Theory1 FromFundamentalsofJazzImprovisation:
WhatEverybodyThinksYouAlreadyKnow Dr.MarkWatkins DirectorofJazzStudies BrighamYoungUniversity–Idaho
©2010byMarkWatkins Materialshereinareprovidedforpersonaluse.Nopartmaybereproducedwithout writtenpermissionfromtheauthor.
JazzTheory Thistextisdesignedforstud Thistextisdesignedforstudentswhohave entswhohavehadatlea hadatleastoneyear stoneyearofcollegelevel ofcollegelevelmusictheoryand musictheoryand eartraining.Principles eartraining.Principlesuniquetoorof uniquetoorofmoreemphasi moreemphasisinjazza sinjazzareexpound reexpoundedupon.Top edupon.Topics ics include: PartI ModesoftheMajorScale Major Dorian Dominant Intervals Chromaticism TheiiV7Iprogression Piano: MajorVoicing MinorVoicing DominantVoicing iiV7IVoicing1,2,3 BluesVoicing1,2 Tune:StudentChoice Worksheets: Major: Scale,Arpeggio,Chord,Patte Scale,Arpeggio,Chord,Pattern rn Minor:Scale,Arpeggio,Chord,Pattern Dominant:Scale,Arpeggio,C Dominant:Scale,Arpeggio,Chord,Pattern hord,Pattern Intervals ChordSymbolChart Chormaticism:DominantBe‐b Chormaticism:DominantBe‐bop,MinorBe op,MinorBe‐bop,Major ‐bop,MajorBe‐bop,Pick Be‐bop,Pick‐upandP ‐upandPassingNotes, assingNotes, DiatonicEnclosure,ChromaticEnclosure DiatonicEnclosure,ChromaticEnclosure,InclusivePatt ,InclusivePattern ern iiV7I:VoicingI,Voicing iiV7I:VoicingI,VoicingII,OneMea II,OneMeasurePattern, surePattern,TwoMeasure TwoMeasurePattern Pattern Theorycoveredinothersections: ChordProgression ChordSubstitutionandTurnaround IntroandTag FormandStructure Blues RhythmChanges
JazzTheory Thistextisdesignedforstud Thistextisdesignedforstudentswhohave entswhohavehadatlea hadatleastoneyear stoneyearofcollegelevel ofcollegelevelmusictheoryand musictheoryand eartraining.Principles eartraining.Principlesuniquetoorof uniquetoorofmoreemphasi moreemphasisinjazza sinjazzareexpound reexpoundedupon.Top edupon.Topics ics include: PartI ModesoftheMajorScale Major Dorian Dominant Intervals Chromaticism TheiiV7Iprogression Piano: MajorVoicing MinorVoicing DominantVoicing iiV7IVoicing1,2,3 BluesVoicing1,2 Tune:StudentChoice Worksheets: Major: Scale,Arpeggio,Chord,Patte Scale,Arpeggio,Chord,Pattern rn Minor:Scale,Arpeggio,Chord,Pattern Dominant:Scale,Arpeggio,C Dominant:Scale,Arpeggio,Chord,Pattern hord,Pattern Intervals ChordSymbolChart Chormaticism:DominantBe‐b Chormaticism:DominantBe‐bop,MinorBe op,MinorBe‐bop,Major ‐bop,MajorBe‐bop,Pick Be‐bop,Pick‐upandP ‐upandPassingNotes, assingNotes, DiatonicEnclosure,ChromaticEnclosure DiatonicEnclosure,ChromaticEnclosure,InclusivePatt ,InclusivePattern ern iiV7I:VoicingI,Voicing iiV7I:VoicingI,VoicingII,OneMea II,OneMeasurePattern, surePattern,TwoMeasure TwoMeasurePattern Pattern Theorycoveredinothersections: ChordProgression ChordSubstitutionandTurnaround IntroandTag FormandStructure Blues RhythmChanges
EarTrainingConcepts Practicallyeveryprinciple Practicallyeveryprincipleandexer andexercisetaughtinj cisetaughtinjazzimprovi azzimprovisationhelpsto sationhelpstodevelopthe developtheear. ear. Hereareafewthingstoco Hereareafewthingstoconsider: nsider: forsomethingfocusestheearaccord ActiveListening:Listening for somethingfocusestheearaccordingtotheele ingtotheelementof mentof concentration:bassline,instr concentration:bassline,instrumentation,ha umentation,harmony(consonant/ rmony(consonant/dissonant;simp dissonant;simple/complex), le/complex), articulation,subdivision,dyna articulation,subdivision,dynamic,inflection,e mic,inflection,etc. tc.
