by New World Music Co.-poration Used by Permission.
LESSON
18. Root-Chord Patterns -
®
and
®
Forms
The principle of modified swing bass to be considered here demands the ability of the student to make quick weight displacements from any root to any chord or from any chord to any root. This technique can best be achieved by drill studies based upon our original II-V-I pattern appearing in varying root-chord deSigns; In the follOwing designs "R" will indicate the root; "ch" will indicate the voicing (chord).
Design 1: R - ch - R - ch - R - ch
,:
Fig. 1. Key of C
(C)
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143
Fig. 2. Key of G
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In general, the register employed by the roots is the second octave below middle C (Fig. 3). Roots may be played below, but seldom above, this octave.
Fig. 3.
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root register
The technical problem of these quick displacements can be aided by the following suggestions: 1. Free swinging arm moving from a combined shoulder-elbow-wrist hinge movement 2. Non-visual drill to encourage muscular-tactile automation (since the hand moves faster than the eye, it is important to free any normal movement from a visual "lag") 3. Suggested "stagger" practice of mastering II root to II chord; II chord to V root; V root to V chord, etc. Design 2: ch - R - ch - R - ch - R Fig. 4. Key of
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DRILL: Practice these four design's on II-V-I patterns as follows: Keys C to F: Keys F# to B:
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® ® ® 145
Figure 10 is a bass line for "Be My Love" in the key of C. Improvise on Fig. 10. Voicings and roots may be pedaled so long as the right-hand improvisation is not smeared. Fig. 10.
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BE MY LOVE (Lyric by Sammy Cahu, Music by Nicholas Brodszky) - @ Copyright 1949, 1950, 1951 Metro-Goldwyn-Mayer, Inc., New York, N. Y. - Rights throughout the world controlled by MILLER MUSIC CORPORATION, New York, N. Y. - U~ by Permission.
146
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19. Root-Voicing, Voicmg-Root Patterns, @ and Forms - Ballad
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Figure 1 illustrates a root-voicing, voicing-root treatment of a ballad. The principle here is one of constantly shifting patterns to sustain architectural interest. Each root-voicing or voicing-root unit may be pedaled, providing melodic or improvisatio;nal phrases are not smeared. Figure 1 is a bass line for "My Ship" in the key of F. NOTE: In bar 24 the use of the voice-leading.
®
Form is to preserve the prevailing
147
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MY SHIP (Ira Gershwin and Kurt Weill) - Copyright @) 1941 by Chappell &: Co., Inc., - Used by Permission.
148
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20.
Root-Voicing, Voicing-Root Patterns, and Fonns - Bass Fifths
®
®
Figure 1 illustrates a root-voicing, voicing-root treatment of "Where Are You?" Here the fifth of each chord has been joined with the ·root in order to increase the resonance of the left-hand · design. This device is most effective in slow, pedaled settings. It is only usable on qualities that employ perfect fifths (M, x, m); the diminished fifth sets up unsupportable overtones in the bass register. Inversions are also excluded.
149
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WHERE ARE YOU? (Lyric by Harold Adamson, Music by Jimmy McHugh) - @ Copyright 1936 Universal Music Corporation, New York, N. Y. - Copyright Renewal 1964 Universal Music Corporation, New York, N. Y. - Rights throughout the world controlled by Leo Feist, Inc., New York, N. Y. - Used by Permission.
150
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Root-Voicing Patterns, @ and Minor Tonality
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Forms -
The minor scale-tone chords (Vol. I, Section 10) employ one quality (III-M+) not found in the major scale system (Fig. 1). Fig. 1.
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III major augmented seventh IV minor seventh V dominant seventh
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VI half-diminished seventh VII diminished seventh
151
The minor large seventh has been treated in Vol. IV, Lesson 13. The one unfamiliar chord is the major .augmented seventh on III (symbol M+). The voicings for this chord ate as follows:
@
®
Form - 3 #5 7 2 (Ionian) Form - 7 2 ~ #5 (Ionian)
These voicings are based on the Ionian mode of the root. In building·these voicings, it is essential to insure the presence of the #5; this in turn requires the removal of the 6, since a half-tone clash occurs. Figure 2 illustrates the six chords.
® Form voicings for the major augmented
Fig. 2. '\
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NOTE: Fig. 4 illustrates a bass line for "You're My Thrill" in D minor. The figured bass is marked with reference to minor scale-tone chords in D minor (see Vol. I, page 163. Fig. 6). In bars 8 and 16, scale-tone chords have been used in place of the. appropriate VIz and bVIz @, since both create impermissable octaves. The student is encouraged to work out similar solutions in addition to the general rule of employing the opposite form.
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Fig. 4.
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YOU'RE MY THRILL (Lyric by Ned Washington, Melody by Burton Lane) - © Copyright 1935 Robbins Music Corporation, New York, N. Y. - Copyright Renewal 1963 Robbins Music Corporation, New York, N. Y. - Used by Permission.
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LESSON
22.
Root-Voicing, Voicing-Root Patterns, @ and @Form - Superimposition In tunes that employ the extended use of whole-note harmony (one chord to a bar), it is permissible and advisable to use both @ and Forms interchangeably in order to sustain interest. This means a free use of the @ Form in keys F# to B and of the ® Form in keys C to F.
®
This superimposition of the forms adds both rhythmic continuity and harmonic texture. The superimposed voicings should be pedaled to create a sonority in the left hand. Figure 1 illustrates an application of this device to '"This Is New" in the key of Bb. Fig. 1.
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23.
Root-Voicing Patterns,
@
and
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Forms - 8/8 Time
The use of 8/8 time superimposed over a quarter-note foot beat is most familiar in the boogie-woogie idiom. In modem jazz this device has largely disappeared, although rhythm-and-blues groups still use it in a "shuffle" rhythm form. However, used occasionally in slow ballads, this device can be effective in building a rhythmiC and harmonic intensity not always present in tempi under
J-
so.
