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2012 Saskatchewan Curriculum

Jazz Theory To Accompany Instrumental Jazz 10, 20, 30

Jazz Theory ISBN 978-1-77107-036-2 1. Arts education (Secondary school) - Saskatchewan - Curricula. 2. Competency-based education Saskatchewan. Saskatchewan. Ministry of Education. All rights are reserved by the original copyright owners.

Table of Contents Introduction. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 Chromatic Scale. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 Intervals. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 Scales . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Major Scales. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Modes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 Pentatonic Scales. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Blues Scales . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 Minor Scales. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 The Circle Of Fourths. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 Chord Nomenclature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 Chords and Keys. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 Scale Triads. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 Scale Sevenths. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 The Blues Progression. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 II-V-I Progression. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 I -VI-II-V Progression. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 Turnarounds. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 Rhythm Changes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 Melody. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32 Transcription . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 Tritone Substitution. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 What Scale Form to Play on Dominant Seven Chords?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39 Jazz Articulations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 Bibliography. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

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Introduction Theory does not have the impact it should unless it is applied to the music being worked on by the students. Generally, theory does not come first (before the music), and it does not just appear out of nowhere. Music theory has been developed from the music that was being played. J.S. Bach did not write his chorales using a list of rules about how to write chorales. The rules were derived from analysis of the Bach chorales. Bach wrote what sounded good to him. For students, some demonstration of their understanding of theory may need to be shown on paper but the real understanding of theory is shown through its application to playing or singing. Teachers are encouraged to make the study of theory apply to the music the students are studying. Students are encouraged to work at finding ways to explore the music they are playing through the application of their knowledge of theory. It is highly recommended that students take the opportunity to play and sing all of the theoretical concepts discussed. In jazz the great soloists did not play from a set of rules about scales and chords, but instead played what sounded good to them. A careful listener can hear specific players change their “rules” as that player progresses through their career. After hearing great players perform, some listeners wanted to know what those players were doing. How do they sound like that? Theorists analyzed what the players were doing and made a set of rules that generally describes what was going on in the music. In the practice and application of music theory there may be exceptions to any rule. Sometimes rules change according to the level of understanding of the practitioner. It is important to remember these rules give a set of tendencies, they are not hard and fast rules. A mixolydian scale works well for most dominant chords in many settings. Analysis of almost any solo by one of the jazz greats will show the soloist sometimes using notes not from the mixolydian scale on dominant chords in their solo. Is there something wrong with the rule or the solo? No. Over the years, with the development of the jazz pedagogy, some conventions about how and when rules are introduced to students have developed. Not everyone plays by the same rules. When a student is beginning to improvise it is often beneficial to take away options (when there are so many) from the student. As time progresses and their knowledge and skills grow, the improvisor may notice that the rules they have been given do not always seem correct or are limiting. The rules worked well for the less advanced player, now it may be time for the student to move to another, less restricting, set of rules. The student may eventually move away from thinking about rules at all (hopefully), and move into the realm of”what sounds good”. When trying to have a conversation about any topic, it is always better if the people having the conversation are speaking the same language. In this booklet the goal is to help students learn the language of jazz. Every effort has been made to ensure that the language used here is the common language of jazz musicians. In order to converse intelligently about their music, students need to understand and use theoretical terms correctly. Finally, effort has been made to try to describe aspects of jazz theory in more than one way, as not everyone always has the same learning style or understands things the same way. .

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Chromatic Scale A chromatic scale is made by dividing the octave into 12 equal steps, the smallest steps in the Western European Art Music tradition. There are musical traditions that use steps smaller than a half step but those will not be discussed in this resource. Below is a chromatic scale covering the range of an octave (12 half steps). Demonstrating a chromatic scale aurally is important, in addition, using a keyboard, mallet instrument, fretted bass or guitar can sometimes help make a chromatic scale more visually clear for the students. C# C

-

D# -

Db ½ step

½ step

D

-

Eb

E (Fb)

-

(E#) F -

½ step - ½ step - ½ step - ½ step

F#

G# -

Gb

G -

A# -

A

Ab

-

Bb

(B#) C

B (Cb)

- ½ step - ½ step - ½ step - ½ step - ½ step - ½ step

-

Chromatic scales are commonly written with sharps ascending and flats descending.

The chromatic scale is a fundamental building block for understanding theory. Understanding how the chromatic scale is constructed will help with beginning theory concepts. When reading printed music the ability to quickly recognize the presence of a chromatic scale will help students with sight reading. The faster and more evenly the scale can be played by memory, the easier many musical tasks become for the student.

Intervals An interval describes exactly the distance between two notes. The study of music theory starts most often with an understanding of intervals, the relationship between two notes. Intervals can be either melodic (two successive tones) or harmonic (two tones played simultaneously).

Count all the letters to get the interval i.e. C-G (C, D, E, F, G = 5), therefore the interval is a fifth

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The interval of a half step or minor second is the smallest interval that will be used in this booklet and in music developed from the Western European Art Music tradition. Intervals smaller than a half step are used in many musical traditions around the world, including North America (e.g., blue notes, some modern “classical” music), but these intervals will not be part of this description of intervals.

Name of interval

# of steps

Interval in major scale

Minor 2nd Major 2nd Minor 3rd Major 3rd Perfect 4th Tritone Perfect 5th Minor 6th Major 6th Minor 7th Major 7th Octave

½ step Whole step 1 ½ step 2 Whole steps 2 ½ steps 3 whole steps 3 ½ steps 4 whole steps 4 ½ steps 5 whole steps 5 ½ steps 6 whole steps

3-4* 1-2 2-4 1-3 1-4 4-7 1-5 3-8 1-6 2-8 1-7 1-8

*There are other locations for some intervals, such as 7-8 for a minor 2nd but only one example is given per interval. Major, minor, and perfect intervals maybe be increased or decreased in size by a half step. • Perfect intervals may become diminished or augmented but never become major or minor. • Major intervals may become augmented, but never become perfect and decreasing a major interval by a half step makes it a minor interval. • Minor intervals may become diminished, but never become perfect and increasing a minor interval by a half step makes it a major interval. Intervals may be “misspelled”. In the example below the ascending interval F-A# sounds like a perfect fourth but is correctly written as an augmented third (count the letters F, G, A = 3), even though the two intervals (P4, Aug3) sound the same. The ascending interval F-D# sounds like a minor seventh but is written as an augmented sixth, again the two intervals sound the same. Other examples of misspelling are the ascending interval E-Ab sounds like a major third but is described as an diminished fourth (count the letters E, F, G, A = 4), even though the two intervals (dim4, Maj3) sound the same. The ascending interval E-C# sounds like a major sixth but could be written as a diminished seventh, E-Db, again the two different written intervals sound the same.

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Intervals may be inverted. The numerical value of an interval and its inversion will always total 9. A minor third (f# up to A = 3) and its inversion, a major sixth (A up to F# = 6) = 9 (3 + 6). Major intervals invert to minor intervals. Minor intervals invert to major intervals. Perfect intervals invert to perfect intervals. Augmented intervals invert to diminished intervals and vice versa. STUDENT PRACTICE SUGGESTIONS - To help learn the sound and feel of different intervals, students should sing and play all the intervals up and down from a given note.

Scales The Saskatchewan Instrumental Jazz Curriculum requires (by the completion of IJ30) students to have played major, melodic and harmonic minor scales, the modes of those scales (particularly Dorian and Mixolydian) as well as chromatic scales, pentatonic scales, blues scales, and diminished and whole tone scales.

Major Scales All major scales have the same pattern of whole steps and ½ steps. All scales of the same type (major, minor, etc.) have the same pattern of steps. The pattern for major scales is 1, 1, ½, 1, 1, 1, ½. C

D 1

E 1

F ½

G 1

A 1

B 1

C ½

All Major scales have 1 note for each letter, all 7 letters of the musical alphabet will be present in each major scale. The F# major scale written F#, G#, A#, B, C#, D#, F, F# is theoretically wrong, there is no note E. Aurally the scale will sound correct but to be theoretically correct the note F should be written as E#.

When writing out major scales do not mix up flats and sharps in the same scale. There are no major scales that have a mixture of flats and sharps. Some minor scales will have a mixture of flats and sharps, as will whole tone and diminished scales. When learning major scales on an instrument try not to think F# G#, Bb, B, C#, Eb, F, F# or some other combination of sharps and flats. Even though it is more challenging at first, think F#, G#, A#, B, C#, D#, E#, F#. STUDENT PRACTICE SUGGESTIONS • It is very important for all instrumentalists to feel comfortable playing and thinking in all 12 keys. The world of music outside of school band and jazz band will involve playing in keys other than Eb, Bb, F, and C Major concert. • As part of practicing scales try improvising using only the notes of one major scale, try to get familiar with the

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feeling of playing in one key at a time, do this in all 12 keys.

Modes Modes are simply a method of naming and describing scales from all the scale degrees or steps, not just the root, which is the way major scales are thought of commonly. There are 7 different modes of major scales: Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian and Locrian. The major scale starting from the root is called the Ionian mode. A natural minor scale is a major scale starting on the 6th degree of the major scale, and is known as the Aeolian mode. One way to think of the modes is to start with a C major scale on a piano, using only the white keys. C, D, E, F, G, A, B, C or C-C. This is a Major scale or Ionian mode. D-D is Dorian, E-E is Phrygian and so on. Another way to think of modes is to think of them as altered major scales. To take a major scale and convert it to one of the other modes, some notes from the original major scale would need to be changed. For example, to take a C major scale and change it to a C Lydian scale, the fourth degree of the scale would have to be raised a half step, 4 up to #4, or F up to F#.