PracticeTechniques:Eachte PracticeTechniques:Eachtechniquefocuseson chniquefocusesonsomethingspeci somethingspecific. fic. PT1: Practicingcircularpatternstu Practicingcircularpatternstunetheear netheeartotheparticula totheparticularchord/scalesp rchord/scalespectrum.Itcan ectrum.Itcan helptoplaythecompanion helptoplaythecompanionchordonthep chordonthepianowhilep ianowhilepracticingcircular racticingcircularpatterns. patterns. PT2: Samemodesequencessatura Samemodesequencessaturateoneina teoneinaparticularm particularmode.Shifting ode.Shiftingtherootwhile therootwhile maintainingthemodehe maintainingthemodehelpstofocusontheq lpstofocusonthequalityofthem ualityofthemodeversesthe odeversesthememorization memorization,, physicaloraural,ofspecificpitch. PT3: Takingapatternthrough1 Takingapatternthrough12keyshe 2keyshelpsonetocompre lpsonetocomprehendthecha hendthecharacterofthe racterofthepattern pattern bothauralandrhythmic.Iti bothauralandrhythmic.Itiswisetoinclude swisetoincluderhythmasan rhythmasanelementof elementofeartraining eartraining.Like .Like PT1,itisvaluabletopla PT1,itisvaluabletoplaytherequisit ytherequisitechordonthe echordonthepianothen pianothenplaythepa playthepattern.Italso ttern.Italso helpstosingthepatternwi helpstosingthepatternwiththepiano ththepianochordthrough12 chordthrough12keys. keys. PT4: Applicationofmanyconcept Applicationofmanyconceptsismadein sismadeinthisexercise. thisexercise.Theyarea Theyareappliedtoa ppliedtoarecorded recorded accompanimentthatremain accompanimentthatremainsinasingle sinasinglemode.Sustain mode.Sustainingeachchord ingeachchordtoneandli toneandlistening stening tothequalityofsoundisava tothequalityofsoundisavaluableear luableeartrainingexe trainingexercise.Apply rcise.Applyingthevarious ingthevarious techniquesoverasinglechord techniquesoverasinglechordhelpsfamilia helpsfamiliarizeoneto rizeonetothatquality. thatquality. PT5: Chordprogressionlearningte Chordprogressionlearningtechniquesapp chniquesapplytoeartra lytoeartrainingasab iningasabove.Usethe ove.Usetherecorded recorded accompanimentwithopene accompanimentwithopenearsbutnotas arsbutnotasacrutch.Singth acrutch.Singtheexercisesa eexercisesasmuchas smuchas possible. PT6: Allprinciplesofindepen Allprinciplesofindependenceap denceapplytoeartra plytoeartraining.Kee ining.Keepinmind pinmindthatoneshouldb thatoneshouldbe e abletosingwhatoneplay abletosingwhatoneplays.Theprincip s.Theprinciplesofindep lesofindependencea endenceareagrea reagreatpractice tpractice techniquetostrengthenthisa techniquetostrengthenthisability.Don’tb bility.Don’tbeafraidto eafraidtotry.Ofcourse,sin try.Ofcourse,singingan gingan improvisedsolowithanaccomp improvisedsolowithanaccompaniment,recor animent,recordedorlive dedorlive,isadditiona ,isadditionallyinvaluable llyinvaluable.. Piano:Practicingjazzch Piano:Practicingjazzchordvoicingsont ordvoicingsonthepianohe hepianohelpsustobecome lpsustobecomefamiliarwith familiarwithhowchordsare howchordsare realizedinajazz realizedinajazzsetting.Itisa setting.Itisagoodwayto goodwaytobecomefamilia becomefamiliarwiththeja rwiththejazzidiomha zzidiomharmonic rmonic sound. Theory:Itisimportanttolea Theory:Itisimportanttolearnwhatone rnwhatoneisattempting isattemptingtohear.This tohear.Thisintellectualkn intellectualknowledgewill owledgewill transfertoappliedknow transfertoappliedknowledge;itmu ledge;itmust,oronecannot st,oronecannotplayjazz. playjazz.Alargep Alargepartofhaving artofhavingagood agood earcomesfromknowledgeof earcomesfromknowledgeofwhattoexpe whattoexpect.Certainchor ct.Certainchordprogressions,f dprogressions,forexample,h orexample,have ave distinctivesoundssuchasiiV7 distinctivesoundssuchasiiV7I.Knowing I.Knowingthetheoryinvol thetheoryinvolvedhelpsusi vedhelpsusidentifywha dentifywhatweare tweare hearingand,consequently, hearingand,consequently,expandsour expandsourears. ears. TuneLearning:Singing TuneLearning:Singingthemelodiest themelodiestotunes,playin otunes,playingharmoniesin gharmoniesin12keys,li 12keys,listening;lear stening;learning ning jazztunescanincludea jazztunescanincludealltechniques,p lltechniques,principles,and rinciples,andmethodsknow methodsknowntoenhance ntoenhanceauraland auraland physicalskillneededfor physicalskillneededforjazzimprov jazzimprovisation.Overt isation.Overtime,thesetechn ime,thesetechniqueswillde iqueswilldeveloptheea veloptheear r eveniftheworkisn’tlab eveniftheworkisn’tlabeled“ea eled“eartraining.” rtraining.”