Figure 1 illustrates the use of 8/8 time in "I Fall In Love Too Easily" in the key of Eb. In order not to break the continuity of the left-hand figure, it is suggested that the student cross his right hand over the left to strike the necessary roots. This cross-over technique must be integrated with the right-hand melodic phrase in the treble clef. Figure 1 in this lesson and Fig. 1 in Lesson 24 are models. It is suggested that these devices be used sparingly to avoid monotony.
157
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LESSON
24.
Root-Voicing Patterns,
@ and
®
Forms - 12/8 Time
A further development in this direction is the use of 12/8 time, the staple device of rock 'n' roll. Actually 12/8 time has a very noble heritage, stemming from the folk elements of jazz pre-history. The juxtaposition of a 3/4 feeling over a 4/4 beat has always been an integral part of jazz rhythm, although the high classic stylists have usually employed this rhythmic element as one unit in an over-all composite of varying rhythms. Figure 1 illustrates the application of 12/8 time on two simultaneous levels to the "Twelve-Bar Blues" in the key of Bb. Harmonic 12/8 - left hand Melodic 12/8 - right hand A steady quarter-note foot beat (one to each triplet) should accom· pany this study. The tension of this particular study is increased by the total absence of the natural tonic (major), which usually represents a function of re$olution or "rest." This device is characteristic of the idiom. The student will also note that the entire study employs only the dominant chord, which further augments the tension. The "alliterative "effect created by the Single melodic phrase played in varying "displacements" also tends to create a feeling of tension. Roots have been added for right-hand cross-over.
162
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LESSON
25.
®
Root-Voicing Patterns, @ and Forms Bounce-Tempo Syncopated Swing Bass In Vol. I, Lesson 34 the rhythmic essence of jazz was described as a composite of three simultaneous units of time:
melodic unit
- eighth note ()
harmonic unit - half note (J) rhythmic unit - quarter note (J) We also learned in Volume I that the variables employed in the melodic unit or improvised line (in pianistic terms, the right hand) extend from eighth note to thirty·second note. See Volume II for a thorough analysis of the harmonic and rhythmic variables in jazz. One of the basic devices of every jazz period has been the super· imposition of the prevailing unit or the variables of one level over those of another level. For instance, in Volume III there is an analysis of swing bass - a superimposition of the rhythmic unit (quarter note) over the harmonic unit (half note). Also in Volume III, we saw a return to the original harmonic unit (half note) in the sections dealing with Bud Powell and Horace Silver. In modem jazz piano the melodic unit (eighth note) and many of its variables (eighth note, thirty-second note) · are often imposed over the harmonic unit (half note). This superimposition of the rhythmiC or the melodic unit and its varia abies may appear in the following forms: 1. Non-syncopation (Fig. 1) 2. Simple syncopation (Fig. 2) 3. Compound syncopation (Fig. 3)
168
Fig. 1.
Rhythmic Superimposition
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Simple syncopation employs only accent. Compound syncopation employs notation (tied and rest values) and accent.
In the preceding chapters we have explored non-syncopated rhythms; in this and in the following four lessons, simple and compound syncopa-
tion will be considered.
171
Figure 5 is a bass line for "Rose Room" in the key of Ab. The pedal may be used, provided the improvised line is not smeared; a steady quarternote foot beat (left foot if pedaling with the nght) should be present while playing Fig. 5.
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LESSON
26.
®
Forms Root-Voicing Patterns, @ and Bounce-Tempo Syncopated Swing Bass
Eb.
Figure 1 is a bass line for ..~'t Misbehavin'" in the key of illustrating a syncopated bass. Improvise on this figure. Fig. 1.
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27.
LESSON
®
Root-Voicing Patterns, @ and Up-tempo Syncopation
Forms -
We have studied Left-hand syncopation employing tied values; now we will consider the use of the rest value in syncopation. . In Vol. I, Lesson 34 the various rest values employed in the improvised line (right hand) were illustrated. These rest values ranged from the whole rest (4 beats) to the sixteenth rest. In general the rest values employed in the left hand are more restricted, since in some cases (whole rest, dotted half rest, half rest) the chord would completely disappear as a function in time. The essential purpose of the rest value in the left hand is to "kick" the prevailing pulse by anticipating or delaying a chord. Since the improvisor· uses the symetrical pulsation of the chord chart as a point of departure into asymmetrical rhythmic and melodic areas, the disruption of harmonic time is usually slight and of short duration. Figure 1 illustrates the normal eighth-note "kick" unit (tie) used to anticipate a chord. Fig. 1.
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It is apparent in Fig. 1 that any further anticipation of each chord would seriously impair the improvised line which must proceed from an orderly chord chart (Fig. 2).
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In Fig. 3 the delaying unit may be increased (Fig. 4) but again, the improvised line that must proceed to the chord in its normal position will simply be left without support. Undoubtedly the most effective application of these anticiating and delaying elements is to limit them to the eighth-note unit (tie or rest) and to employ them interchangeably (Fig. 5).
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Figure 6 illustrates a bass line for "The Lady Is A Tramp" in C. The anticipation and delaying of the chords is mixed with occasional nonsyncopated elements. Constant syncopation can he as dull as no syncopation, since synocpation itself assumes non-syncopation. Bars 33 through 38 illustrate a "double-kick" of a single chord. Rootsbave heen omitted in the syncopated bars to permit the student to give the syncopation problem his undivided attention. Fig. 6.
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28.
®
Root-Voicing Patterns, @ and Up-Tempo Syncopation Figure 1 illustrates an
@
and
®
Forms -
setting for "Limehouse Blues"
in Ab. All roots have been omitted here to avoid any cluttered sound in a traditionally "fast" tune. Improvise on Fig. 1.
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29.
LESSON
@ and @Fonns - Improvised Since the purpose of the ® and ® Forms is to establish an in-
Root-Voicing Patterns,
teresting underpinning for an improvisation, we will here consider this final aspect of the solo style. ' Figure lis an improvised line accompanied by an bass line on "Peace" in Bp.