Number of Mode

Mode Name

On piano (white keys only)

Altered Major

1st 2nd

Ionian mode Dorian mode

C – C (C, D, E, F, G, A, B, C) D – D (D, E, F, G, A, B, C, D)

none b3, b7

3rd

Phrygian mode

E – E (E, F, G, A, B, C, D, E)

b2, b3, b6, b7

4th

Lydian mode

F – F (F, G, A, B, C, D, E, F)

#4

5th

Mixolydian mode

G – G (G, A, B, C, D, E, F, G)

b7

6th

Aeolian mode

A – A (A, B, C, D, E, F, G, A)

b3, b6, b7

7th

Locrian mode

B – B (B, C, D, E, F, G, A, B)

b2, b3, b5, b6, b7

Modes of C Major The following examples are from C major and all these examples would use only the white notes on a piano. The flats and sharps written above the staff indicate which notes would have been altered to change a major scale from the same root to the appropriate mode. For example, the Aeolian mode example is a C major scale starting on A. An A major scale has 3 sharps, F, C, and G. To make an Aeolian mode scale from the corresponding major scale the 3rd, 6th and 7th degrees have to be lowered or flattened by a half-step.

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Some students will find that using a formula helps to work out the major scale associated with the mode. To discover the major scale associated with a Dorian scale use the formula: X = the second note of what major scale? (This method reinforces the importance of really knowing all the major scales). The question is, what notes are in an F# Dorian scale? Knowing that Dorian mode is the mode based on the second degree of the scale and using the above formula the question becomes - F# is the second note of what major scale? F# is the second note of only the E major scale. Therefore an F# Dorian scale would be an E major scale starting on F# or F#, G#, A, B, C#, D#, E, F#. For other modes substitute the number of the mode in the equation. For example, what notes are in an F# Phrygian scale. Phrygian is the 3rd mode, so the question becomes - F# is the third note of what major scale. F# is the third note of only a D major scale. For an F# Phrygian scale play a D major scale starting on F# or F#, G, A, B, C#, D, E, F#. Another example is what notes are in an F# Mixolydian scale. Mixolydian is the 5th mode, so the question becomes - F# is the 5th note of what major scale? F# is the fifth note of only a B major scale so for an F# Mixolydian scale play a B major scale starting on F# or F#, G#, A#, B, C#, D#, E, F#. Using the altered major scale strategy to figure out the mode works in the following manner. As before the scale being pursued is an F# Dorian scale. Consider an F# major scale (F#, G#, A#, B, C#, D#, E#, F#). The Dorian mode can be created by lowering the third and seventh degress of a major scale by a half-step. In the case of an F# major scale lowering the third creates an A natural, and lowering the seventh creates an E natural. As a result, the F# Dorian scale has the notes F#, G#, A, B, C#, D#, E, F#. A similar approach can be used for other modes, be sure to use the correct alterations for each mode. Some confusion can result when learning about modes. A common problem is that students confuse a C Dorian scale and a Dorian scale in the key of C. The C Dorian scale is a scale that starts on C and uses the notes from a Bb major scale. In the key of C the only Dorian scale is a D Dorian scale which is a scale starting on the note D and using the notes from the key of C major. C Dorian Scale

6

Dorian scale in the key of C

Jazz Theory

Examples of the modes starting on C

Formula Ionian Dorian Phrygian Lydian Mixolydian Aeolian Locrian

C, D, E, F, G, A, B, C C, D, Eb, F, G, A, Bb, C C, Db, Eb, F, G, Ab, Bb, C C, D, E, F#, G, A, B, C C, D, E, F, G, A, Bb, C C, D, Eb, F, G, Ab, Bb, C C, Db, Eb, F, Gb, Ab, Bb, C

C is the first note of what major scale (C) C is the second note of what major scale (Bb) C is the third note of what major scale (Ab) C is the fourth note of what major scale (G) C is the fifth note of what major scale (F) C is the sixth note of what major scale (Eb) C is the seventh note of what major scale (Db)

The examples following are of the seven modes of major starting from the note C. This approach is another example of learning modes as altered major scales. Once again, the flats and sharps written above the staff indicate which notes have been altered to change the scale from the major scale built from the root (C) to the appropriate mode.

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The modes used most often in beginning the study of jazz are Dorian, Mixolydian and Ionian (major). Dorian scales are used most often on minor and minor 7 chords, Mixolydian scales are used most often on dominant and dominant 7 chords. Ionian scales are used most often on major and major 7 chords (though the Lydian scale, with a sharp 11, is often a better choice for major chords). Students who have learned Harmonic and Melodic minor scales are often confused by the fact that in jazz these scales are rarely used on minor chords. The scale choice for minor chords is more often the modes of major scales, Dorian most often, Phrygian and Aeolian less often. The study and knowledge of modes becomes really helpful for students when they are soloing, and when they start to recognize simple chord progressions such as IImin7 – V7 – IMaj7. In the key of C for instance, this IImin7 – V7 – IMaj7 progression is Dmin7 – G7 – Cmaj7. By using Dorian scales for minor chords, Mixolydian scales for dominant chords and Ionian (major) scales for major chords gives the following: • Dmin7, use dorian (C major scale starting on D) • G7, use Mixolydian (C major starting on G) • CMaj7, use Ionian (C major starting on C)

The same major scale (C) can be used on all three chords. It is much simpler to think of one scale than a different scale for each of the chords and a good approach for the beginning improviser. Have the student try to think and hear the changing chords and have these changes influence the solo, rather than play the one scale without regard to the changes. When the notes of a mixolydian scale don’t fit the meoldy of a tune (or just sound wrong) try one of the modes of harmonic minor (5th mode) or ascending melodic minor (4th or 5th mode). It may be a better choice (see modes of minor scales, p. 11). STUDENT PRACTICE SUGGESTIONS • Improvise using the different modes, be careful to feel or hear where the root is for each mode, it is easy to revert to playing from the root of the key. • Practice the different modes in all keys - to change things up, try playing one of the modes in all keys or play all of the modes in one key.

Pentatonic Scales Pentatonic literally means a 5 note scale. Traditionally pentatonic scales are built with the first, second, third, fifth, and sixth degrees of a major scale. Some texts will refer to major and minor pentatonic scales. Though the major and minor pentatonic scales are used over different chords they are actually the same scale starting on a different scale degree. (Major) Pentatonic 1, 2, 3, 5, 6

8

C, D, E, G, A

(minor) Pentatonic 6, 1, 2, 3, 5

A, C, D, E, G

Jazz Theory

Pentatonic scales are used often in rock and funk playing but can also be used in many other styles. If using pentatonic scales on a blues progression, a major pentatonic scale from the flat third of the key will give the blues scale for that key (without the flat 5). For example, in a Bb blues the flat 3 of the key is Db, a Db major pentatonic scale has the notes Db, Eb, F, Ab, Bb. A Bb blues scale has the notes – Bb, Db, Eb, E, F, Ab, Bb (see next section, p. 10, for Blues scales).

Db Pentatonic

1

2

3

5

6

1

Bb Blues

b3

4

b5

5

b7

8(1)

Pentatonic scales can be used on a variety of chord types, here are some simple suggestions:

Chord Type

Location of Root

Pentatonic Scale

Dom7 (F, A, C, Eb)

from root of chord

F, G, A, C, D

Sus7 (F, Bb, C, Eb) Maj (F, A, C)

from 4th or 7th of chord

7th - Eb, F, G, Bb, C or 4th – Bb, C, D, F, G F, G, A, C, D

Min7 (F, Ab, C, Eb)

from root of chord third of chord

Ab, Bb, C, Eb, F (Maj) or F, Ab, B, C, Eb (min)

STUDENT PRACTICE SUGGESTIONS • Practice pentatonic scales in all 12 keys. • Practice pentatonic scales in running groups of three and four notes. • Practice pentatonic scales over long sets of the same chord (8 or more bars) to get used to the sound of the scale, on suspended chords alternate 4 or 8 bar segments using pentatonic scales from the root and the fourth of the chord.

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Blues Scales Blues scales are six note scales, both forms of the blues scale could be said to be derived from a pentatonic scale. The most common blues scale, (1, b3, 4, b5, 5, b7) includes both “blue notes”, the flat 3 and flat 5. The other (1, 2, b3, 3, 5, 6) includes the flat 3 and the major 3, not the flat 5 and doesn’t have the flat 7. Both scales work well with blues changes, the first also works well with minor chords, the second with dominant chords. Most commonly the 1, b3, 4, b5, 5, b7 scale is the scale being referenced as a blues scale.

D Blues scale 1, b3, 4, b5, 5, b7

D Blues scale 1, 2, b3, 3, 5, 6

(or F Pentatonic Scale with added Ab)

(or D Pentatonic Scale with added F)

Blues scales can be a simple scale source for beginning improvisers to use when exploring improvisation. Unfortunately blues scales are often used by slightly more experienced improvisers as the only scale source through the changes of a tune. A major problem with this approach is that when using only the notes of a single blues scale for the entire set of blues changes, it is impossible to play all the guide tones (see guide tones, p. 35). The student can never really ‘make’ the changes. This problem becomes more serious if as the students get older, they are never shown how to progress past using only the blues scale in their improvisations. In songs with longer (8 bars plus) sections of a single minor chord, soloists will sometimes alternate between using a dorian scale and a blues scale in 4 or 8 bar segments.

Bb Blues Scale (with added notes)

The above blues scale has added the 9th (or 2nd), 3rd, and 6th degrees of the scale. This may more accurately reflect what experienced players may actually play when using a blues scale. This scale can combines the notes of two blues scales given above. There are only three notes missing before it would be a chromatic scale. Remember that taking away note choices sometimes makes it easier for a beginning improvisor. STUDENT PRACTICE SUGGESTIONS • Notice that the notes from the blues scale above do not allow for all the chord tones of even the simplest form of a B flat blues progression (see chord/guide tones in blues section of booklet). • Memorize blues scales in all twelve keys. • Play two octave or full range scales. • Start ideas in an improvisation on notes other than the root. • Practice blues scales starting from notes other than the root. • Practice improvising over a minor chord, alternating every 4 or 8 bars between the dorian and blues scale.