Transcription:Liftingasoloof Transcription:Liftingasolooffarecording farecordingisfundamen isfundamentalinthep talintheprogressofone’sa rogressofone’sauraland uraland rhythmicability.Somemaysta rhythmicability.Somemaystartby“henp rtby“henpecking”in ecking”individualnote dividualnotesbuteventua sbuteventuallyoneshould llyoneshould workwithlargerunits.Sing workwithlargerunits.Singthemfirst,and themfirst,andthenplayth thenplaythemotifs.Lear emotifs.Learnthewholesolob nthewholesoloby y memory.Also,payattention memory.Also,payattentiontothemethodout tothemethodoutlinedfortra linedfortranscribingchords. nscribingchords.Listeningfor Listeningforone one elementatatimehelps elementatatimehelpstofocustheear. tofocustheear. EarTrainingClass:Althoughp EarTrainingClass:Althoughprimarilyclassica rimarilyclassicalinorigin,a linorigin,anyear‐trai nyear‐trainingcoursereg ningcourseregardlessof ardlessof idiomisinvaluabletothej idiomisinvaluabletothejazzmusician azzmusician.. TunesforEarTraining:Th TunesforEarTraining:Thisisacharton isisachartontunesthatcan tunesthatcanhelpstuden helpstudentsrecognizein tsrecognizeintervals.Itis tervals.Itis designedtorecognizein designedtorecognizeintervalsthrougha tervalsthroughalreadyfami lreadyfamiliarmeans. liarmeans.Theycanev Theycaneventuallybecome entuallybecome independentofthereferencetunes.
TunesforEarTraining Thefollowingchartliststunesthat Thefollowingchartliststunesthathavepromine haveprominentmotivesutili ntmotivesutilizingtheinte zingtheintervalindicat rvalindicatedtothe edtothe left;theyarenotalwaysth left;theyarenotalwaysthefirstnotes.F efirstnotes.Findtunestha indtunesthatarealrea tarealreadyfamiliar. dyfamiliar.Onewillbe Onewillbeginto ginto realizethatmanyintervalsarealreadyknownandrecognizable. ‐2
M2
‐3
Ascending Cou CountY ntYou our rBl Bles essi sing ngs s DidYouThinkToPray? FatherinHeaven,WeDoBelieve(do) HowInsensitive IAmaChildofGod(achild) ILeftMyHeartInSanFrancisco IRememberYou I’llRememberApril I’mGettingSentimentaloverYou JosephSmith’sFirstPrayer LordIsMyShepherd,The(Iknow) NiceWorkIfYouCanGetIt What’sNew Ain’ Ain’t tMi Misb sbeh ehav avin in’ ’ AreYouSleeping(FrereJaques) AutumnLeaves BecauseIHaveBeenGivenMuch(beengiven) BlueMonk BodyandSoul BridgeofAvignon,The Bye,ByeBlackbird(onBye,Bye) ChoosetheRight Come,ComeYeSaints Desifinado Far,FarAwayonJudea’sPlains GodLovedUs,SoHeSentHisSon God,OurFather,HearUsPray HappyBirthday HeIsRisen! I’veGotYouUnderMySkin InHumility,OurSavior InMemoryoftheCrucified Israel,Israel,GodIsCalling It’sAllRightwithMe JesusofNazareth,SaviorandKing Kookaburra LoveOneAnother MajorScale(ascending) MyCountry,‘TisofThee MyFunnyValentine MyHat NiceWorkIfYouCanGetIt(NiceWork) NowtheDayIsOver(Night) Onward,Christiansoldiers(soldiers) PolkaDotsandMoonbeams RedeemerofIsrael RudolphtheRedNosedReindeer Sakura SilentNight ThereWillNeverBeAnotherYou ThisLandIsYourland UpontheCrossofCalvary WeAreAllEnlisted WeThankThee,OGod,foraProphet Woody‘nYou You’dBeSoNicetoComeHomeTo Abid Abide ewi with thM Me; e;‘ ‘Ti Tis sEv Even enti tide de AngelsWeHaveHeardonHigh BlueTrane BluesbyFive
Descending Birdland Bye,ByeBlackbird(onBlackbird) Come,YeChildrenoftheLord FlyMetotheMoon FortheBeautyoftheEarth JoytotheWorld LadyIsATramp,The MajorScale(descending) OLittleTownofBethlehem(town) Solar(MilesDavis) SophisticatedLady StellabyStarlight Theme,The(MilesDavis) Welcome,Welcome,SabbathMorning ‘TisSweettoSingtheMatchlessLove AbidewithMe BeStillMySoul BeThouHumble Corcovado(QuietNights) DoWhatIsright Don’tGetAroundMuchAnymore Fever HotCrossBuns Jesus,theVeryThoughofThee Jesus,theVeryThoughtofThee(thever‐) JollyOldSaintNicholas Lord,DismissUswithThyBlessing Lord,IWouldFollowThee MaryHadaLittleLamb Mercy,Mercy,Mercy NowLetUsRejoice PoorWayfaringManofGrief,A PreciousSavior,DearRedeemer SatinDoll SoWhat SunnymoonforTwo TheFirstNoel ThemefromM*A*S*H ThreeblindMice TuneUp WeThreeKingsofOrientAre