@ and
®
Form
The student will note the integrated relationship between the hands in Fig. 1. In other words, a florid passage in the improvised line usually demands a quiet, unobtrusive accompaniment in the bass. On the other hand, a period of silence in the line should be ·"covered" by an interesting design in the left hand. This is no different from the principle of "alternllting"interest found in any well-conceived classical composition for the keyboard. Figure 1 should be pedaled cautiously. Fig. 1.
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30.
Scale-Tone Chord Conversion to
®
and
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Forms
Having mastered some familiarity with the @ and ® Forms, the student will naturally attempt the conversion of bass lines other than those appearing in the present volume to ® and ® Forms. In converting bass lines appearing in Volumes I, U or III or simply in converting from sheet music, certain precautions must be exercised, although the principles of and application to ~y bass line are perfectly sound.
®
®
The follOwing precautions, however, are well to keep in mind along with similar admonitions described in Vol. I, Lesson 76, as well as in Lessons 14 and 16 of "the present volume.
188
f':\ 9-
THE MAJOR CHORD
®
®
The major chord is seldom a problem in either or Forms. The major fOf'1n8 also lend themselves easily to superimposition (Lesson 22) THE DOMINANT CHORD
The dominant chord presents many problems but also offers many solutions (Lesson 12). II-bIIx-I was used extensively in Volume I as a substitute pattern for II-V-I. bIb and V are interchangeable, of course, since both possess a compelling tendency to move to I; it is even permisSible at times to superimpose one upon the other. Employing scale-tone chords, the follOWing superimposition is derived.
Fig. 1.
bIb V
Fig. 2.
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Fig. 1
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In general the x'~ does not affect
@ @
® Forms employ V more often than bIb. ® Forms, since the fifth does not appear in
and or
the dominant VOicing.
©.
RULE: In conflicts involving bIIx, substitute V or bIIx Any dominant of one form may be substituted by the dominant of the opposite form, an augmented fourth above or below.
189
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190
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DoMINANT
Cx
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SUBSTITUTE TABLE
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THE MINOR CHORD
The problems of the minor chord have been fully treated in Lesson 14. Again, the student is warned of the tension of the III and VII, requiring in each case a lowering of the ninth a major second. THE HALF-DIMINISHED CHORD
See Lesson 14. THE DIMINISHED CHORD
See Lesson 14. Figure 6 is a bass line for "I Concentrate On You" in the key of Eb. Convert Fig. 6 to @ and Forms and improvise. Note the modulation.
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8
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I CONCENTRATE ON YOU - Copyright @) 1939 by Chappell &: Co., Inc., New York, N. Y. - Used by Permission.
NOTE: The opposite fonns rule has been respected in bars 43,53 and 54.
191
LESSON
31.
"Walking" Bass Line In Vol III, Lesson 52 the problem of "walking" bass lines was introduced. In the same· lesson the principle devices of· "walking" lines were indicated as follows: 1. Arpeggios 2. Modes 3. Chromatic tones In Vol. I, Lesson 55 the problem of non-modal or chromatic tones was raised. Of course, these non-modal tones could be considered·chromatic" tones, but a deeper principle seems involved here. It is true, for instance, that in certain functions of a key the musical purposes of a bassist and a treble-clef oriented hom player (including pianists) seem to diverge, since the bassist strives to maintain the key center represented by the prevailing signature, while the hom player is usually intent upon fully explOring each new inflected key. The following table indicates this hom-bass divergence in the various functions: CHORD Major I Major IV Dominant Minor II Minor III Minor VI
192
HORN Ionian Ionian Mixolydian Dorian {DOrian Phrygian {DOrian Aeolian
Hall-Diminished
Locrian
Diminished
Tone Row o 2 1 2 1 2 121
BASS
Ionian Lydian Mixolydian Dorian Phrygian Aeolian {Tone Row021212211 Locrian Tone Row 0 2 12 1212 1
A special problem for the bassist lies in the relative "weakness" of the half-diminished chord. Any half-diminished chord may infer the following: 1. VII of the prevailing major key 2. Temporary VII of a new major key 3. II of the prevailing minor key 4. VI of the prevailng minor key 5. Temporary II of a new minor key 6. Temporary VI of a new minor key Numbers 1, 3, and 5 tend to take the Locrian mode. Numbers 2, 4, and 6 tend to take the tone row 0 2 1 2 1 2 2 1 1.
A final consideration is that described in Lesson 15, in which the ninth of the half-diminished chord is a familiar consonance, the flatted ninth an impermissible extension (see Vol. I, Lesson 56). Figure 1 illustrates a "walking" bass for "You Stepped Out Of A Dream" in C. In building the melodic formations in the right hand, the follOwing rules should be observed: 1. Each melodic tone should be accompanied by the 3rd and 7th of the prevailing chord (see Vol. 1, Leson 71). 2. The ornamental ninth should accompany each melodic tone, if possible. 3. On half-diminished and diminished chords, the diminished fifth should appear. Fig. 1.
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YOU STEPPED OUT OF A DREAM (Lyric by Gus Kahn, Music by Nacio Herb Brown) - © Copyright 1940 Leo Feist, Inc., New York, N. Y. - Used by Permission.
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LESSON
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32. "Walking" Bass Line
Figure 1 is a "walking" bass line for "Blue Room." In bars 9 and 10, the I-VI-U-V pattern is preserved, although the bass line avails itself of the "swing" of the long scale line. In this and the following two . studies, an added rhythmic factor is introduced that is used extensively by modem bass players. This is the
I"1
a
"'kick" employed to propel U>.e pulse over bar llite. The sixteenth note in this case is often an appogiatura tone one half step above or below a "target" tone. This "target" tone is usually the prevailing root, although it may sometimes appear as the third, fifth or seventh of the chord. A legato touch should prevail in these walking lines in order to avoid "air space" between tones.
195
Fig. 1.
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33.
"Walking" Bass Line Figure 1 is a "walking" bass line for "The Way You Look Tonight" in the key of Eb. Fig. 1.
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LESSON
34.
'Walking" Bass Line Figure 1 is a "walking" bass line for "Fine and Dandy" in the key of F. Fig. 1.