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Jazz Theory

Minor Scales In this booklet the section on minor scales will be confined to harmonic and ascending melodic minor.

Just like major scales, there are 7 modes of each the harmonic and ascending melodic minor scales. We generally don’t call the modes of minor by the Greek names (Dorian, Lydian, etc. as is done for major scale modes) but instead just use the scale degree (first mode, second mode, etc.). In jazz, harmonic and melodic minor scales are not often used on minor chords, instead the Dorian scale is used most often, and less often, the Phrygian and Aeolian modes. Some modes of harmonic and melodic minor scales are used often, usually on dominant chords. The modes of minor scales may impart a colour to the scale that more accurately reflects the key of the song or an altered chord than a mode of major.

Harmonic Minor Scale Harmonic minor scales in every key have the same pattern of whole steps and half steps. C

D 1

Eb ½

F 1

G 1

Ab B ½ aug2

C ½

To change a natural minor scale (or Aeolian, from major) to a harmonic minor scale the seventh degree of the natural minor scale is raised a half step. The change gives the steps 6, 7, 1, 2, 3, 4, #5, 6. The harmonic minor scale can also be thought of as an altered major scale in which case the steps would be 1, 2, b3, 4, 5, b6, 7, 8.

# of Mode

Mode Name

From C Harmonic minor

Altered Major

1st

First mode

C – C (C, D, Eb, F, G, Ab, B, C)

2nd

Second mode

D – D (D, Eb, F, G, Ab, B, C, D)

3rd

Third mode

Eb – Eb (Eb, F, G, Ab, B, C, D, Eb)

4th

Fourth mode

F – F (F, G, Ab, B, C, D, Eb, F)

5th

Fifth mode

G – G (G, Ab, B, C, D, Eb, F, G)

6th

Sixth mode

Ab – Ab (Ab, B, C, D, Eb, F, G, Ab)

7th

Seventh mode

B – B (B, C, D, Eb, F, G, Ab, B)

b3, b6 b2, b3, b5,b7 #5 b3, #4, b7 b2, b6, b7 #2, #4, b2, b3, b4, b5, b7

The same formula used for modes of the major scale will also work for harmonic minor scales. To discover the harmonic minor scale associated with second mode, use the formula: X = the second note of what minor scale? (Again reinforcing the importance of really knowing all your scales.) The question becomes, what notes are in an F# second mode harmonic minor scale. Ask the question - F# is the second note of what harmonic minor scale? F# is the second note of only the E harmonic minor scale, so an F# second mode scale (from Harmonic) would be an E harmonic minor scale starting on F# or F#, G, A, B, C, D#, E, F#. For other modes of harmonic minor, substitute the number of the mode in the equation, e.g., F# third mode: F# is the third note of what harmonic minor scale (D#), F# fifth mode: F# is the 5th note of what harmonic minor scale (B). The following table gives the modes of the harmonic minor scale, each starting on C rather than the scale degrees as in the previous example.

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11

Mode

Notes

Formula

First Mode

C, D, Eb, F, G, Ab, B, C

C is the first note of what H. minor scale (C)

Second Mode

C, Db, Eb, F, Gb, A, Bb, C

Third Mode

C, D, E, F, G#, A, B, C

C is the second note of what H. minor scale (Bb) C is the third note of what H. minor scale (A)

Fourth Mode

C, D, Eb, F#, G, A, Bb, C

C is the fourth note of what H. minor scale (G)

Fifth Mode

C, Db, E, F, G, Ab, Bb, C

C is the fifth note of what H. minor scale (F)

Sixth Mode

C, D#, E, F#, G, A, B, C

C is the sixth note of what H. minor scale (Eb)

Seventh Mode

C, Db, Eb, Fb, Gb, Ab, Bb, C

C is the seventh note of what H. minor scale (Db)

The mode used most often by improvisers is the fifth mode (on a dominant chord). This mode gives a b9 and b13 to the dominant scale and chord.

Where the modes of minor become useful for improvisers is when the soloist starts to encounter IImin7b5 – V7b9 progressions. In the key of C minor the IImin7b5 – V7b9 progression is Dmin7b5 – G7b9. Using second mode harmonic minor scales for minor chords and fifth mode harmonic minor scales for dominant chords gives the following: • Dmin7b5, use second mode (C harmonic minor scale starting on D). • G7b9, use fifth mode (C harmonic minor starting on G) The same harmonic minor scale (C) can be used on both chords. It is much easier to think of one scale for the two chords rather than a different scale for each of the chords. Just like the major IImin7 – V7 – Maj7 progression discussed earlier, it is important to work towards thinking about and hearing the changing chords and have the changes influence the solo, rather than play the one scale without regard to the changes.

Ascending Melodic Minor Scale Ascending melodic minor scales in all keys have the same pattern of whole steps and half steps. When using a melodic minor scale in a jazz setting only the ascending portion of the scale is considered. The descending form of melodic minor is the same as Aeolian in major. C

D 1

Eb ½

F 1

G 1

A 1

B 1

C ½

To change a natural minor scale (or Aeolian from major) to an ascending melodic minor scale the sixth and seventh degrees are raised a half step. These changes give the steps 1, 2, 3, 4, 5, #6, #7, 8. The melodic minor scale could also be thought of as an altered major scale in which case the notes would be 1, 2, b3, 4, 5, 6, 7, 8.

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Jazz Theory

# of Mode

Mode Name

From C Ascending melodic minor Altered Major

1st

First mode

C – C (C, D, Eb, F, G, A, B, C)

b3,

2nd

Second mode

D – D (D, Eb, F, G, A, B, C, D)

b2, b3, b7

3rd

Third mode

Eb – Eb (Eb, F, G, A, B, C, D, Eb)

#4,#5

4th

Fourth mode

F – F (F, G, A, B, C, D, Eb, F)

#4, b7

5th

Fifth mode

G – G (G, A, B, C, D, Eb, F, G)

b6, b7

6th

Sixth mode

A – A (A, B, C, D, Eb, F, G, A)

b3, b5, b6, b7

7th

Seventh mode

B – B (B, C, D, Eb, F, G, A, B)

b2, b3, b4, b5, b6, b7

The same formula used for modes of the major scale will also work for ascending melodic minor scales. To discover the ascending melodic minor scale associated with second mode, use the formula: X = the second note of what ascending melodic minor scale? (Again reinforcing the importance of really knowing all your scales.) This become what notes are in a second mode scale of ascending melodic minor starting on F#. Ask the question - F# is the second note of what ascending melodic minor scale? F# is the second note of only the E ascending melodic minor scale, so an F# second mode scale (from ascending melodic minor) would be an E ascending melodic minor scale starting on F#, or F#, G, A, B, C, D#, E#, F#. For other modes of ascending melodic minor, substitute the number of the mode in the equation, i.e. F# third mode: F# is the third note of what ascending melodic minor scale (D#), F# fifth mode: F# is the 5th note of what ascending melodic minor scale (B). The following is an example of the modes of the ascending melodic minor scale, each starting on C rather than the scale degrees as in the previous example.

Mode

Notes

Formula

First Mode

C, D, Eb, F, G, A, B, C

C is the first note of what M. minor scale (C)

Second Mode

C, Db, Eb, F, G, A, Bb, C

Third Mode

C, D, E, F#, G#, A, B, C

C is the second note of what M. minor scale (Bb) C is the third note of what M. minor scale (A)

Fourth Mode

C, D, E, F#, G, A, Bb, C

C is the fourth note of what M. minor scale (G)

Fifth Mode

C, D, E, F, G, Ab, Bb, C

C is the fifth note of what M. minor scale (F)

Sixth Mode

C, D, Eb, F, Gb, Ab, Bb, C

C is the sixth note of what M. minor scale (Eb)

Seventh Mode

C, Db, Eb, Fb, Gb, Ab, Bb, C

C is the seventh note of what M. minor scale (Db)

The two modes of ascending melodic minor used most often are the fourth mode (on a dominant chord) which gives a #11 to the dominant scale and chord, and the fifth mode (also on a dominant chord) which gives a b13 to the dominant scale and chord.

As students start to encounter and recognize altered dominant chords knowledge of the modes of minor scales becomes more helpful. In the case of a C7#11 chord they could use a G melodic minor ascending scale. In the case of a C7b13 chord they could use a F melodic minor ascending scale.

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13

The Circle Of Fourths The Circle of Fourths gives us many insights into the structure of music and the relationship between scales, chords, notes, and keys.

C

G D

F

a

e

1b

1#

b f#

g

2b

2# A

Bb

d

3#

3b

c

Eb

Circle of Fourths E

c#

4#

4b

f

Ab

7#/5b

5#/7b

a#/bb

g#/ab

6#/6b

B/Cb

C#/Db

d#/eb F#/Gb Outside (Capital) letters – Major keys “x/y” enharmonic

Inside (small) letters – relative minor keys Circle of Fifths – counter-clockwise

Order of Sharps: Order of Flats:

D D

F B

C E

G A

A G

E C

B F

A note about sharps and flats – they will always show up in a key signature in the order given above. If there are 4 flats in a key signature they will always be B, E, A, and D. If the music is hand written, messy and/or it is hard to tell what line or space the flats or sharps are on, there is no problem – if there are 3 sharps they are going to be F, C, and G.