500MilesHigh AmericatheBeautiful AprilinParis CaissonSong,The(OverHill,OverDale)
M3
P4
TT
Boplicity Brahms’Lullaby Confirmation FoggyDay,A GeorgiaonMyMind GoTellItontheMountain GodBeWithYouTillWeMeetAgain Greensleeves I’llGoWhereYouWantMetoGo(notbe) ImpossibleDream,The InRemembranceofThySuffering MinorChord SpringCanReallyHangYouUptheMost Stompin’attheSavoy WeThreeKings(Oh) WhileofTheseEmblemsWePartake Worksong Come,ListentoaProphet’sVoice ICan’tGetStarted IHeardtheBellsonChristmasDay INeedTheeEveryHour Kumbaya LittleTomTinker(goyburned) MajorTriad Marines’Hymn,The Michael,RowtheBoatAshore OhWhentheSaints OnTopofOldSmoky PraisetotheMan SweetHourofPrayer ‘Round Mi dni ght AlltheThingsYouAre AuldLangSyne AwayinaManger(HymnBookversion) BeholdtheGreatRedeemerDie Bingo CJamBlues Come,LetUsAnew DownintheValley Doxy Hark!theHeraldangelsSing HaveIDoneanyGood? HereComestheBride HighOnaMountainTop HowFirmaFoundation HowHightheMoon ISawThreeShips IStandAllAmazed ImprovetheShiningMoments LoveMeTender(auraLee) MaidenVoyage MoreHolinessGiveMe Now’stheTime OhChristmasTree Ornithology Rejoice,theLordIsKing Reveille ShadowofYourSmile,The Shenandoah SomedayMyPrinceWillCome SongforMyFather StraightNoChaser Taps TheDayDawnIsBreaking TheSpiritofGod TwelveDaysofChristmas,The WeWishYouaMerryChristmas WeWishYouaMerryChristmas WhenIFallinLove YeeldersofIsrael Angel Eyes (1st to3rd notes)
CamptownRaces ForAlltheSaints FrostytheSnowMan GirlfromIpanema,The GlorytoGodonHigh HeyJude HowGreatThouArt IronRod,The(holdto) Jesus,OnceofHumbleBirth Kookaburra(oldgumtree) Misty OGod,theEternalFather OnTopofOldSmoky(smoky) Short’nin’Bread StarSpangleBanner,The ThisOldMan WhatisThisthingCalledLove AbidewithMe(2ndand4thnotes) ComeRainorComeShine Come,FollowMe DownintheValley(valley) GiantSteps HeIsRisen!(risen) HowGentleGod’sCommands Lord,DismissUswithThyBlessing(2ndand4thnotes) Nearer,DearSavior,toThee Shoo,fly,Don’tBotherMe SkiptoMyLou Summertime SwingLow,SweetChariot TenorMadness(SonnyRollins) AllCreaturesofOurGodandKing(thouBurningSun) AllofMe Bluesforalice Clementine GoodKingWenceslaus(lookedout) GreatIstheLord HopeofIsrael(Irael) IDidn’tKnowWhatTimeItWas I’veBeenWorkin’OntheRailroad LittleTomTinker(Ma) MightyfortressIsOurGod,A OhComeAllYeFaithful OldMacDonaldHadaFarm SoftlyAsaMorningSunrise ValseHot Walkin’(afterintro) WhatisThisThingCalledLove? WhenJohnnyComesMarchingHome YardbirdSuite
Blue Seven (Sonny Rollins)
P5
+5,‐6
M6
‐7
M7 P8
Maria ThemefromTheSimpson’s AllGlory,Laud,andHonor AllthePrettyLittleHorses Angeleyes Baa,Baa,BlackSheep Bag’sGroove GodRestYeMerryGentlemen IronRod,The LetUsOftSpeakKindWords MyFavoriteThings Nica’sDream PraisetotheLord,theAlmighty PressForward,Saints ScarboroughFair Twinkle,TwinkleLittleStar Twinkle,TwinkleLittleStar WayfaringStranger WhileShepherdsWatchedTheirFlocks YouCanMakethePathwayBright(2Xs) HomeontheRange(buffaloroam) Lor,IWouldFollowThee(Ilearn)
AmericatheBeautiful(America) DaysofWineandRoses HowGreattheWisdomandtheLove Hush,LittleBaby IBelieveInChrist(HeIs) InchWorm ItCameuponaMidnightClear JingleBells(dashing) LordIsMyShepherd,The LoveatHome MyBonnieLiesOvertheOcean NBC OhSay,WhatIsTruth? PutYourShouldertothewheel Short’nin’Bread(chorus) SpeakLow Takethe“A”Train We’llSingAllHailtoJesus’sName WhenSunnyGetsblue AsNowWeTaketheSacrament LordIsMyShepherd,The(Ifeed) ThemefromStarTrek Ceora Called to Serve ChristmasSong,The LetItSnow OldFolksatHome(Swanee) SingaSongofsixpence(sixpence) SomewhereOvertheRainbow