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35. Left-Hand Arpeggiation The Scale-Tone Chords - Eighth Note
One of the important concerto devices indicated in Lesson 17 of this volume for supporting a right-hand melody or improvisation is the lefthand arpeggio moving in harp-like design in the bass register. The major problem of building horizontal sonorities in the bass register is that of combining intervals that will form a clear, uncluttered frame for the right hand. This style must be pedaled. Figure 1 illustrates the normal register for this arpeggiation.
202
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A
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Fig. 1.
I left hand register I
Figure 2 illustrates a breakdown of Fig. 1 into two tonal areas: A-Section: A to C B-Section: C to C
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A-Section
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(The student is not to confuse A- and B-Sections with @ and Fonns; the tenninology has been retained to aid the student's study of the various architectures. ) RULE: Generally in the A-Section, intervals of less than a diminished fifth should be avoided. RULE: In the B-Section, all intervals are pennissable. Left-hand arpeggiation employs the identical structures utilized by the right hand in Vol. I: 1. Arpeggios 2. Modes These structures may be used freely with the one interval restriction indicated for the A-Section. We will study two basic structures associated with this architecture: 1. Arpeggiated scale-tone tenth chords (Fig. 3) 2. Arpeggiated tone row: Root - 5-9-3-7 - reverse (Fig. 4)
203
Fig. 3.
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etc.
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fJ
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be r F
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The scale-tone tenth chords may be arpeggiated in A- and B-Sections as follows: A-Section: Root position (Vol. III, Lesson 18). R-5-3 (omit 7), Fig. 3. A-Section: Inversions (Vol. III, Lesson 19) omit next to bottom note, Fig. 5. (The 2 position in Fig. 5 is essentially in the B-Section, which allows normal arpeggiation. ) B-Section: Root position, Fig. 3; normal arpeggiation. B-Section: Inversions, Fig. 5; normal arpeggiation. These arpeggios may support a right-hand melodic line, either in single notes or in octaves with inner voices (See Vol. III, Lesson 51).
DRILL: Using Lessons 18 and 19 as references, explore the various rootposition and inversion arpeggios in the left hand.
,:
Figure 6 illustrates an arpeggiated bass line for 'We'll Be Together Again" in the key of C. This is essentially a non-jazz treatment, although the idiom is familiar to and is occasionally employed by all jazz pianists; it is to be played ad-lib (no quarter-note foot beat). Note the C-minor section in the bridge. This idiom must be pedealed in order to achieve a harplike effect in the left hand.
Fig. 6.
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"'WE'LL BE TOGETHER AGAIN" - Copyright 1945 E.D.M. Music Publishers Used by Permission.
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LESSON
36. Left-Hand 'Arpeggiation Root-5-9-3-7-Reverse - Eighth Note
This design represents a practical, reduction of idioms found in the piano compositions of Chopin, Liszt, Scriabin and Rachmaninoff. It is easily applied to each of the five qualities. As indicated in Vol I, Lesson 56, the M, m, '" and 0 qualities take only the natural ninth; the dominant employs the flatted and augmented ninth in addition to the natural ninth - these extensions may also be used in this design (Fig. 1).
All references ·to root, 5, 3 and 7 refer to the tones of the prevailing mode. Nine is always a maior second (whole step) from the root displaced up one octave. M, x and m ninths fall in the prevailing mode; the Locrian mode on half-diminished violates this principle, which necessitates the use of the major-second ntle. Fig. 1.
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All R-5-9-3-7 designs employ the same fingering: 5-2-1·2-1 reverse. This fingering is maintained regardless of the relationship of black and white notes (Fig. 2).
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Figure 4 illustrates the 12 dominant b9 chords. Fig. 4.
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Figure 5 illustrates the 12 dominant
#9
chords. Figures 4 and 5 ap-
pear only in root position and usually emanate in the A-section. This pattern, as well as those previously illustrated, must be pedaled in order to achieve the necessary sonority; speed is also an essential factor in attaining this sonority. Fig. 5.
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DRILL: Practice Figs. 3, 4 and 5 for automatic facility. Figure 6 is an arpeggiated bass line for "Jet" in the key of Eb. Fig. 6.
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JET by Harry Revel, Bennie Benjamin and George Weiss - Copyright 1949 by Mark Warn ow Music Co. - Copyright assigned 1951 to Laurel Music Corp.
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II
LESSON
37.
Left-Hand Arpeggiation, Mixed Elements Eighth-Note Triplet Figure 1 illustrates a left-hand arpeggiation for "Sometimes I'm Happy" in the key of F.
Fig. ,1.
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SOMETIMES I'M HAPPy - Copyright 1927 by Harms, Inc. - Ul!ed by Permission.
219
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LESSON
38.
Left-Hand Arpeggiation, Mixed Elements Sixteenth Note Figure 1 illustrates anarpeggiated bass line for "It Never Entered My Mfnd" in the key of F. Fig. 1.
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IT NEVER ENTERED MY MIND (Lorenz Hart and Richard Rodgers) - Copyright
® 1940 by Chappell &: Co., Inc. - Used by Permission.
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II
LESSON
39.
Left-Hand Arpeggiation,
@
and
®
Forms, and Modes
One of the natural devices for left-hand arpeggiation is the application of the @ and @ Fonns. In joining the root and the voicing in a moving . arpeggio, an effective underpinning is established for a melodic line. Figure 1 illustrates an arpeggiated bass line for "Ruby" in C, employing · @. and @Fonns in addition to modal fragments emanating from varying points based upon the mode of the prevailing chord. Elements studied in Lessons 35 and 36 appear also.
Fig. 1.
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#10 Permutation
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j1 r~ ;JriJ .r r I aUfpr;g&StcCF I Ig®
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Rl!BY (W~rds by Mi~chell Parish, Music by Heinz Roemheld) - @ Copyright 1953 Miller MUSIC Corporation, New York, N. Y. - Used by Permission.