14

Jazz Theory

STUDENT PRACTICE SUGGESTIONS - Why practice using the circle of fourths? • The order that chords appear in songs often follows the circle of fourths or fifths. Practicing changing from key to key in common patterns will help a player make those changes more fluently when they occur in music. • Moving clockwise, any three adjacent letters are, in order: V, I, IV – the three principle chords of blues changes in a key (I). • Moving clockwise, any three adjacent letters are, in order; II – V – I – one of the most common progressions in jazz. • The circle gives a clear view of the relation between major and minor keys and the progression of key signatures. • Transposition is made easier. To find a transposing instruments pitch given a concert pitch, Bb instruments go counter-clockwise 2 keys, Eb instruments go counter-clockwise 3 keys, F instruments go counter-clockwise 1 key. • In flat keys the next letter clockwise is the last flat added to the key signature. • In sharp keys two letters clockwise is the last sharp added to the key signature. • When songs change key (in any style, genre, etc.), very often the song will change to the key on either side of the original key of the song. • Practice 1, 2, 3, 5 patterns in the circle of fourths - the note you skip (4) is the next key around the circle clockwise. • The bridge in rhythm changes follows the circle of fourths. Find the key that the rhythm changes are in, go counter clockwise 4 letters (or up a major 3rd) and that is the key of the start of the bridge. The keys change going clockwise from there one at a time.

Jazz Theory

15

Chords and Chord Symbols Chord symbols describe a set of notes exactly, chords symbols mean only exactly what they spell. What chord symbols do not describe is the notes between the chord tones. What is played by an experienced jazz musician on the same chord in different tunes could be very different depending on the placement, context or function of the chord and the type/style of music being played. Other challenges for musicians are that there are many “systems” of notating chords, and some differences in how music is described between jazz and “classical” theory. If you hear the word red or read, you do not know which of the two words was said until you hear the word in context – I had red hair, or I read a book. The two words have very different meanings. A Dmin7 chord means only D, F, A, C. Once the chord is seen or heard in the context of a song it might be functioning as a VI chord in F major, a IV chord in A harmonic minor or a II chord in C major and so on. Knowing the context will help the improviser know what notes will best fill in between the chord tones. Sometimes chords will have two functions at the same time – in the progression Emin7b5, A7b9, Dmin7, G7, CMaj7 – the Dmin7 chord may be functioning as a I chord in D minor and a II chord in C major at the same time. Triads - 5 main types: major, minor, augmented, diminished and suspended.

Chord Type - Construction

Symbol

Notes

Major -1st, 3rd, and 5th notes of a major scale. Minor – a major triad with a lowered 3rd. Augmented – a major triad with a raised 5th. Diminished – a minor triad with a lowered 5th. Suspended - a major or minor triad with the third replaced by the fourth.

G Gmin Gaug Gdim Gsus

G, B, D G, Bb, D G, B, D# G, B, Db G, C, D

6th Chords A 6th chord is a major or minor triad with a major 6th added. The 6th is always major, the minor refers only to the third of the chord.

Chord Type

Symbol

Notes

Major Sixth -1st, 3rd, 5th, and 6th notes of a major scale. Minor – 1st, 3rd, 5th, and 6th notes of an ascending melodic minor scale

G6 Gmin6

G, B, D, E G, Bb, D, E

Note that the notes of a major sixth chord are the same as a minor seventh built from the root of the sixth of that major sixth chord. G6 = G, B, D, E has the same notes as Emin7 = E, G, B, D.

16

Jazz Theory

7th Chords Chord Type

Symbol

Notes

Major 7th – major triad plus the major 7th (the major refers to the 7th) Minor 7th – minor triad plus the minor 7th (sevenths are normally minor) Dominant 7th – major triad plus the minor 7th (sevenths are normally minor) Half diminished 7th – diminished triad plus the minor 7th Diminished 7th – diminished triad plus the diminished 7th Suspended 7th – suspended triad plus the minor 7th Augmented 7th – augmented triad plus the minor 7th Minor Major 7th – minor triad plus the major 7th

GMaj7 Gmin7 G7 Gmin7b5 G dim7 Gsus7 Gaug7 Gminmaj7

G,B,D,F# G,Bb,D,F G,B,D,F G,Bb,Db,F G,Bb,Db,Fb G,C,D,F G,B,D#,F G,Bb,D,F#

When writing 7th chords, the 7 indicates the minor seventh from the root. A major 7ths above the root is indicated by Maj7 after the letter.

Chord Nomenclature Chord Type

Preferred Symbol

Also written as

Major Triad Minor Triad Augmented Triad Diminished Triad Suspended Triad Major 6th Minor 6th Major 7th Minor 7th Dominant 7th Half Diminished 7th Diminished 7th Suspended 7th Augmented 7th Minor Major 7th Major Suspended 7th

F Fmin Faug Fdim Fsus F6 Fmin6 FMaj7 Fmin7 F7 Fmin7b5 Fdim7 F7sus Faug7 FminMaj7 FMaj7sus4

FM, FMa, FMaj, F^ F -, Fm, Fmi F+, F(#5) F0 F(sus4),

Jazz Theory

F- 6, Fm6, Fmi6 FM7, FMa7, Fma7, F^, F^7 F-7, Fm7, Fmi7 FØ Fo7, Fd7 F7(sus4), F7(sus), Cmin7/F = Fsus9 F+7 Fmin(Maj7)

17

Chords and Keys How is one chord connected to the next and how can one know if different chords might be from the same key or not? Why is this helpful in studying jazz? One approach to these questions is to think of chords as being from families, with some chords closely related and others more distantly related. Chords do not necessarily have to sound “nice” (think of palm and forearm chords, or tone clusters) and are not always built using triads, there is a lot of music that uses chords voiced in fourths. This book will be limited to tertial (chords voiced in thirds) harmony and what might be “nice” sounding chords. One way to find out if chords are related is to see if the chords come from the same key or scale. To find this out, we take a scale and build a set of chords (triads and seventh chords) from each degree of the major or minor scale. Even though there are a number of different types of chords in these sets, they are all related, the chords are from the same key or scale.

Scale Triads If a triad is built off each degree of a major or minor scale there will be a series of chords that are related, i.e. Dmin7, G7 and CMaj7 are all potentially from the same key. Note that many of the triads (major, minor, etc.) can be from more than one type of scale (major, harmonic minor, or ascending melodic minor). This will increase the challenge of determining which triads are related in a piece of music. From major: I major

II minor

III minor

IV major

V major

VI minor

VII dim.

III major #5

IV minor

V major

VI minor b5

VII dim.

III major#5

IV major

V major

From harmonic minor: I minor

II dim.

From ascending melodic minor: I minor

18

II dim.

#VI dim.

#VII dim.

Jazz Theory

Scale Sevenths If a seventh chord is built off each degree of a major or minor scale there will be a series of chords that are related, i.e. all from the same key. Note that many types of seventh chords (major, minor, etc.) can be found in more than one type of scale (major, harmonic minor, or ascending melodic minor). As with scale triads this increases the challenge of determining which seventh chords are related in a piece of music. Notice that there is only one dominant seven chord in the chords generated from each scale type and that the chord is built on the 5th degree of that scale. From major: I maj7

II min7

III min7

IV maj7

V7

VI min

VII min7b5.

From harmonic minor: I minMaj7

II min7b5

III maj7#5

IV min7

III maj7#5

IV7

V7

VI maj7

VII min7b5.

From ascending melodic minor: I minMaj7

II min7

V7

VI min7b5

VII min7b5.

Knowing that the chords in a tune are from the same key can really help with improvising. Recognizing that a an EbMaj7 chord occurring in a song in Bb Major could be functioning as a IV chord rather than a I chord, can help the improviser make better note or scale choices. Later in this booklet common chord progressions like II-V-I, I-VIII-V, blues and rhythm changes will be discussed. Practicing scale triads and seventh chords can really help a student with their mastery of a key area and their instrument. When listening to the solos of accomplished jazz musicians the careful listener will notice the use of scale triads and sevenths in many situations.

Jazz Theory

19

The Blues Progression It might seem that there are as many variations on the blues progression as there are blues. This thought is not too far from the truth. When speaking to the general public, blues might bring forth a description of how someone feels, a very particular style of music, and so on. To a jazz musician, blues is a form. Blues can come in any style, genre, tempo, feel, time signature, etc. that can be imagined. Blues are not always sad. Two general statements that can be made about a blues are: 1) that the blues is based on three chords - the I, IV, and V of a key and 2) that the most common length of a blues form is 12 bars.

Simple Bb Blues showing chord tones in root position

Simple Bb Blues showing Guide Tones

• Guide tones move 3/7, 7/3, etc. • Notice that the upper and lower voice each have only 3 different notes, within the range of one and ½ steps. • The guide tones are those notes that help improvisers successfully “make” the changes. Moving from the guide tone in one bar to the guide tone in the next bar sounds good. • Guide tones are very helpful in creating voicings for piano and guitar. • Put rhythms onto the guide tones for horn backgrounds in solos, play by memory.

20

Jazz Theory

Playing only a blues scale in the key of the blues being played will work. It can actually sound really good, but playing exclusively on one blues scale is not a common practice of the great jazz soloists. Most soloists will use a number of other scale resources and one of those scale resources will likely be the mixolydian scale.

• Notice that the chord tones for each chord are present in the mixolydian scales (unlike blues scales). • Eleven of the twelve bars in this (p20) simple blues progression are either Bb7 or Eb7. In the mixolydian scales for these two chords (directly above), there is only one note that is different between the two scales – even though the scales start on different notes. Can the beginning improvisor get that one note into the right places? The notes that are different (or change) are very important notes for the soloist to work with. In addition, notes that do not change between two or more chords can also be an important tool for the improviser.