Sakura(12thand14thnotes,gi‐riofkagiriorthesky) BringaTorch,Jeannette,Isabella BuffaloGals Feelings HaveYouMetMissJones ItDon’tMeanaThing
JustFriends(5thand6thnotes) LetUsAllPressOn(presson) Misty(1st to3rdnote) PleaseDon’tTalkAboutMeWhenI’mgone Takethe“A”Train(5thand6thnotes) You’reEverything(ChickCorea) Indiana LoveOneanother(haveloved) NobodyKnowstheTroubleI’veSeen ThereIsSunshineinMySoulToday(sunshine)
HuneysuckleRose(1st and3rdnotes) WatermelonMan I Love You WillowWeepforMe
ScaleSyllabus Scalesarechordswithextensions.Forexample,CEGBiseveryothernoteoftheCMajorscale:C DEFBABC.Ifonecontinueswiththiseveryothernoteconcept,aCMaj.13chordresults:CEGB DFA.Onmajorchordsthe11th(Finthiscase)isusuallyomittedbuttheprincipleremainsintact. Thus,playingthenotesofascalehorizontallyinanyorder(asinamelodyorimprovisation), whilestayingtruetothecollectionofpitches,isthesameasplayingtherelatedchord harmonically.Granted,thenotesarenotsoundedsimultaneouslysonottechnicallyachordbut thenoteswillfitandtheprogressionwillbeheard.Allofthenotesinthescalesontheleftinthis chart,withthedisputedfourthnoteofthemajorscale,willworkasnotechoices,againinany order,forthechordsindicatedtotherightofthechart. Major
Minor(Dorian)
Dominant(Mixolydian)
DominantBebop
MinorBebop
MajorBebop
Blues
HarmonicMinor
DominantSharp‐5(WholeTone)
DominantFlat‐9(Diminished½step1st )
Dominant Altered(Superlocrein,DiminishedWholeTone,Altered)
Half‐diminished(Locrian)
Half‐diminishedMajor9(Locrian#2)
Diminished
MajorSharp11(Lydian)
DominantSharp11(LydianDominant)
MajorPentatonic
MinorPentatonic
Sus4
ChordSymbolChart Manymorechordqualitiesexistthanareincludedinthischart.UseofM formajorandmfor minorisnotrecommended.Onemayalsosee+forsharpand–forflat.The prefix ofachordisits rootletternamesuchasAforA7.Thesuffix ofachordiswhatfollowstoindicatequality, extension,and/oralteration. PossibleChord Tones
Quality
Extensions
1 3 5 7 9 13
MajmajM ma∆
7913
1356
MajmajMma∆(or none)
6
13569
MajmajMma∆(or none)
69
1 b35 b791113
Minminm mi–
791113
1 b356
Minminm mi–
6
Minor6/9
1 b3569
Minminm mi–
69
Dominant
135 b7913
none
7 9 13
1 b35∆79
Minminm mi–
DominantFlat9
135 b7 b913
none
7 9 13
Half‐diminished
1 b3 b5 b7
Minminmim– ø(aloneorwith7)
7( b5)
Half‐dim.Major9
1 b3 b5 b7∆9
Minminmmi– ø(aloneorwithext)
9( b5)11( b5)
DominantSharp5
13# 5 b79
none or+(with7or9)
7(# 5)9(# 5)
DominantAltered
13 b5# 5 b7 b9# 9
none
7altor specific
MajorSharp11
13579# 11
MajmajM ma∆
7(# 11)9(# 11)
DominantSharp11
135 b79# 11
none
7(# 11)9(# 11)
Sus4
1 4 5 7 9 13
sus
7 9 13
b1 b3 b5 b b7
Dimdimº
b b7
Quality
Major Major 6 Major 6/9 Minor/Dorian Minor6
Minor/Major
Diminished
Examples (Root and Suffix)
∆791113
Intervals D b E b
G b A b B b
# #
F G A
C D E F
G A
C D
#
# #
B C
D b E b
G b A b B b
# #
F G A
#
C D
D E
F
# #
G A
B C
D b E b
# #
C D
D E
Half‐Step:thedistancefromonekeytothenextclosestkey,upordown. Whole‐Step:twohalf‐steps,twonotesonthekeyboardwithoneinbetween. MelodicIntervals Scale:apatternofwhole‐stepsandhalf‐steps
MajorScaleIntervals:majorandperfect(distancefromthefirstnoteofthescaletothenotein question)
NaturalMinorScaleIntervals:minorandperfect(exceptsecondandninth)
HarmonicIntervals
Intervalscanbemeasuredascendingordescending.Whendeterminingintervals,bothmelodic andharmonic,maketheassessmentbasedonthelowestnote.