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II
SECTION III LESSON
40. "'Comping" (Accompanying)
A thorough analysis of the rhythmic elements of jazz appears in Vol. II. At this point we will consider the accompanying role of the piano in a rhythm section. PRE-SWING BRAVURA PIANO The pre-swing period (1920-1934), represented by Jelly Roll Morton, James P. Johnson, "Fats" Waller, Earle Hines and Willie "The Lion" Smith, was a wild careening joy ride of keyboard gymnastics, full of content, but with very little form. Since every pianist was a solo pianist (meaning he could play without accompaniment), it was sometimes no easy task to subdue him to the social tasks of playing with a rhythm section. Both Hines and Morton made important contributions in this area (Waller generally remained unsubdued). The following outline illustrates a typical rhythm section prior to 1930 with the rhythmiC units for each componant: Fig. 1. Pre-I930 Rhythm Section Drums: Bass Snare
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Banjo Tuba-Bass Piano: right hand left hand
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n J J
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Here the pianist was Committed to a rigid, unsyncopated 4/4 beat, often playing with both hands on each beat of the bar (Fig. 1). 229
Fig. 2 Swing (1932-1940) Rhythm Section Drums: Bass
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Here the pianist played an alternate left-hand root, right-hand-chord rhythmic pattern, still unsyncopated, but relieved by a more modem ap. proach to both harmony and architecture (Fig. 2).
Fig. 3. Modem (1940-Present) Drums:
Bass Snare Hi-Hat Ride Cymbal
Bass Piano
230
J n~n~J fLj Ja ~ J a J,J J J,J J J J J J ~ J 0 U .IlL
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Here both piano and drums are relieved of the oppressive responsibility of maintaining a rigid 4/4 beat, which is now left to the basS. Chords are constantly "kicked" by the pianist, either through anticipation or by delaying (Fig. 3).
The principle devices of 'comping are open-position scale-tone chords - axis of 3rd and 7th (Vol. I, Lessons 68, 69, 70) and and Forms.
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Figure 4 illustrates a 'comping line for "I Love You" in the key of F, employing both axis and and Forms (note the modulation). (Refer to recent Horace Silver recordings.)
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I LOVE YOU (Cole Porter) - Copyright @) 1943 by Chappell &: Co., Inc. Used by Permission.
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-Walking" open-position patterns moving internally against the prevailing chord are derived from the three traditional patterns studied in Vol. I, Lessons 62, 63, 64: 1. Circle of fifths 2. Diatonic
3. Chromatic Diatonic and chromatic patterns rotating around the prevailing chord are the most commonly used· (Fig. 5). Essential to this device is an automatic facility with the axis of the 3rd and 7th (see Vol. I, Section XI) in all scales and modal displacements. These walking .lines are similar to those in Vol. III, Section 2, and Lessons 31 through 34 of Vol. IV. Fig. 5.
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LESSON
41.
Turnarounds The problem of "Intros" was discussed in Vol. III, Lesson 28. In a normal jazz performance the following general format prevails: Chorus 1. Statement of melody. harmonic chart, tempo, etc. Chorus 2, etc. Unspecified number of improvised choruses. Final Chorus. Restatement of melody, close. Obviously, these repeated choruses must be joined by some smooth sequence of chords connecting the end of one chorus with the beginning of the next. Most jazz tunes fall into the following structural categories: 1. 2. 3. 4. S.
32-bar 32-har 32-bar 32-bar 64-bar
form, form, form, form, form,
melody melody melody melody melody
closing closing closing closing closing
on on on on on
bar 31 bar 32 bar 31 bar 32 bar 61
on on on on on
MI MI m I mI MI
chord. chord. chord. chord. chord.
This means that in forms 1 and 3 a two-bar (bars 31 and 32) turnaround is required. In forms 2 and 4, a one-bar (32nd bar) turnaround is required. In form 5, a four-bar (bars 61, 62, 63 and 64) turnaround is required. RULE: The final melodic tone indicates the beginning of the turnaround. The problem now remains to determine the chords to be employed. Since in any case the turnaround begins on either the M or m I chord, the question remains to find the most suitable chords to "connect" this I chord to the first chord of the tune (see Vol. III, Lesson 28).
235
The following categories include the principle initial chords (not including pick-up chords): 1. Tunes beginning on I chord 2. Tunes beginning on II chord 3. Tunes beginning on VI chord In functions other than those considered, "cover" the turnaround by using a basic I-VI-II-V pattern; then proceed directly to the initial chord of the tune. RULE: Turn-around patterns are determined harmonically by the initial chord and rhythmically by the closing bar of the melody. A common turnaround device employed to sustain tension while passing from one chorus to the next is that of employing the fifth of the
prevailing key (either major or minor) in the bass, while moving through a turnaround pattern in the right hand. This device is known as an organ-point or pedal-point, and maybe joined with any basic pattern of the prevailing key (Fig. 1).
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Fig. 1.
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III blIIx II bIlK to I of C v.______________________ __
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to II of E~
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From the preceding the following solutions are suggested: INmAL
CHORD
I I I 1m 1m II II II VI VI VI all other all other
ENDING
TURN-AROUND
2 bars 1 bar 4 bars 2 bars 4 bars 2 bars 1 bar 4 bars 2 bars 1 bar 4 bars 2 bars 4 bars
I VI/II blIx / / I blIx II I / blllx / IIx / bib: 1/ I Vlt/> / lIt/> blIx / / I / VI> / lIt/> / blIx 1/ I II / III blllx I I I #10 // I / bVm VlIx / III I VIx // I IV / VII IIIx / / I IIIx: / / I I #10 I II 112 / VII bV1Ix // IVI/IIVII I/VI/I1/V /1
Figure 2 iUustrates a bass line for "Down By The River" in
Ab.