Common Blues progressions (and a single example of a tune using that progression, there are many tunes that fit each progression. Each dash represents a bar line). 1 5 9 I

- - -

I7

I

IV -

I

-

I

I

-

I

-

I

- IV 7 - I 7 - I 7

-

IV

- IV

- I

-

I

- V

- IV

- I

-

I

-

IV

- IV

- I

-

I

- V

- IV

- I

-

I

-

IV

- IV

- I

-

I

- II

-

- I

-

I

V

- IV 7 - IV 7 - I 7 - VI 7 - II 7 - V 7

- I 7 - I 7

Blues For Bags – Sonny Stitt

I7

- I 7 - I 7 - I 7

- IV 7 - IV 7 - I 7 - VI 7 - II 7 - V 7

- I 7 - V 7

Better Go – Webster/Edison



-

Blowed and Gone – Lester Young



I

I

Blues Backstage – Frank Foster

I

-

Homestretch – Joe Henderson

I

I

-

I

-

I

-

I

-

IV

- #IVDIM - I

-

VI7 - II

-

V

- I

-

I

Now’s The Time – Charlie Parker

I - VIImin7b5 III7 - VI7 II7 – Vmin7 I7 - IV - IVmin7 bVII7 - IIImin7 - bIIImin7 bVI – IImin7 - V7 - I- IImin7 V7

Blues for Alice – Parker

Minor Blues Imin7 - Imin7 - Imin7 - Imin7 - IVmin7 - IVmin7 - Imin7 - Imin7 - IImin7b5 - V7 - Imin7 - Imin7

Mr. PC – John Coltrane

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21

* In the 12th bar of the blues progression a V7 chord or IImin7-V7 progression may be substituted for the I chord to make the progression feel that it is continuing. A turnaround over the last 2 bars may be substituted for the same reason. This will usually occur every time through the progression except the very last time. STUDENT PRACTICE SUGGESTIONS When learning the blues try some of the following exercises. Some of these ideas work particularly well with instrumentalists that can’t play chords, but are also valuable for piano and guitar players. They help with learning the sound of the progression and with picking out the guide tones (even the exercises that don’t refer to guide tones directly). It is important that the exercises below are played in time, using a metronome is always a good idea. • Play chord tones from root up in quarter notes following the chord progression. (If there are two chords in a bar play the chord tones in eighth notes). • Play chord tones from root down in quarter notes following the chord progression. • Play chord tones alternating from root down to root up (also reverse the order) in quarter notes (or eigths as necessary) following the chord progression. • Play chord tones in different inversions in quarter notes following the chord progression. • Play chord tones from any note in quarter notes (or eigths as necessary) , at the end of each bar go to the closest note in the next chord, (no large leaps) following the chord progression. • Play the arpeggiated chord tones as above, but with a repeating rhythmic pattern (instead of straight quarters or eigths). • Play a solo just using the chord tones. Correctly played, all the notes in the solo will sound at least reasonably good as all the notes would be from the chords of the song. • Play the chord tones in quarter notes through the bars, (like the first idea) but at the end of each bar, choose the nearest tone of the next chord, continue to move up, down, or change direction of the line. Improvisers might at first ‘accidently’ find some good voice leading (guide tone to guide tone) but should eventually start to manipulate the direction and note choices to take advantage of the guide tones. • Play the same sort of patterns (as above) in eighth notes with the appropriate scales (mixolydian, blues, etc.) instead of chord tones following the chord progression. • Eighth notes, no skips. Play the scale for the first bar, at the end of the first bar, continue to play eighth notes, changing direction, or not. When the improviser runs out of range or wants to change direction, do so. Make sure the soloist changes the one note (at most for a three chord blues) in each bar to ‘make’ the changes. Try not to play rhythms, or make any skips, everything moves in steady, stepwise eighth notes. For instruments that require it, an occasional breath is allowed. • Play guide tones through the progression, in whole notes, rhythmic patterns, etc. • When there is one chord per bar, play the guide tones in quarter notes, from beat four to beat one of the next bar. • For any of the previous examples, sing the exercise rather than play it. • With two or more students, have the non-soloist(s) play one of the above patterns while the soloist improvises. • Learn some blues heads, four bar melodies that repeat (often unchanged) through the 12 bars of a blues. These will give melodic and rhythmic direction that doesn’t come with scales and chord tones (e.g., Blues In The Closet - Oscar Pettifor, Slow Blues - John Coltrane). • All of these suggestions will work equally well with any song form, not just blues (AABA, Rhythm Changes, etc.) and could be used in a big band rehearsal so the horn players are just taking up space during solo sections.

22

Jazz Theory

Guide tones on a simple Blues in F progression



7 3

7 3

3 7

7 3

7 3

3 7

7 3 3 7

3 7

7 3



3 7

7 3

Notice that all the guide tones are not available if the soloist uses only the notes of the F blues scale (F, Ab, Bb, B, C, Eb, F). Playing the guide tones helps makes it sound like the beginning soloist knows where they are in the chord progression. Playing only one blues scale through the entire solo makes it much more difficult to do this. The “blue” note in a major blues is the flat third, the “blue note” in a minor blues is the flat fifth. It should also be noted that string instrument players, particularly guitarists, will play the flat third against the major third of the dominant or major chords and bend the note up towards the major third. This is a characteristic sound of the blues and one that horn players will try to imitate. It is extremely difficult on most wind instruments (except trombone) to bend a pitch up that far. The horn players solution is achieved by playing the major third below the actual pitch to start and then bring the pitch up towards the actual pitch.

II-V-I Progression Learning to recognize and play over II-V-I (and II-V) progressions is essential to a jazz musician. A beginning jazz player will also need to recognize the difference between major and minor II-V-I’s. Partial II-V-I progressions will occur, there will be a II-V that doesn’t go to I or there will be a string of II-V’s (in different keys) in a row. Recognizing II-V-I and II-V progressions allows the improviser to play over the progression in one key, even though the chords change. There are many patterns that jazz musicians will practice over II-V-I’s and II-V progressions and there are a large number of excellent resources that will help young players develop these techniques. Later on a few simple patterns will be given in this text but please go to outside resources for more material, or better yet, listen to some famous players, borrow some of their ideas for II-V-I’s and adapt them for your own use. Recognizing II-V-I progressions requires a little bit of thought on the part of the improviser. Recognize means to identify visually and aurally. The root motion of a II-V-I progression follows the circle of fourths.

Notice that the II-V progression below also follows the circle of fourths, starting with the first chord the following

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progression moves clockwise around the circle of fourths alternating min7 and dominant 7 chords. Starting with the second bar, the first chord of the bar is primarily functioning as a II chord, but could also be implying a minor I chord.

Guide tones in II-V-I patterns

7 3

3 7

7 3

7 3

3 7

7 3

In a II-V-I progression the guide tones (the third and seventh of the chord) remain the same (3-7) or move by a half step (7-3). Playing these notes in an improvisation can make the solo sound much stronger than a solo that does not. The voice leading of the ½ step from 3 to 7 or 7 to 3 is very strong. Guide tones are also important in determining voicing choices in chords for piano and guitar.

Some simple II-V-I patterns

Notice in the above pattern the descending eighth note line (a descending Dorian scale) starts on the root of the II chord. As it proceeds it hits the root of the V chord on beat three and then the root of the I chord on beat one in the second bar.

The 1,2,3,5 scale pattern used above is a very common pattern in jazz improvisation. Note that the note skipped in the first 1,2,3,5 pattern (the 4th note), is the root of the second 1,2,3,5 pattern. The note skipped in the second 1,2,3,5 pattern (the 4th note), is the root of the I chord (starting note of the descending major scale.) To see and hear the above pattern in action look at transcriptions of and listen to songs such as Countdown or Giant Steps by John Coltrane.

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The next three eight bar examples give examples of the previous II-V-I pattern, using the circle of fourths through all 12 keys. 1)

2)

3)

Beyond these simple patterns there are many excellent commercially published resources of pattern materials including some that are listed on the Saskatchewan Ministry of Education Website.

I -VI-II-V Progression The I-VI-II-V progression is often heard in jazz (and other) music. The progression fills a variety of functions, such as being used as a turn-around at the end of a form, or part of the body of a tune. Recognizing this pattern, and making performing/improvising decisions based on knowledge of the progression will be of value to a young

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jazz player. A common variation of the progression is the substitution of a IIImin7 chord for the IMaj7 – there is only one note different between the two chords. The III-VI-II-V progression has the root motion of two II-V’s in a row, but the qualities of the chords are different. The I-VI-II-V progression is commonly found with the chord qualities of IMaj7-VImin7-IImin7-V7. Looking at the scale seventh chords (below) it will be found that the chords from the IMaj7-VImin7-IImin7-V7 could be all from the same key area. This means that the same scale could be used for all four chords, which for a beginning improvisor makes solo playing much easier than trying to fit in a new scale for each chord. Also note that the VImin7 will use an Aeolian mode (to stay in the same key), a change from the typical jazz practice of using the Dorian mode most often on min7 chords.

I

II

III

IV

V

VI

VII

In the key of C Major, the IMaj7-VImin7-IImin7-V7 progression gives CMaj7-Dmin7-Amin7-G7. It is again important to work towards thinking about and hearing the changing chords and have the changes influence the solo, rather than play the one scale without regard to the changes, even though the single scale can be used to play through the four chords.

I-VI-II-V: Roots (Muppet Show Theme)

I

VI

II

V

I-VI-II-V Guidetones

7 3

3 7

7 3

3 7

I-VI-II-V Practice Patterns

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Jazz Theory

Chord Tones in eighths

1, 2, 3, 5 from roots

And:



1, 2, 3, 5/1, 7, 6, 5

Ascending/Descending pattern

Jazz Theory keyboard Piano and Guitar players will want to practice the I-VI-II-V progression using voicings that don’t require a lot of movement or where the chords are not all voiced in root position such as:

Jazz Theory keyboard

Chord instrument players can also replace the root with the 9th, or play 3 note voicings (no root) for the I-VI-II-V progression.