Quality Firstconsiderthenumericdistance(2nd,3rd,4th,etc.).Thisiscalculatedbyassociatingthe number(scaledegree)tothealphabeticname(ifCis1,Eis3).Donotuseenharmonics:F‐flatis notE,C‐flatisnotB,etc. Next,determinethequalityoftheinterval(perfect,minor,major,diminished,augmented).Start withtheknownqualitiesofthemajorscale:allintervalsaremajorexcepttheunison,octave,4th and5th,whichareperfect.Inreducingintervals,majorcanbemademinor;minorcanbemade diminished.Inenlargingintervals,majorcanbemadeaugmented.Perfectintervalscanbe diminishedoraugmented.Thereductionorincreaseisbyhalf‐step. ° mM +
° P+
Practicalapplicationinjazzisasfollows: Unison:remainsunison,nodiminishedoraugmentedusage. Second:amajorsecondcanbecomeminororaugmented;augmentedisuncommon. Third:majorandminorthirdsarecommon;theaugmentedthirdisnot,itbecomesaperfect forth. Fourth:augmentedfourthsarecommon;diminishedfourthsarenot,theybecomemajor thirds. Fifth:boththediminishedandaugmentedfifthiscommon. Sixth:aremajororminor;augmentedsixthsbecomeminorsevenths. Seventh:major,minor,anddiminishedseventhsarecommon;augmentedbecomestheoctave. Diminished: flat asin flatfive, flatnine,or flatthirteen. Augmented:sharpasinsharpfour ,sharpfive,sharpnine,orsharpeleven;or plusasin plusfour, plusfive. AtoD‐sharpisafourthbecausefourlettersofthealphabetareinvolved.Dnaturalisthenote foundinthemajorscale(allintervalsaremajorexcepttheunison,octave,4thand5th,whichare perfect);itisaperfectfourth.Perfectintervalscanbediminishedoraugmented.AtoD‐sharpis augmented,oftencalledsharpfour or plusfour . AtoE‐flatisafifthbecausefivelettersofthealphabetareinvolved.Enaturalisthenotefoundin themajorscale;itisaperfectfifth.AtoE‐flatisdiminishedoftencalledaloweredfifthorflatfive.
ModesoftheMajorScale Themodesofthemajorscalearescalesderivedfromstartingonagivenscaledegreeand retainingthekeysignature.Forexample,thekeyofCMajorhasnosharpandnoflats.Ifwestart onD,retaintheCMajorkeysignature,andplayastep‐wisemotion,weareintheDorianmode.
IfwestartonGandusethosenotesintactasagroupwiththeCMajorkeysignature,itisthe mixolydianmode.
Adistinguishingelementisthechordthesescalesrepresent.Dorianisaminorscaleappropriate toaminorchordfromasimpletriadthroughextensions9,11,and13.Mixolydianisadominant scaleappropriatetoadominantchordfromthetriadthroughextensions9and13.Noticethatthe minorchordintheexamplebelowisamm7andthedominantisaMm7chord.Whenapplying extensions,includethe7thandkeepstackingthirds.Thenumbersarederivedfromscaledegrees beginningontherootofthechord(Ddorian:D=1,E=3,F=3,etc)ratherthantherelativemajor orthekeysignatureofthecomposition.
Thenamesofthemodesofthemajorscaleare:
Thedorian,mixolydian,andionian(Major)modesaremostsignificantduetotheirplaceinaiiV7 Ichordprogression.Thesequenceisderivedfromachordthatstartsonthesecondscaledegree ofthemajor,ortonic,scalethenmovestoachordstartingonthefifthscaledegreeandresolving totonic,orI.Thesechordsallsharethesamekeysignature.