Fig. 2. I VI I IV IV 2 I II / V I I IV VII IIIx / VI IIx Vm Ix / IV III I /I
I
I
II V / I IV VII IIIx I VI VI ~ I IV VII / III VI #Vlo / VII IIIx / VI VI 2 bVt/> VIIx I III VIx / II V / I VI I IV IV 2 I II / V / I IV VII IIIx I VI I1x Vm Ix / IV III .I II V / I IV VII I1Ix / VI VI ~ I bVm VIIx / III VIx I II III I IV V # 3
/
I+e
/
I + ~ 1/
Copyright © 1934 & 1935 by Famous Music Corporation. - Copyright Renewed 1961 & 1962 by Famous Music Corporation. - Used by Permission.
231
LESSON
42.
Bunding a Bass Line In Vol. I, Lesson 76 the problem of converting sheet music to jazz was given some consideration. The problems of conversion vary according to the individual composer; also, the time of the original copyright determines to some extent the accessibility of a lOgical chord chart. Again, some compositions that enjoy a permanent position in the popular literature originally appeared in musical comedies under specific dramatic conditions which may have imposed certain harmonic or rhythmic restrictions no longer applicable. A case in point is ·Small Hotel" from On Y0tW Toe, by Rodgers and Hart. The bass line of the first eight bars that appeared in the original score is as follows:
I VI. I I VI. I I VI. I I Via I II I II V I I VI. I I VI. II
This particular bass line was extremely effective for the dramatic situation prevailing in On Your Toes in 1936; however, for the present-day improvisor this harmonic setting seems inadequate for the "absolute" . problem of improvisation compared with the "relative" problem of dramatic context. The follOwing solutions are offered to help establish a more effective underpinning for improvisation: Solution 1
I I II I III I blllo I II I blix I I VI I II V I I Solution !
I II I III IV I VI I IV I III blllo I II bllo I II blix I I blllo I II blIx II Solution 3
I VI I II V" II V II 238
I I II I III blllo I II III I IV IVc/I I III VI I
Solution 4
I I 2 I VI II~: I VI 2 IV I III blllo I II bllo I II J Vllo I I I VI I IIi>: V I I Solution 5
I II I VI VII I bVi> IVx I III blllo I II V I 1m IVx I III blllM I II blIx II Solution "
I IVx I bVlIx bllIx I bVIx blIx#!l1 bVS! VlIx I III VIx III VI I bVlIx I bVIx V II Solution 7 bV~ IVm
I III blllo I II +. bIlo I II 2 VII bV S 15 I IV III bIll II II
/
VII bVllo I IV:
bVlo I
Solution 8
Vm bV~ I IV +. IVm I III IV I #IVo VI I I bV I IV IVo I III IV +. I #IVx V II Solution 9
I: bV~: I II~: VII I bVm IVx I III #IVo I V IV: I #Vlo VII I I VI I bVIx V II Solution 10
III VI I II V sa I bVm VlIx I
IV~
bVIIM I III VIx I II V I 1m IVx I
bVIIx blllM II There are other solutions, of course, but these represent the conventional patterns usually applied in such a situation. Sections of one solution may also be interchanged with those of another solution. 239
Figure 1 illustrates a bass line for "Small Hotel" in G Major. Note the modulation. Fig. 1. (G) I II / III IV / VI I IV / I: ,bIllo / II bIlo / II blIx / I VI /
bIIx /
(G) II
I II / III IV / VI I IV / I: blllo / II bllo / II V / /
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THERE'S A SMALL HOTEL (Lorenz Hart and Richard Rodgers) - Copyright ® 1936 by Chappel & Co., Inc. - Copyright Renewed. - Used by Permission.
Convert Fig. 1 to the
LESSON
@ and
®
Forms. Improvise on Fig. 1.
43.
Modem "Funky" Piano - Modified @and
®
Forms
The appearance in the Fifties of a style of piariism rooted in the archaic blues indicated a partial return by jazzmen to the substrata elements of jazz that had existed at the tum of the century. These substrata elements include the follOWing: 1. 2. 3. 4.
Eight-bar and twelve-bar archaic blues Gospel music 8/8 and 12/8 time signatures Country, mountain and western idioms
Some of the leaders in this movement include: Ray Charles, John ~illiams, Horace Silver, Hampton Hawes, Mose Allison, Pete Jolly, Jimmy Guiffre and Les McCann.
240
Figure 3il1ustrates an application of these various idioms to the 12-bar blues in the key of G. The left hand employs the modified @ and ® Forms (Lesson 12). Modified @ and ® .occur on the dominant chord only; modified @ omits the ninth, modified omits the thirteenth.
®
The use of the "off-beat" device in the left hand creates a tension of continually "kicking" each beat; this takes on ·the character of an inverted boogie-woogie (see Figs. 1 and 2).
Fig. 1. Boogie-Woogie left hand
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The unremitting use of .this dev,ice can easily result in monotony unless it is joined with other rhythmic resources. The use of only the dominant quality contributes to the general tension of the idiom. Bars 3 and 5 employ the upper chromatic dominants; bars 11 and 12 employ the same device extended to "cover" the necessary eight beats.
241
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LESSON
44.
Harmonic Distortion Occasionally the chord chart of a tune is distorted by substituting an unrelated but familiar pattern (organ point, circle of fifths) for the patterns dictated by the composition (Fig. 1).
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A further device involves the playing of the melody accompanied by a
parallel harmonic structure. This is referred to as "parallel," since the identical intervals appear under each melodic "point." The prevailing chord chart is completely abandoned in this case and each formation is built down from each melodic tone. The descending tone-row is as follows: melody tone perfect fourth minor sixth major seventh ninth (All intervals are figured from the melody down.) See Fig. 2. Fig. 2. Parallel distortion '\
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Thus, in Fig. 2 we have: MELODY
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Again, each formation is created by the melodic tone; the prevailing chord plays no part in the stmcture. Manually this structur.e functions identically with the block chords studied in Vol. III: four voices in the right hand; one in the left. The student will recognize this formation as the @ Form of the diminished chord studied in Lesson 9. The use of this particular interval combination is arbitrary; of course; other combinations can be and are used. The effectiveness of this particular combination illustrated in Fig. 2 probably lies first in the resonance of the voicing itself, as well as in the peculiar relationship of the dominant and the diminished .chords studied in Lesson 12. The over-all effect of such a formation is one of extreme tension caused by both the parallelism itself and the strange "dominant-diminished" content of the voicings. Copyright laws prevent the reproduction of a melody illustrating this medium. It is suggested that the student apply this idea to any melodic line, carefully follOwing the indicated interval combination.