9th voicings – no root

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3 note voicings

Turnarounds There are often two bars of the I or tonic chord at the end of many standard jazz tunes (including blues). To help the harmonic motion of the song continue, performers will substitute a turnaround in the last two bars of the form. A careful listener may hear many performances of jazz standards where the turnaround is changed by the performers every time through the form. Several of the standard solutions to repeating 2 bars of the I chord at the end of the form have been discussed already in this booklet. The simplest is to insert a V7 chord in the last bar (or partway through the last bar). A second is to insert a II-V-I progression into the last two bars and the third is to insert a I-VI-II-V into the last two bars. Learning to play over standard turnarounds in 12 keys can be a big help to young improvisers. There are many turnarounds and variations of the turnarounds. On the following page there is a short collection of fourteen common turnarounds.. STUDENT PRACTICE SUGGESTIONS • Find recordings where your favourite player plays over a turnaround, transcribe that selection and practice the pattern in all keys. • Develop your own patterns for turnarounds using chord tones, scale patterns, and your own creativity. • Find patterns for turnarounds in some of the many jazz resources available.

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32 Bar Song Form - AABA In the Saskatchewan Jazz Curriculum the 32 Bar song form is one of the foci at the 20 level. Many 32 bar songs have an AABA form, though certainly not all. It is a reasonably simple form to describe and understand and there are many, many examples of this form, some of which will be given here in this text and a much more extensive list is available as an on line resource. The challenge will to be for students to hear the form and recognize it.

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Being able to recognize the form and the variations is important, being able to describe the form is important, but the application of the understanding of theory to playing and listening should be paramount. The AABA form was the principal form of popular music in the mid 1920’s in North America. Common songs that have this form are Frosty the Snowman and Somewhere Over The Rainbow. The form was also popular in early rock music in such tunes as Surfer Girl by the Beach Boys, Whole Lotta Love by Led Zepplin and the Beatles’ From Me To You, Yesterday, and Hey Jude (Yesterday by Paul McCartney is written in AABA form, but the phrases are seven bars long). A few jazz standards that use AABA form are Body and Soul, When Sunny Gets Blue, Take The A Train, there are thousands more. There are many songs with this form listed in the Blues, 32 Bar Song Form and Rhythm Changes resource on the Ministry of Education Website. The standard AABA form is:

A – eight bars (usually two four bar phrases) A – eight bars B – eight bars A – eight bars

Sometimes the form is referred to as: A – statement, A – repetition, B – contrast, A – return.

The melodic and harmonic material is the same in the A sections, and the B section will have contrasting melodic material, usually in a different key. The B section is sometimes referred to as the bridge. The first A section often has a first and second ending. The first ending will have usually a turnaround leading back to the beginning of the song and the second ending will lead into the key of the B section. The B section will often end with the harmony leading back to the key of the A section. A large number of jazz standards are in AABA form (the other large portion is blues). One simple advantage of learning AABA tunes is that if the A section is memorized, that is 75% of the tune. Look at lead sheets for songs in AABA form, do the songs follow the pattern for AABA form, if the song does deviate from the form, how does it and is there purpose for the change? A few songs that have a 32 bar form that do not follow the AABA format are: All of Me, Autumn Leaves, and Green Dolphin Street. Analysis of these, and other tunes like them, will also help tremendously with improvising. STUDENT PRACTICE SUGGESTIONS • Listen to music in AABA form, can you hear when the bridge occurs, can you pick out the key change? • When working on solos with the group, have the students who are not soloing sing, hum or quietly play the melody through the improvisations. It helps the soloist keep track of where they are in the form and it helps keep the solo relating to the melody.

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Rhythm Changes In the Saskatchewan Jazz Curriculum rhythm changes are one of the foci at the 30 level. Rhythm changes are based on the chord changes for the George and Ira Gershwin standard I Got Rhythm. The tune based on rhythm changes most easily recognized by students is probably the Flintstones Theme. The original version of I Got Rhythm has slightly different changes than those generally used today and it had a two bar tag which is rarely played anymore. Early examples of songs using rhythm changes are Shoe Shine Boy by Lester Young and Duke Ellington’s Cottontail. During the Bebop era particularly, rhythm changes became the basis for many songs, such as Anthropology and Dexterity by Charlie Parker, and An Oscar for Treadwell by Dizzy Gillespie. Musicians would write their own melodies over the pre-existing chord changes (a practice known as contrafact), and because chord changes cannot be copyrighted (only melodies can be copyrighted) the composer wouldn’t have to pay royalties to the Gershwins. The bridge section in rhythm changes is often left open (no set melody) for improvising, see tunes such as Oleo by Sonny Rollins or Wee by Dizzy Gillespie. Musicians would also write songs based partially on rhythm changes. Scrapple from the Apple has the changes from Honeysuckle Rose for the A section, but uses a rhythm changes bridge. The Muppet Show Theme and Sonny Stitt’s the Eternal Triangle use rhythm changes for the A section and then use different changes for the bridge. This is quite a specific form, an AABA song form, but the chord changes are more consistently the same from tune to tune than are changes for the overall 32 bar AABA song form. There are many, examples of songs that use rhythm changes, some of which have been given here in this text. A much more extensive list is available in the on line resource “Blues, 32 Bar Song Form and Rhythm Changes” on the Ministry of Education website. Like so many concepts in theory, the paper work is important, but the application of the understanding of theory to playing and listening should be paramount. Rhythm changes is a 32 bar form which in its basic form has the following chord progression. I vi - ii V7 - I vi - ii V7 - I I7 - IV7 #IVdim - I V7 - I I vi - ii V7 - I vi - ii V7 - I I7 - IV7 #IVdim - I V7 - I III7 - III7 - VI7 - VI7 - II7 - II7 - V7 - V7 I vi - ii V7 - I vi - ii V7 - I I7 - IV7 #IVdim - I V7 - I

8 bars 8 bars 8 bars 8 bars

or written in the key of Bb as:

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Bebop musicians would substitute many different sets of changes for the basic chords. An example would be to replace the dominant chords in the bridge (III7 - III7 - VI7 - VI7 - II7 - II7 - V7 - V7 ) with ii - V’s, giving: vii min7 - III7 - ii min7 - VI7 - vi min7 - II7 - ii min7 - V7. Often the vi min chord in the “A” section is replaced with a dominant VI chord. Another variation on the changes is to alter the dominant chords with flat 9’s, 13’s etc, or replacing major ii – V’s with minor ii – v’s. When a musician learns a tune based on rhythm changes they are learning the basis for many jazz standards and thousands of tunes. Soloing over the same changes, even though the melodies are different, is much easier than learning all new changes for every song. Writing songs where the audience already knows and is comfortable with the chords makes it more likely that the audience will like the new melody. Though songs based on rhythm changes can be written in any key the most common keys are Bb and Eb.

Melody “The melodic line itself is the first thing that a listener will generally notice about an improvisation, or any other piece of music.” (Sabatella, 2000) Melody is one of the four basic elements of music along with rhythm, harmony and tone color. This text will present two ways to think about melody, one is as a tool for improvisation. Improvisation clearly involves all four of the elements of music but this portion of the text will address the melodic element. The second discussion of melody is its value in learning form, rhythm, inflection and other concepts, especially in an ensemble where not everyone has the melody in the music, which can really be said to be every ensemble, duo to big band. Melody is difficult to define, what makes good melody is even more difficult to define. Merriam-Webster defines melody as: 1) “a sweet or agreeable succession or arrangement of sounds”, or 2) “a rhythmic succession of single tones organized as an aesthetic whole”. The harmony, rhythm or timbre of a piece can be altered and listeners can still recognize the melody. When the melody is altered it tends to make the listener think it is a different piece. One of the key starting points for learning improvisation is the melody, and sometimes it’s forgotten in the rush to learn scales and chords. All the students in a jazz ensemble should learn the melody of the pieces they are working on. In a small group setting this may not be as challenging, everyone in the group may be looking at a lead sheet of the tune. Even then, it is still important that all the players, rhythm section included, know the melody. It may not be the job of certain players to present the melody in a performance, but it is certainly their job to know the melody. The melody should inform their playing, even with younger players. In a big band setting it is challenging to have everyone in the band learn the melody of the tune. Most often the melody is not presented in all the voices of the band, all the way through the tune. Few players will ever have the entire melody, start to finish, in their individual part. Learning the melody of the big band chart by ear would help with things like balance - understanding when the part was important. It would help with harmony – knowing when the individual part was a harmony part to the melody, or when it was accompaniment. Knowing the melody will also help students understand the bass line, form, inflection, and so on. If the group is not quite up to playing the melody by ear, the director could write out the melody for all the instruments. This would give all the students in the ensemble an opportunity to learn the melody, and make the eventual performance that much stronger. When using the melody of a tune as the basis for improvisation it is important to start with a basic version of the tune, with as few “extras” as possible. The student will need to know this version of the tune very well, it should be memorized or “internalized”. A lot of the standards in “fake” books are written in a basic form, with few of the subtleties (or occasionally not so subtle, like correct notes, chords) indicated which are needed to

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play the melody well. Make sure that the phrases and form of the melody are addressed at this stage. It is not unimportant to point out that if the notes of the melody work in the context of the song, the improviser could do far worse than use some of the same notes (in the same place) in their improvisation. The simplest improvisation can be an augmented version of the melody. “An improvised melody may be a simple variation on the original theme. In this case, the composed melody itself serves directly as a basis for improvisation.” (Sabatella, 2000). Once the basic tune is learned, try changing elements of the melody (rhythms, note lengths, rests, etc.). Listening to professional recordings of the tune really helps, listen to as many different versions by different artists (even different styles) as possible. A simple yet valuable task for the students might be: starting with a piece of sheet music with the simplified version of the tune on it, indicate the changes that the performer(s) made from the written version. Also experiment with using melodic fragments from the melody in the improvisation. To help the students with this idea, break the melody into its elements and then take those elements and improvise upon them in a static setting. Have the rhythm section repeat just a few bars of the song while different soloists try improvising. Some examples could be taking a characteristic rhythm from the song and improvise using different notes, take a set of pitches from the song and change the rhythms, play the same melodic shapes, but with different pitches, take a strong note from the melody and practice different ways of getting to it – neighbor tones, 2,3,4,5 etc. note groups approaching the strong note, etc.