Asamatterofhistoricalperspective,oneshouldnotethatthejazzmodesdorian,mixolydianand thelikearescalesandnotcompositionalmodesasinMedieval,Renaissance,orotherclassical musicdefinitionsorusages. ThefirstoccurrenceofthesenameswasintheancientGreekperiod.Constructsofmusicwere derivedfromcombiningfour‐noteunitscalledtetrachordsasusedinkitharaplaying(aharp‐like instrument).Tetrachordswerecombinedtoformwhatwemightcallscalesandmusicwas composedwithinthesegroupsofnotes.Someofthe“scales”thusderivedparallelthejazzmodes innameandintervallicrelationship,suchasdorian,butothersdonot;someincorporatequarter tonesorhaveotherintervalrelationshipsverydissimilartotheabovejazzscales. Greekmusictheoryprinciplesprogressedthroughandweremixedwithothercultures,suchas HebrewandByzantine,totheWesternEuropemedievalmodesandcodifiedbythe9 thcentury. Therewereeightmedievalmodes:dorian,hypodorian,phrygian,hypophrygian,lydian, hypolydian,mixolydian,andhypomixolydian.Onecanseethenamerelationstothejazzmodes. Thepitchrelationshipsofdorian,phrygian,lydian,andmixolydianrelatetothejazzmodesofthe samenames;however,usagewasnotthesame.Ionian,aeolian,andlocrianaremuchlater additions. Modalmusic,asitwasintheMedievalthroughtheRenaissanceeras,bydefinitionismusicthat usesaspecificgroupofnotessomewhatexclusivelywithoutattentiontochordprogression,with tonalcenterbutnotasinthemajor/minortonalsystemordiatonicmusic(whichbeganc.1600, codifiedinTraitédel'harmonie,1722byJean‐PhilippeRameau).Medievalandespecially Renaissancetheoryismelodicwithconcernforintervallicharmony.ModaljazzsuchasSoWhat orImpressionsstayonasinglechordforalongperiodoftimeand,eventhoughtheyhavemore thanonetonalcenter,areclosesttobeingtrulymodalandaptlynamed. Thus,thejazzmodesarethoughtofasmode=aspectI ,referringtoitsrelationtomajorasaboveor otherknownscalebasisincludingascendingmelodicminor andharmonicminor .Thejazz“modes” arenotmodal intheclassicalorhistoricalsensebutarescales.
Worksheets Worksheetsareorganizedintopackets: 1. 2. 3. 4.
Major:Scale,Arpeggio,Chord,Pattern Minor:Scale,Arpeggio,Chord,Pattern Dominant:Scale,Arpeggio,Chord,Pattern Chormaticism:DominantBe‐bop,MinorBe‐bop,MajorBe‐bop,Pick‐upandPassingNotes, DiatonicEnclosure,ChromaticEnclosure,InclusivePattern 5. iiV7I:VoicingI,VoicingII,OneMeasurePattern,TwoMeasurePattern Additionalworksheetsinclude: Intervals ChordSymbolChart ImprovSoloComposition:SoWhat ,SatinDoll ,Blues ScalesandArpeggios Writeallscalesandarpeggiosuptothe9thanddown. Donotusekeysignatures. Includeaccidentalsascendinganddescending. Chords Writechordvoicingsasintheexamplegiven. KeepvoicingscenteredaroundmiddleC. Playallchordsonthepiano,listen,becomefamiliarwiththesoundofthejazzvoicing. Playthecompanionscale,arpeggio,andpattern. Patterns Severalexamplesaregivenforeachquality. Thechordmostappropriatetothepatternincluded. Findtwopatternsforeachpatternworksheetthatarespecifictothequalityindicted.Sources mightincludeatranscription,ajazzimprovisationtextbook,Aebersoldplay‐a‐longseries,a bookonjazzpatternssuchasJerryCoker’sPatternforJazz ,areputableprofessional(i.e.Aaron Miller,RyanNielsen,MarkWatkins,JayLawrence,KeithPhillips,JustinNielsen). Addpatternstothelogtoincreasevocabulary. Chromaticism Be‐bopScales:Dominant,Minor,Major;Be‐bopscalesuseachromaticpassingtonetokeepchord tonesinlinewithbeatemphasis.Thedominantandminorbe‐bopscalesusethesamepitches, asislogicalforuseiniiV7Ipatterns.
Pick‐upandPassingNotes DiatonicEnclosure ChromaticEnclosure iiV7I ChordVoicingsI,II,III One‐measurePatterns Two‐measurePatterns
WorksheetPacket#1:Major Scale Writeallscalesuptothe9thanddown. Donotusekeysignatures. Includeaccidentalsascendinganddescending. Arpeggio Writeallarpeggiosuptothe9thanddown. Donotusekeysignatures. Includeaccidentalsascendinganddescending. Chords Writechordvoicingsasintheexamplegiven. KeepvoicingscenteredaroundmiddleC. Playallchordsonthepiano,listen,becomefamiliarwiththesoundofthejazzvoicing. Playthecompanionscale,arpeggio,andpattern. Patterns Severalexamplesaregivenwiththechordmostappropriatetothepatternincluded. Findtwopatternsthatarespecifictothequality(major).Sourcesmightincludeatranscription,a jazzimprovisationtextbook,Aebersoldplay‐a‐longseries,abookonjazzpatternssuchasJerry Coker’sPatternforJazz ,areputableprofessional(i.e.AaronMiller,RyanNielsen,Mark Watkins,JayLawrence,KeithPhillips,JustinNielsen,oravisitingguest). Includetheappropriatechordsymbolandpatternsource. Addpatternstothelogtoincreasevocabulary.