LESSON
45.
Building Chords in Fourths In recent years there has appeared a trend in jazz pianism which, in
terms of the rugged history of jazz piano, represents a rather startling, but musically effective joining of jazz and traditional "cocktail" idioms.
246
The left-hand structures are an extension of the modified @ and Fonns in addition to the dominant Form ·(Lesson 12). The right hand employs a mixture of chords and running lines, heavily pedaled in order to achieve the deliberate vagueness and diffusion of tonal colors similar to the textures found in the Impressionism of the early Twentieth Century. This extensive use of the sostenuto pedal as a basic device of this style has introduced a revolutionary conception of swing in which the time-honored, sharp, marcato touch has been replaced by a blurred, legato attack. The left-hand structures employ chords built in either perfect or augmented (tritone) fourths joined by various root couplings; the right-hand line generally avoids the traditional harmonic "hinges" (see Vol. I, pages 127-128) or chromatic appogiatura tones, raised to great eminence by alto saxophonist Charlie Parker (Fig. 1).
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Instead, this new line concept employs the idea of superimposed thirds piled on top of each other in the manner of tenor saxophonist John Coltrane. In this conception the horizontal relationship of the chords is replaced by an intense vertical exploration of each individual harmonic function without the usual regard for the horizontal relation of any · one vertical structure to the preceding or succeeding structure (Fig. 2).
Fig. 2.
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The keyboard colIatic;m of these various factors is generally attributed to pianist Bill Evans; its intrinsic vitality will be best assessed by the passage of time.
247
The left-hand chords or voicings are derived from twenty-four basic structures - each of the twelve tones of the chromatic scale capable of supporting two formations. Various roots (couplings) may be joined to each of these twenty-four voicings. Fig. 3 illustrates the two voicings on G.
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II
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Since the search for a chord or voicing usually begins at the root, the following table describes the root-voicing couplings of the five qualities; the interval distance in each case refers to the distance from the root up to the bass note of the voicing. In order to secure resonance, the root coupling is sometimes placed an octave below the original interval; this in no way affects the relationship of the particular root to the voicing.
QUALITY M (root) M (root) M (lst inv.) M (2nd inv.) x (root) x (root) m (root) m (2nd inv.) .,. (root) .,. (2nd inv.) o (root)
VOICING
INTERVAL
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Voicings generally fall into the following register (Fig. 6).
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251
Figure 7 illustrates the root-voicing couplings for the five qualities on each of the twelve tones. (See Vol. I, pages 25 and 26). Fig. 7. A
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LESSON
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46.
and
®
Forms with Shearing Block Chords
One of the most familiar pianistic sounds of the modem period has been the so-called "concerto sound" employing @ and ® Forms in the left hand and the Shearing block chords in the right. The sound derives its name from the similarity to the "tutti'" sections of the Nineteenth- and Twentieth-Century piano concerto (i.e. Grieg, Tchaikovsky, Rachmaninoff). 'I11e left-hand elements follow precisely the rules outlined in this volume; the right-hand chord blocks, however, will present problems to many pianists, since a normal hand span is incapable of re-creating the entire five-voice system in the right hand. Figure 1 illustrates a chord bl
II
RULE: It is permissible to omit any or all of the inner voices of a block chord; but neither tone of the octave itseH (the outside voices) can be omitted. Thus, the following solutions would be permissible in modifying Fig. 1.
Fig. 2.
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Solutions illustrated in Fig. 3 are impermissible.
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These rules do not affect the use of single notes, thirds, fourths, fifths and sixths elsewhere described in this text. The seventh is usually avoided in the right hand, except in context with the Shearing block chords. In selecting the inner voices to be retained in a modified chord block,
the following suggestions should be kept in mind: 1. The third and seventh of a chord should be retained if possible.
2. The fifth may be omitted in M, x and m chords. 3. When the keyboard permits, two adjacent tones may be played by the thumb of the right hand (See Fig. 4~ Fig. 4.
[I: 268
II
4. The octave must remain intact. 5. In running passages, the open octave should be employed (see Vol. III, Lesson 53).
®
Figure 5 illustrates an @ and Form-block chord treatment of the melody illustrated in Vol. I, Lesson 7.
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In Fig. 5, the student will note that the basic d.evice employed is that of rhythmic unison figures in the right and left hands. In this case, the rhythmic contour of each improvised phrase in the right hand is the determining factor; the left hand Simply follows the right by repeating the prevailing voicing in rhythmic unison with the right.hand figure. This is basic; occasionally, this device may and should be abandoned in the interest of textural variety. DRILL: Review Vol. III, Section IV. Explore various melodies employing @ and hand, and melodic chord blocks . in the right.
®
Forms in the left
Employmg similar mechanics, explore improvised lines on chord charts appearing in this and previous volumes. 276
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LESSON
47.
The Modal Fourths The history of jazz harmony has evolved three basic devices in building chord structures: 1. Alternate scal~tones or thirds (Tatum) - Fig. 1. 2. Consecutive scal~tones or seconds (Evans) - Fig. 2. 3. Double alternate scale-tones or fourths. (Avant-garde) - Fig. 3. Fig. 1. ,
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Positions 2, 4, 6 and 8 are generally impractical. Figure 6 illustrates a minor blues chart (see Vol. I, Sec. X) that employs the fourth structures. Fig. 6.
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when used in constantly shifting horizontal· patterns. These patterns may appear in irregular fashion in any rhythmic pattern. This horizontal motion is essential, since any single structure can only weakly imply any particular chord value; appearing · in "tandem." these· structures are capable of infusing a chord chart with compelling tonal and rhythmiC intensity. These structures also are essential in order to vary the textural sound of the and ® Forms; for effective) application of this contemporary style. the fourth structures, as well as the modal fragments discussed in Lesson 48. must be integrated with the @ and ® FonDs; The decision in these matters must rest with the individual student, of course. since they are based upon the particular factors appearing in the right hand at the moment of performance. as well as to the general, over-all emotional context p~evailing at that time. .
®
LESSON
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48.
The Modal Fragments The modal frag~nu represent clusters of model tones borrowed from the Spanish Impressio;mts. As the student will note, these fragments also represent segments of the ® Form vOicings. The principle of extracting these fragments is as follows..
1. Determine the half-step positions in each mode. 2. · Play both tones of the minor second, adding the alternate note of the mode above the top tone of the minor second. This structure usually appears in the left hand in the middle C area of the keyboard
For instance, in Fig. 1, the half-steps appear on 3 and 7; the alternate tone in the mode above F is A, and the alternate step in the mode above
C is E. Thus, the fragments of the C major chord are: E-F-A B-C-E
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RULE: The major modal fragments employ the following combinations: 3-4-6
7-1-3
(based on the Ionian mode) Figure 4 illustrates the half-step positions of the Mixolydian of F for the C dominant chord. Figure 5 illustrates the modal fragments for the C dominant chord. Fig. 4. istep
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RULE: The dominant modal fragments employ the follOwing combinations: 3-4-6 · 6-7-2
(based on the MixolydiaI mode) 283
Figure 6 illustrates the half-step positions of the Dorian of Bb for the C minor chord. Figure 7 illustrates the modal fragments for the C minor chord. Fig. 6.
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(based on the Dorian mode) Figure 8 illustrates the half-step positions of the Locrian of Db for the C half-diminished chord. Figure 9 illustrates the modal fragments for the C half-diminished chord. Fig. 8. !step
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Figure 10 illustrates the half-step positions of the C diminished tone row (02 1 2 1 ~ 1 2 1).
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SUMMARY CHORD Major
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In chOOSing the most characteristic fragments from each mode, similar combinations, such ·as 3 ..4-6 of the Ionian and Mixolydian modes, are usually avoided. The following table illustrates the most common fragments. of the five qualities: major: 7-1-3 6-7,.2 minor. 2-3-5 half-diminished: 4-5-7 diminished: 4-5-7 ~ominant:
285
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286
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The Jazz Improvisation Series 1. Tonal and Rhythmic Principles-
By John Mehegan Preface by Leonard Bernstein n
The fundamental musical concepts used by every great jazz musician from Buddy Bolden to Dizzy Gillespie. Here for students, professional and amateur musicians, and serious jazz enthusiasts are more than 70 lessons that define and clearly systematize the basic principles of jazz-using more than 60 jazz standards as examples: "Laura," "Body and Soul," "Spring is Here," "Stella by Starlight," "Autumn in New York," "Round Midnight," and others by such leading composers as Gershwin, Rodgers, Porter, Ellington and Kern. "A highly important and valuable publication,"-Leonard Bernstein in the preface. "A great book."-Dave Brubeck. "Fulfills a desperate need."-Oscar Peterson. "A most valuable volume."-Andre Previn. "The finest organization of jazz material that I have seen."-Bill Evans.
2. Jazz Rhythm and the Improvised Line
Preface. by Harold Arlen
A brilliant analysis and schematic history of these two supremely important facets of jazz. Many figured bass lines and solos are given for dozens of well·known tunes of all periods-"High SOCiety," "Oh, Daddy Be Good," "Just You, Just Me," "I Can't Get Started," "Night in Tunisia," "Bernie's Tune" and others-as well as 29 transcriptions of performances recorded ·from 1923 to 1958 by such artists as Bessie Smith, Louis Armstrong, Bix Beiderbecke, Roy Eldridge, Art Tatum, Bud Powell, Charlie Parker, Dizzy Gillespie, Miles Davis, Stan Getz, Horace SiJver."John Mehegan in this book continues the high standards of jazz teaching he has set previously in a field that needs these standards so badly." -Nat Hentoff. Preface by Horace Silver An analysis of the great piano styles of 1936 to 1950, a period of creative ferment which saw the culmination of the rag·time tradition and its destruction and replacement by the innovations of the "bop" era. This volume examines the stylistic structure of over fifty major performances by the five greatest jazz pianists of the periodTeddy Wilson, Art Tatum, Bud Powell, George Shearing, Horace Silver-giving in unprecedented detail their extraordinary improvisations on the basic songs -hf the jazz repertoire. "Brings to the aspiring jazz musician a helping hand that will put him on the right track." -Horace Silver in the preface.
3~ Swing and Early Progressive Piano Styles
4. Contemporary Piano Styles A rich, instructive survey of the history of jazz piano from 1950 to the present with clear and systematic analyses of the styles of such leading figures as Oscar Peterson, Bill Evans, George Shearing, Ahmad Jamal, Horace Silver, Red Garland, Cecil Taylor and many others. Abundant illustrations of left hand voicings, right hand modes, solo piano, comping, turn arounds, modern funky piano, harmonic distortions, modal fourth5, minor blues, and modal fragments enable the student to apply modern devices to his personal style.
John Meheaan, jazz pianist, teacher and critic, was born in Hartford, Connecticut, and first
played the piano at die age of five. His distinguished career as a jazz educator began in 1945, when he became Teddy Wilson's assistant at the Metropolitan Music School in New York. The following year, he was appointed head of the school's jazz department. In 1947, Mr. Mehegan was named jazz instructor at the Juilliard School of Music. He taught privately for over 25 years. He also taught at the Yale School of Music. Mr. Mehegan's unmatched contribution to the literature of jazz includes not only his major series on jazz improvisation, but a unique series of jazz instruction books for elementary and secondary school students, entitled The Jazz Pianist. From 1957 to 1960, he was jazz critic for The NeW York Herald Tribune. He was a contributor to such magazines as Downbeat, Metronome, and The Saturday Review, and a reviewer for Jazz magazine. ISBN 0-8230-2574-8