Melody Insert

Melodic Note

1 eighth note pick-up

3 eighth note pick-up

4 eighth note pick-up

2 eighth note pick-up

5 eighth note pick-up

“Every improviser has been told that in order to “really” play jazz, they must spend a lot of time listening to it. Have you ever wondered why? Part of the reason is that most improvisers have learned melodic structures through unconscious imitation. During hours of listening, copying, transcribing, and playing, musicians have taught themselves melodic structures. I believe that this time tested way is the best long term way for musicians to learn to improvise, but I also believe that as educators we are failing our students by not offering comprehensive instruction on the creation of improvisational melodic structures.” (Kane, 2005). STUDENT PRACTICE SUGGESTIONS Memorize melody, then try improvising using the melody by: • • • • • •

decorating the melody (turns, grace notes, etc.) changing the rhythm changing the approach to strong notes use fragments of the melody as the basis of improvising try rhythmic displacement of the melody (add rests, or start early, etc.) repeat or sequence short phrases from the melody

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• relate the new phrase to the last phrase played • play a counterpoint to the melody (think of a horn player filling the spaces left by a singer). When the melody is moving the counterpoint rests and vice-versa • restricting the number of choices to be made can sometimes open up the doors of creativity (e.g., if only 3 or 4 note choices are possible, the student may be able to focus on other aspects of playing such as shape, dynamics, articulation and so on) • play the melody in different style from the originally learned version.

Transcription To paraphrase David Leibman in his article “The Complete Transcription Process” the best way to learn to improvise is the master-apprentice model, if that is not available the next best thing is transcription. The idea of teaching or assigning transcription to students in high school may be viewed with a certain amount of trepidation by teachers. It is likely that there will be only the rare student who is in a position to completely transcribe a long complex solo by one of the masters. It will be just as rare for a student to be unable to experience any success at any level. Whatever tools the incoming students brings to the transcription process, it is the teacher’s job to help move the student forward along the path. At first, transcription need not be a huge time consuming process, start with small steps. Transcription includes having the student learn a single lick even a single note. When the student is able to transcribe their first note, lick, melody, solo, etc., their level of satisfaction and accomplishment will be high, probably accompanied by a strong desire to accomplish more. If students are given the tools, resources, and the process to successfully transcribe a piece of music, the effect on the students playing will be significant. Paraphrasing Liebman again, he says that the transcription process involves the student 100% in their own work with tangible and measurable rewards. Even if the success is measured in small steps during high school, knowing the process and having started using the process, transcribing will be of benefit to all jazz students in the long run. A few of the associated areas and/or concepts that the transcription process will help students in are: • aural skills • musical vocabulary • tone • nuance • jazz rhythm • style/feel • inflection • technique • licks • solo construction • individual player styles. Think about the process of how the spoken and written language is learned. The written component of language is taught after the ability to speak the language is learned. A young child does not need to see or learn the written words before learning to speak. In studying jazz the focus has often been on the printed product, almost to the exclusion of aural learning. The aural aspects of the study of jazz needs to be strengthened. The strengthening of all aspects of the student’s playing will more than make the time spent worthwhile.

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As a teacher have you heard a student say something like ‘if I could only play what I hear in my head’ - certainly that is heard more often than ‘If only I could say what I hear in my head’. Transcription helps players learn to play what they are hearing (and seeing), it improves the connection between hearing the music and seeing the notation.

In The Classroom Transcribe means to listen to a piece of music and then convert that aural information into notation. This can be a rather daunting task if starting with an extended solo by one of the jazz masters, so start with something much smaller. Start with a phrase or even a single note and move up in complexity from there. One idea that everyone agrees on is that transcribing gets easier and faster the more it is done. Most descriptions of the transcription process include three main steps: • Listening. The goal is to listen to the music to be transcribed so many times that the transcriber will be able to sing the selection (exactly) along with the selection while it’s played and then be able to sing it without the selection being played. • Notating. Figuring out solo on instrument and writing it out or vice-versa. At higher levels of transcription this would include things such as the nuances, variations in time, tone, and so on. Writing out the subject in notation is the most valuable and important stage. • Analyzing. Study the transcription, analyze and use for further study. Could include actions like: isolating II-V-I passages, to lift and learn in twelve keys. Learn the entire solo in different keys, tempos, and so on. It will give insight into musical ideas and the thought processes of the performer. To paraphrase David Liebman again, referring to the three step process described above, transcription begins the transformation from imitation to creation. There are a lot of opinions on what music to choose for transcription – some writers suggest only the masters be studied, others suggest only a piece of music that the student really likes, because they are going to hear it a lot. There are some who suggest to start with a simpler piece of music and some suggest the difficulty of the music selected doesn’t matter. The choice will depend on the experience level of the students and the teacher. For younger or less experienced players a suggested start might be a call and response exercise (singing and/ or playing) to get them started on the path of hearing and then playing. Then add a notating component to the call and response. Before starting to transcribe an entire tune (with a rhythm section), chose a series of short, simple melodies for the students to start transcribing. These short melodies could be done in class; they could be worked on in duos or small groups; or if the students were to work at home the melodies could be put onto a CD, emailed to the students or posted on the net. Before transcribing solos with younger or less experienced students, try to transcribe a head or melody. These often have more repetition and are easier to hear than the solos. The process will be similar to transcribing solos. • • • •

Sing along with music – until the melodic lines are internalized. Time signature – what is the time signature? Form – what is the form of the piece? Blues, AABA, Rhythm Changes, etc. Roots – what are the roots of the chords? The first note of each bar is often the root of the chord for that bar, especially during the initial presentation of the melody. • Melody – how is the melody constructed? The melody will often repeat itself, or at least the shape. • Chords – once the roots are established, listen for the chords, often the top note of the voicing is most easily heard. From there, the inner voices might become more apparent. The student can also use their knowledge

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of theory to take a guess at the chord type (especially when they have the root and a note from the voicing), and then check that against the recording. When transcribing solos, start the same way (transcribe the tune or head first) and then progress down the list: • Sing along with music – until the melodic lines are internalized. • Time signature – what is the time signature? • Form – what is the form of the piece? Blues, AABA, Rhythm Changes, etc. • Roots – what are the roots of the chords? The first note of each bar is often the root of the chord for that bar, especially during the initial presentation of the melody. • Chords – once the roots are established, listen for the chords, often the top note of the voicing is most easily heard. From there, the inner voices might become more apparent. The student can also use their knowledge of theory to take a guess at the chord type (especially when they have the root and a note from the voicing), and then check that against the recording. • Notes – start with picking out single and longer notes placing them in the form. • Patterns – are there patterns such as a scale in thirds, scales, scale triads or sevenths, 1, 2, 3, 5 being played? • Licks – does the player use particular recurring musical ideas (or rhythms) throughout the solo? • Phrases - are there recurring phrases, where do they start in the bar, are they longer or shorter? • Notation or not? – if necessary, start the transcribing process with just noteheads, solid for faster notes and circles for longer notes. Add the rhythm in later, but be sure to add the rhythm in eventually. • Articulation – slurs, accents, staccato, etc. • Nuances – effects like false/alternate fingerings, time variations, scoops, slides, growls, ghosted notes, etc.)

Hints and Suggestions • Computers and slow down apps make it easier to figure out faster, more complex licks. Resources that were unavailable at one time, or if available, very expensive, can now be downloaded onto phones for free or very inexpensively. “IHearit” is a very good and reasonably priced slow down app developed by the Saskatchewan born saxophonist Trent Reschny. • If at first a particular lick is eluding successful transcription, get the first note, maybe the last note and move on. Come back later, try to find the second note of the idea, or a longer note in the middle of the lick, or a note that is more present in the recording. Can the student use their knowledge of theory to help them guess at the missing notes. This is also where the previously mentioned slow down apps come in handy. • In some cases the rhythms of some licks may be very challenging to notate. It may be helpful to just use dots to notate the pitches and figure the rhythm out later. • The entire solo does not have to be transcribed in order at first. It will probably be easier to start with single notes, and move on to licks and phrases. The form should be laid before the transcription is started so the fragments of the solo can be put into the right place in the solo. • Play a section of the solo for a class; a note or lick that sounds good and is accessible for the group – everyone sings that lick or note. Sing the note – play the note. Can be done individually, in pairs or groups, or with the entire band. • Given the right start and encouragement, students will probably surprise the first time transcription teacher with how good they are at transcribing. • There are many, many transcriptions available for free and for purchase on the internet, there are many books of transcriptions available as well. Though still valuable for study and practice, it is far more valuable to do the transcribing oneself.

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• In a large class setting it might be helpful to start with just the melody (or a portion of the melody) at first. Play the melody over a few times and ask the students to sing the melody. Come back to the start and sing the first phrase of the melody. Then play the first note, add the second and so on. It may be necessary to go back to singing the melody to refresh, especially if the students start to mix their ears up with a number of wrong notes.

Jazz Theory keyboard

Tritone Substitution Understanding tritone substitution is not listed as a requirement in the Saskatchewan Instrumental Jazz Curriculum, but occurs often enough in standard jazz literature to be included in this booklet. If only so that teachers can help their students understand what is happening if a tritone substitution is present in the music. Tritone substitution occurs with dominant 7th chords and it works for several reasons. Consider the II-V-I progression Fmin7 – Bb7 – EbMaj7. Replacing the Bb7 chord with a dominant 7th chord a tritone away would mean inserting an E7 chord. Replacing the Bb7 chord with an E7 chord still gives the chord progression a strong root motion II-bII-I. Chromatic motion of the roots is very strong (our ears like it), almost as much as the movement in fourths of the original progression. Another reason tritone substitution works so well is because the guide tones for the two chords (Bb7 and E7) are the same - but reversed in position. In a Bb7 chord the guide tones are D and Ab (3 – 7) and for E7 the guide tones are D - G# (or Ab) (7 - 3). In most cases the scale for the tritone substitution chord is not going to be in mixolydian mode from major. Better choices may include the fourth mode of harmonic minor (giving a flat 9, natural 11 and flat 13) or a half/whole diminished scale from the root giving flat 9, sharp 9, sharp 11, natural 13. Tritone substitution can also occur during a series of II-V chords. There may be a progression of chords: Fmin7 – Bb7, Ebmin7 – Ab7, Dbmin7 Gb7, II-V’s moving downward by steps. An arranger, rhythm section or soloist may chose to substitute by a tritone all the dominant chords in the progression to create a chromatic bass line. With the triton substitution chords the progression is now: Fmin7 – E7, Ebmin7 – D7, Dbmin7 - C7. Guide tones

7 3

3 7

IImin7 V7

7 3

IMaj7

7 3

3 7

IImin7 bII7

7 3

IMaj7

Possible scale choices for the tritone substitution dominant chord.

Both these scales keep the scale closer to the original key of Eb Major than would an E mixolydian scale.

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Remember that scale choices are often dictated by the melody notes occurring during the time of the chord. Tritone Substitution in a seriesIImin7 of II-VbII7 chords IMaj7 IImin7 V7 IMaj7 Bb7*

Ab7*

Gb7*

E7*

D7*

C7*

IImin7 V7 IImin7 V7

IImin7 V7

IImin7 V7

IImin7 bII7

IImin7 bII7

IImin7 bII7

Guide Tones Guide tones are the more important notes of a chord. Guide tones are the notes that give a chord a particular quality (major, minor, dominant, etc.). These notes are generally the third and seventh notes of a chord but in some cases can be the fourth or sixth. Guide tones are not the root and fifth of the chord, the answer often given by young jazz students, who usually start with the assumption that the note named in the chord would be important (it is, it is just not a guide tone). In the examples below, the root and fifth of all six chords are the same each time. The other two notes (typically the 3rd and 7th) may be different than the notes first chord (GMaj7). These are the guide tones and when the guide tones change, so does the sound and function of the chord, even thought the root and fifth stay the same. This is why these notes are important to improvisers, they help the soloist “make“ the changes (chord progression). The guide tones in a series of chords; the root and fifth remain the same, the guide tones change.

7 - F# 3 - B

7 - F 3 - Bb

7 - F 3 - B

7 - F 4 - C

6-E 3-B

6-E 3 - Bb

The guide tones in a II-V-I 7 - Bb 3 - Eb

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3-A 7 - Eb

7 - A 3 - D

7 - Bb 3 - Eb

3-A 7 - Eb

7-A 3-D

Jazz Theory

The guide tones in a Blues 7 - Ab 3 - D

3-G 7 - Db

7 - A 3 - Eb

7 - Ab 3 - D

3-G 7 - Db

7-A 3 - Eb

What Scale Form to Play on Dominant Seven Chords? Four simple steps. 1. Know the key of the song. 2. On I7, II7, and V7 play major from intended tonic (mixolydian). Gives extensions 9, 11,13). 3. On IV7 and all dominant seven chords with non-scale tone roots (#II7, #III7, IV7, bV7, #VI7, and bVII7) play melodic minor from chord fifth (4th mode of melodic minor). Gives extensions 9, #11, 13. 4. On III7, VI7, and VII7 play harmonic minor from Intended Tonic (5th mode of Harmonic minor). Gives extensions b9, 11, b13. • If necessary to adjust the scale for a note in the melody of the song, use melodic minor from intended tonic (5th mode of melodic minor). Gives extensions 9, 11, b13. For clarity, the following is the above rules stated in F major. 1. The key of the song is F major: • Remember, starting from F chromatically there are twelve possible dominant chords shown below. Only one, C7, is actually from the key of F major (see scale sevenths). • I7 b bII7 II7 #II7 III7 IV7 #IV7 (bV7) V7 bVI7 VI7 bVII7 VII7 F7 Gb7 G7 G#7 A7 Bb7 B7 C7 Db7 D7 Eb7 E7 2. On F7, G7, and C7 play Major from intended tonic (mixolydian). • These will have the following extensions: 9, 11, 13 3. On Bb7 and all dominant seven chords with non-scale tone roots (F#7, G#7, Bb7, B7, Db7, Eb7) play melodic minor from chord fifth (4th mode of melodic minor). • These will give the extensions: 9, #11, 13 4. On A7, D7, E7 play harmonic minor from Intended Tonic (5th mode of harmonic minor). • This will give the extensions: b9, 11, b13. • If necessary to adjust for a note in the melody use melodic minor from intended tonic (5th mode of melodic minor). This will give the extensions: 9, 11, b13.

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The rules above always give way to the melody of the tune. The chord and the extensions must match the melody. Sometimes for a young improviser, it is difficult to think of the above rules on the spur of the moment and they are not yet hearing the changes clearly. The soloist has the changes, the challenge then is to figure out the notes in between the notes of the seven chord (9,11,13 or 2,4,6). In a pinch, while the notes of the seventh chord may not be changed, fill in the spaces between the chord tones with notes from the key of the song. You will find that most often the scales arrived at this way will match the rules given above. There is an example below of a D7 chord in the key of F. There are the chord tones (D, F#, A, C) which are given. Fill in the 2, 4, 6 with notes from the key signature which are E, G and Bb. Which gives 9, 11, b13 the same as the fifth mode of melodic minor.

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Jazz Theory

Jazz Articulations

Jazz Theory

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Bibliography Dunscomb, J. Richard & Dr. Willie L. Hill, Jr. (2002). Jazz Pedagogy: The Jazz Educators Handbook and Resource Guide. Van Nuys, CA: Alfred Publishing. Glaser, Matt. Five Levels: Variations On A Simple Melody As An Intro to Improvisation for Folk Musicians. Retrieved April 3, 2012 from http://www.berklee.edu/bt/231/lesson.html?action=print Grove, Dick. Modern Harmonic Relationships. Haerle, Dan. (1980). The Jazz Language. Hialeah, Florida: Studio 224. JazzAdvice. How Transcribing One Solo Can Entirely Change Your Approach To Improvising. Retrieved January 17, 2012 from /http://jazzadvice.com/how-transcribing-one-solo-can-entirely-change-your-approach-toimprovising/. JazzAdvice. Transcribe With A Purpose. Retrieved January 17, 2012 from http://jazzadvice.com/transcribe-with-apurpose/. JazzAdvice. Transcribing Is NOT Transcribing: How This Misnomer Has Led You Astray. Retieved from http:// jazzadvice.com/transcribing-is-not-transcibing-how-this-misnomer-has-led-you-astray/. Kane, Brian J. (2005). The Case For Improvisational Melodic Structures. Retrieved April 3, 2012 from http://www. jazzpath.com/education/articles/melodicImprov.php Keller, Bob. How To Improvise Jazz Melodies. Retrieved April 3, 2012 from http://www.cs.hmc.edu/~keller/jazz/ improvisor/HowToImproviseJazz.pdf Levine, Mark. (1995). The Jazz Theory Book. Sher Music Co., Petaluma, CA. Liebman, David. The Complete Transcription Process. Retrieved January 17, 2012 from http://www.daveliebman. com/earticles2.php?WEBYEP_DI=13 McGann, John. Tips For Improvisors. Retrieved April 3, 2012 from http://www.johnmcgann.com/improv.html MENC: The National Association for Music Education. (1996). Teaching Jazz: A Course of Study. Lanham, MD : Rowman & Littlefield Education. Petaluma, CA: Sher Music Co. Middleton, Andy. Melodic Techniques In Jazz Improvisation. Retrieved April 3, 2012 from http://www. andymiddleton.com/downloads/chapt_1_melodic_techniques.pdf Price, Tim. Melodic Improvisation. Retrieved April 3, 2012 from http://www.saxontheweb.net/Price/ MelodicImprov.html Rick. Learning to improvise - transcription. Retieved January 17, 2012 from http://www.iwasdoingallright.com/ jazz-improvisation/learn-jazz-transcription/. Sabatella, Marc. (2000). A Jazz Improvization Almanac. Retrieved April 3, 2012 from http://www.outsideshore. com/school/music/almanac/html/Improvisation/Melodic_Considerations/index.htm Seventh String. Introduction To Transcribing Music. Retrieved January 17, 2012 from http://www.seventhstring. com/resources/howtotranscribe.html.

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Seyer, Phil. How To Improvise. Retrieved April 3, 2012 from http://www.lovemusiclovedance.com/improvise_ music_02.htm Sharrock, Sonny. On Improvisation. Retrieved April 3, 2012 from http://www.jazzguitar.com/features/sharrock. html

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