Scale Example:
Arpeggio Example:
Chord
Patterns(treble) Examples:
Patterns(bass) Examples:
WorksheetPacket#2:Minor Scale Writeallscalesuptothe9thanddown. Donotusekeysignatures. Includeaccidentalsascendinganddescending. Arpeggio Writeallarpeggiosuptothe9thanddown. Donotusekeysignatures. Includeaccidentalsascendinganddescending. Chords Writechordvoicingsasintheexamplegiven. KeepvoicingscenteredaroundmiddleC. Playallchordsonthepiano,listen,becomefamiliarwiththesoundofthejazzvoicing. Playthecompanionscale,arpeggio,andpattern. Patterns Severalexamplesaregivenwiththechordmostappropriatetothepatternincluded. Findtwopatternsthatarespecifictothequality(minor).Sourcesmightincludeatranscription,a jazzimprovisationtextbook,Aebersoldplay‐a‐longseries,abookonjazzpatternssuchasJerry Coker’sPatternforJazz ,areputableprofessional(i.e.AaronMiller,RyanNielsen,Mark Watkins,JayLawrence,KeithPhillips,JustinNielsen,oravisitingguest). Includetheappropriatechordsymbolandpatternsource. Addpatternstothelogtoincreasevocabulary.
Scale Example:
Arpeggio Example:
Chord
Patterns(treble) Examples:
Patterns(bass) Examples:
WorksheetPacket#3:Dominant Scale Writeallscalesuptothe9thanddown. Donotusekeysignatures. Includeaccidentalsascendinganddescending. Arpeggio Writeallarpeggiosuptothe9thanddown. Donotusekeysignatures. Includeaccidentalsascendinganddescending. Chords Writechordvoicingsasintheexamplegiven. KeepvoicingscenteredaroundmiddleC. Playallchordsonthepiano,listen,becomefamiliarwiththesoundofthejazzvoicing. Playthecompanionscale,arpeggio,andpattern. Patterns Severalexamplesaregivenwiththechordmostappropriatetothepatternincluded. Findtwopatternsthatarespecifictothequality(dominant).Sourcesmightincludea transcription,ajazzimprovisationtextbook,Aebersoldplay‐a‐longseries,abookonjazz patternssuchasJerryCoker’sPatternforJazz ,areputableprofessional(i.e.AaronMiller,Ryan Nielsen,MarkWatkins,JayLawrence,KeithPhillips,JustinNielsen,oravisitingguest). Includetheappropriatechordsymbolandpatternsource. Addpatternstothelogtoincreasevocabulary.
Scale Example:
Arpeggio Example:
Chord
Patterns(treble) Examples:
Patterns(bass) Examples:
WorksheetPacket#4:Chromaticism Pick‐upandPassingNotes ChromaticPickupNote:Anydesirednoteofemphasis,usuallyachordtone,canbeapproachedby 1/2stepeitheraboveorbelow. PassingTone:1/2stepscanconnectchordtoneswithinachord,asinthebebopscales,or betweenchordsasbelow. Transposepatternexamplein12keys. Includechordsymbols. Donotuseenharmonics. Scale Writeallscalesuptothe9thanddown. Donotusekeysignatures. Includeaccidentalsascendinganddescending. DiatonicEnclosure Precedechordtonebythediatonicscaletoneaboveand1/2stepbelow. Transposepatternexamplein12keys. ChromaticEnclosure Precedechordtoneby1/2aboveand1/2stepbelow,orvisaversa. Transposepatternexamplein12keys. InclusivePattern Noticeintheexamplethatthiscontrivedpatternincludesbothchromaticpassingtonesand enclosures. Transposepatternexamplein12keys.
Pick‐upandPassingNotes Example:
Be‐bopScale:Dominant Example:
Be‐bopScale:Major Example:
Be‐bopScale:Minor Examples:
Enclosure:Diatonic Examples:
Enclosure:Chromatic Example:
InclusivePattern Example:
WorksheetPacket#5:iiV7I iiV7IVoicings Writechordvoicingsasintheexamplegiven. KeepvoicingscenteredaroundmiddleC. Followthesequenceindicated. Playallchordsonthepiano,listen,becomefamiliarwiththesoundoftheiiV7I. Voicingoptionsareprovidedfor: Shell 3‐note 4‐note Patterns Severalexamplesaregivenwiththechordmostappropriatetothepatternincluded. Findtwopatternsthatarespecifictothequality(major).Sourcesmightincludeatranscription,a jazzimprovisationtextbook,Aebersoldplay‐a‐longseries,abookonjazzpatternssuchasJerry Coker’sPatternforJazz ,areputableprofessional(i.e.AaronMiller,RyanNielsen,Mark Watkins,JayLawrence,KeithPhillips,JustinNielsen,oravisitingguest). Includetheappropriatechordsymbolandpatternsource. Addpatternstothelogtoincreasevocabulary. WorksheetsforoneandtwomeasureiiV7Ipatternsareprovided.
iiV7I:shellvoicing
iiV7I:3‐note
iiV7I:4‐note
Patterns:1‐measure(treble) Examples:
Patterns:1‐measure(bass) Examples:
Patterns:2‐measure(treble) Examples: