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Jazz tImprovisa Ion

3

Swing and Early Progressive Piano Styles . By John Mehegan

Preface by Horace Silver AMSCO MUSIC PUBLISHING COMPANY

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·

SWING AND EARLY PROGRESSIVE ·PIANO STYLES

In 1M1Tt01J of my jatJur, John JamJJs and my motJur, Margaret Louise Mehegan

Copyright @ 1964 by Watson-Guptill Publications, Inc. First published 1964 In the United States by Watson-Guptill Publications, a division of Billboard Publications, Inc., 1515 Broadway, New York, N.Y. 10036 Exclusive distributors to the Music Trade Music Sales Corporation 24 E. 22 Street New York. N.V. 10010 Music Sales Umited 8/9 Frith Street London WW 5TZ , Music Sales Pty Umited 27 Clarendon Street Artarmon Sydney NSW 2064 Ubrary of Congress Catalogue Card No. 58-13525 ISBN 0-8230-2573-X All rights reserved. No part of this publication may be reproduced or used In any form or by any means-graphlc. electronic. or mechanical. Including photocopying. recording. taping. or Information storage and retrieval systems-without written permission of the publisher. Manufactured In U.S.A. 11

12 13 14/90 89 88

CONTENTS Preface by Horace Silver Introducbon

SECTION I 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16.

17. 18. 19. 20. 21. 22. 23. 24.

25. 26. 27. 28.

TEDDY WILSON

Scale-tone Tenths- / VIlm / IIIx / IVx / IIIx / VI+' / bVcf> /

VII IIIx"

/ VI /

IIx / VI IIx / II / V / 1+' /

I / VII / bVlIx / VII' / VI / IIIcf> / bIIIx / II u' II"

I

II /

VI. VI / II b1Ix / I +. VI/II bIIM / I +. / I +. / / 22

LOVER COME BACK TO MECopyright 1928 by Harms. Inc. Used by permission.

LESSON

3. The Dominant Scale-tone Tenth Inversions

Fig. 1 mustratesthe root, : and : positions of the twelve dominant chords with accompanying tenths; the I position which forms a ninth has been omitted. Applying spans 1 and 2 to Fig. 1, we obtain the following: C, F, and G root positions and all g and : positions.

Fig. 1.

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23

Fig. 2 illustrates the 27 possible positions for the dominant chord. Fig. 2.

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FIX:

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04

Ext

CII

DRILL: Practice Fig. 2 for automatic facility with the dominant tenth positions. The following table lists all possible dominant tenth positions: root

6 5

4 3

c

C

c Db D Eb E

F G

Db D Eb E F F#

F F#

G

G

Ab A Bb B

Ab A Bb B

2

Fig. 3 is a base line for "Autumn Leaves" in E mUlor. Like "Lover Come Back To Me," "Autumn Leaves" appears in cut time ( t ). The value of each melodic tone II)ust be doubled in order to achieve the correct jazz meter. Thus: j becomes J J becomes 'It J becomes J J. becomes ~) J. becomes J. Fig. 3.

pick-up

I I II I II I V I I I VI # 1 I VI I VII / IIIx I VI

I I I IV I VII I IIIx I VI I f I VI I IV I VII I IlIx I VI + 0 I VI + 8 I IlIx I #Vo I II I V I I I IV I VII I IIIx I VI I bV~ I VI+ 8 / VI+8 II V

AUTUMN LEAVES-English Lyrics by Johnny Mercer, French Lyrics by Jacques Prevert. Music by Jos@ph Kosma, Copyright 1947 and 1950 by Enoch et Cie, published by Ardmore Music Corporation, New York and Hollywood, California. Used by permission.

"Autumn Leaves" is technically a "minor" tune, since it begins and ends on a minor chord; however, the harmonic elements employed are obviously major in character. Only the final cadence (last 6 bars) represents an authentic minor quality. LESSON

4.

The Minor Scale-tone Tenth Inversions Fig. 1 illustrates the root and 3positions of the twelve minor chords with accompanying tenths. The : position has been omitted because of the major third formed by this inversion siInilar to the harmonic confusion described in relation to the t position in Lesson 2. The I position has been omittetl because of the iInpractical ninth formed. (See Lesson 2, Fig. 2).

Fig.!. L

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em:

#111 11 •

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it ..

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hd".

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b..

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tIBIll

Fig. 2 illustrates the 24 minor tenth positions. Fig. 2.

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.-!II

"if"'"

,*v-


I bib / I / VI/II I

bllx I

I +. I

IIIII1 / III / Vlx I VI / IIx /

(F#)

I / bV4> / IVx / III S 111

(F#)

II / V / / (D) VI. / bIllo I II / V I I VI / Vm bV I

(D)

IV I IVm / III I bIIIx I II / bllx / I + e VI I II V " I

(D)

I+G / 1+ 6

/

•

II

THE SONG IS YOU-

CoPYriI1lt ® 1932 }1y T. B. Hums Company CoPYriiht Renewed UaOcl bY penni.......

LESSON

5. The Hal£-dimioished ·Scale-tone Tenth Inversions Fig. 1 illustrates the·root and: position of the twelve half-diminished chords with accompanying tenths. The: position has been omitted because of the inaccessible major third (span 3). The 2 position has been omitted for the reason stated in the preceding chapters.

Fig. 1.

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1

Fig. 2 illustrates the 24 half-diminished tenth positions. Fig. 2.

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I 4

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The following table lists all possible half-diminished tenth positions: root

6 5

c

c

C#

C#

D

D

D#

D#

E F

E F

F#

F#

G

G

G#

G#

A

A

A#

A#

B

B

4 3

2

DRILL: Practice Fig. 2 for automatic facility ~th the half-diminished tenth positions. Fig. 3 is a bass line for "Over The Rainbow" in the key of Fig. 3.

{+I" b{,~

Bb

major.

Ifx / III VI/IV VII / III VI/II IVm / III bIIIx I 1 1

1

/

II bIIx / I + 8 #1 / I +" bV~ IVx / III VI/IV VII / III VI / II IVm / III bIIIx / II bIIx / I + 8 #1 / I VI/II VII, / III bIIIx / I

II bIIx / I VI / bV~ VIIx / III blIIo / II VI

/ 1

a /

1

/

I +8 bV~ IVx /

III VI/IV VII / III VI / II IVm / III bllIx / II bIIx / 1+" / / OVER THE RAINBOW - Lyric by E. Y. Harburg - Music by Harold Arlen © Copyright 1939 Leo Feist Inc., New York, N. Y. Used by permission.

LESSON

6.

The Diminished Scale-tone Tenths Since, in Volume I, we learned that the diminished chord cannot be inverted, it is therefore only necessary to illustrate the twelve root positions. Fig. 1 illustrates the 12 diminished chords with their accompanying tenths.

29

·. ··

Fig 1

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b..

-b.

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Go

-

The follOwing table lists all possible diminished tenth positions: root

c C# D

Eb E F

F# G

G# A

"Bb B

DRILL: Practice Fig. 2 for automatic facility with the 12 diminished tenths. 30

-~

L

....... l

tr

Glo

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.........

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Fig. 2 illustrates the 12 diminished tenth positions.

Fig. 2.

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Fig. 3 is a bass line for "Flying Down To Rio" in A. Note the key change. Fig. 3.

/

I / II / III/IV / VI I

(A)

bV~ / VII / IIIx / III~ / bIIIx / II / blIx / I / II / III /

(A)

IV / VI a

/

/

VI / II II I

VII bVlIx / VI +.

(A)

bV / IV / bVIIx / I / /

/

(F) II V / I VI /

(F) II bIIx / I VI / / (A) III VI / IIx / blIx / I / II / III / (A)

VI / II / bIb: / 1+' / 1+" / / FLYING DOWN TO RlOCopyright © 1933 by T. B. Hanns Company Copyright Renewed Used by permissioD.

LESSON

7.

As indicated in Lesson 1, an essential design of swing piano is the swing-bass technique which usually consists of a tenth played on the first and third beat followed by a "swing" chord on the second and fourth beat. Technically this involves the problem of a rapid weight displacement, extending sometimes as far as three octaves. Each swing chord is .built upon a fairly fixed set of tones determined by the best arrangement of the elements each chord quality offers.

1. The first problem is one of register. Fig. 1 illustrates the normal limits of the "middle" area of the keyboard most suitable to create the tonal resonance of these chords.

Fig. 1.

" I~~ ! (!

;

31

.2. The second consideration is one of finding the strongest arrangement of tones within the register illustrated in Fig. 1. Of the scale-tone chord inversions, (Fig. 2), the strongest position of the M, ~ m, and I/J qualities is the II position (third inversion).

Fig.2.

~

t l Jt ~Jt

CM2

Cd

Cm!

I

Ct'2

S. The final consideration is one of finding a chord voicing, with the most colorful top voice (the most obvious tone in any tonal combination). In this area there can be no doubt as to the overwhelming color of the third. (The fifth is not a color tone; the seventh, although a strong color tone, does not equal the third.) From. these three factors emerge the following tonal combination for the major chords based in each case upon the prevailing mode (Ionian) of the chord. M-

5-61 S

This tonal combination is VI. (third inversion of the VI chord in the prevailing key). Wilson's harmonic system usually excluded the major seventh either in·root position or any of its inversions; the I position of the minor VI chord fulfills the usual added sixth treatment of the major I chord.

Following a C major tenth, this would mean playing G A C £ 5 6 1 S based on the Ionian mode of C. All tenth inversions studied in Lessons 2 through 5, take the same chord as the root position tenth. Applying the major tenths of spans 1 and 2 illustrated in Fig. 4, Lesson 2, to the 5 6 1 S combination, we derive the follOwing: Fig. S.

•

2:

JI JI

CII

32

c
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&; ... ... Do

II

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#! &1 1:\.11

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59

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rim

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Bz

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Fig. 2

1+' I 10 I 1+' I bVm Vlh 11+' VII, I #110 VI, I IV #IVx I V I II I bno

I

I II I I bVlh VIx I VI I IIx I II I V IVt/» I I, I blllo I VII, / II

Vh, I

II

I IVm 4 I III, lilt/»" I II" lIt/» 4 I V I a V I 1+' I bVm VIIx / I

I

IVm bVIIx I III VIx

I

I

•

I bill bVb I II bIIx I I +. I 1 +. /1 YOU DO SOMETHING TO MECopyright 1929 by Harms, Inc. Used by permission.

DRILL: Practice Fig. 1 in the left hand whenever possible; root-fifth in left hand, seventh-third in the right when playing tenths beyond the student's span. 60

II

00

Fig. 2 is a bass line for "You Do Something To Me" in the key of C.

II

II

ro

r~

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010

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1 &1 ~.! ~.!

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iki

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6bb.

Aj,1I

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1 Bo

II

II

LESSON

19. The· Scale-tone Tenth Chord Inversions

Unlike Wilson, Tatum not only employed the full scale-tone tenth chords, but also the three inversion positions of each scale-tone chord (except the diminished chord, which is always in root position). Fig. 1 illustrates the sixty scale-tone tenth chords and their inversions.

Fig.l.

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NOTE: Frames indicate span 3.

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63

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! i a4

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Do

1 J II 1'0

Fig. 2 is a bass line for "As Long As There's Music" in G. Note key changes. Fig. 2. pkk-up

(G) V:a / / II 2

/

I

IV /I (E) II / V / / (D) II V / I IV / /

( B ) II / V / I / / (G) III VIx / II / V: S

/

II 2

/

I IV / / (E) II /

( E ) V / / (D) II V / I IV / / (B) II / V / / (G) III bIIIx / II V / (G )

bVIIx

/ VIx #10 / II / bIIx / I + 6

/

I +8

/ /

AS LONG AS THERE'S MUSIC "'"Copyright © 1944 by T. B. Harms Company Used by permission.

DRILL: Practice Fig. 1, avoiding those chords representing spah 3 (as marked by frames), if beyond practical reach.

LESSON

20. Mixed Positions (Voicings)

An outline of the pianistic devices employed by Tatum would, of course, cover a major portion of the history of piano literature, from 1930 to 1950. A specific survey of jazz resources reveals the use of the following tools: 64

010

1. Arpeggio-scale techniques (both right and left hand), as studied in Volume I. 2. Swing bass 3. Scale-tone tenth cht>rds: a. Root-tenth. h. Root-Bfth-tenth. c. Root-seventh-tenth. d. Full scale-tone tenth chord. 4. The complete inversion system of all elements listed in step three. 5. Mixed positions (voicings) - this refers to integrated two-hand vOicings used extensively in both rhythmiC and ad lib playing. The principle of mixed positions consists of building any .number of voicing possibilities between the bass note of a chord (root or inversion) and the melody note. In building mixed positions the student should closely follow the functions of the tones comprising any chord. 1. Essential tones: a. h. c. d. e.

bass note melody note third fifth on q" 0 chords seventh

Aside from the bass and melody notes, the essential tones are those revealing the basic qualities (M, x, m, q" 0) of any chord - the sine qua non of any tonal arrangement, within the limits of diatonic harmony. The perfect Bfth is not a color (quality indicating) tone; the diminished fifth appearing in ~ and 0 chords .is a color tone. 2. Ornamental tones:

Chord Major Dominant

Minor Half-diminished Diminished

Tones 9 - #11 9 - b9 - #9

11 (#3) - #11 13 - bI3 9 - 11 9 - 11 9 - 11

It is apparent that the dominant chord offers the most possibilities for ornamentation due to the overtones formed by the interval combination

M3, P5, m7. 65

The following rules are bast - to all jazz voicing: ( a) All three nintbJ (9, b9, #9) are "self-supporting" (this means the ninth does not need the presence of either the eleventh or the thirteenth to create a complete voicing). In jazz parlance as it applies to ornamental tones (9, 11, 13), flatted is synonymous with lowered (b) and augmented with raised (#). Any characterizatiOn of ornamental tones in no way refers to the quality of the chord.

~

Fig. 1.

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u

u

0

,\'o

u

u

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le\'O

t CIII

Col

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Fig. 2.

U

. \'0 Cd

vu

+t u

\'0

\'01

CUt

extt

(b) The augmented eleventh (#11) on the major chords and the eleventh on the minor half-diminished and diminished chords must be "supported" by the ninth. (Fig. 3).

~

t Fig.3.

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1'U

01

'-JI

'-JI

\'0

I 1,0

I

,

'-JI

......

t CMIlY

66

em!1

C-t1

CO~1

If, in a dominant chord, a tone appears a perfect fourth above the root (in any octave), it is considered a #3 (suspended dominant) if not accompanied by a ninth.

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Fig. 4.

t,

h~

ex.a

Accompanied by either the ninth or the Hatted ninth, this tone becomes an eleventh (Fig. 5). (The augmented ninth is not permissible here, since it forms a minor 9-11 chord.)

Fig. 5.

In a dominant chord containing a tone a diminished fifth above the root (in any octave), the tone is considered a b5 (altered dominant) if not accompanied by a ninth.

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I ~

Fig. 6.

} . 11,o

t

Cui

Accompanied by a ninth, a flatted ninth, or an augmented ninth, this tone becomes an augmented eleventh (Fig. 7). (The augmented eleventh is avoided in the bass clef for voicing clarity.)

The thirteenth appears only in the dominant chord. In Fig. 8 the function of the 6th tone of the scale in each chord quality is illustrated: Major: added sixth Dominant: thirteenth Minor: added sixth HaH-diminished: non-functional Diminished: diminished seventh

Fig. 8. I

ell+8

Cx18

Cm+a

CoT

The thirteenth is usually supported by either the ninth, flatted ninth, or augmented ninth (Fig. 9).

The flatted thirteenth (b13) must ·be supported by one of the three ninths (Fig. 10). ~

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Fig. 10.

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"-'

V"-'

1,0

1,0

exi'13 9

~

"-'

1,0

C~~3

C h3 x'9

The eleventh or augmented eleventh (#11) may be added to certain harmonic structures containing ninths or thirteenths (Fig. 11). Fig. 11. ~

,

"-'

~u

'1 "-'

~llU

ott "-'

1,0

1,0

1,0

/'n

/,n

13 Cxll It

IS

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IS CX'I1 9

IS

CX~~1

13 cxlll

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1,0

bo

bo

\'0

1,0

~13

Cx 11 9

h3 Cx 11

h

hs Cx'l1 9

hs cx'u ~9

h3 Cx'l1 '9

In Figures 1-11 we have considered only several of many voicings for the five chord qualities in which the bass note is C, the melody, one of

several tones. The possibilities are probably infinite; however, the student can gradually build up his own resources by ad lib explorations of the numerous melodies and bass ,lines in Volumes I, II and III, following the application of the essential and ornamental tones described in this lesson - each chord must contain: root, third, seventh, melody fifth on all haH-diminished and diminished chords. 69

Fig. 12 is a bass line for "Time After Time" in the key of D. Fig. 12.

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TIME AFTER TIME - by Sammy Cahn and ]u1e StyDe Sands Music Corp. Used by permissioD.

DRILL: Using Figs. 1 to 11 explore various mixed positions on the twelve tones.

LESSON

21.

Mixed Position - Scale-Arpeggio Factors _ .Left Hand One of Tatum's most startling devices was the use of scale-arpeggio figures in the left hand to support a right-hand voicing. This meant that the harmonic responSibility, except for the root, passed entirely to the right hand. LEFT HAND

RIGHT HAND

Root

Third

Scale-Arpeggio

Fifth (optional) Seventh Melody Ornamental Tones

In initially dealing with these devices it is well to begin the left-hand figure on the root ·and then proceed through the scale-arpeggiO figure employing the elements studied in Volume I. In each melodic position the right-hand voicing is built down from the melody, until the essential tones are represented; the root and any accompanying devices appear in the left hand. 70

Fig. 1 is a harmonization of "Black Magic" in the Key of Bb based on this technique. The student must add the melody of "Black Magic" as a top voice in the right hand. If the melody note falls on the third or seventh of the prevailing chord, the tone performs both functions simultaneously, e.g., in bar 1, the D melody tone is also the third of the I chord. Fig. 1. fl

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THAT OLD BLACK MAGIC - by Johnny Mercer and Harold Arlen Copfright @) 1942 by Famous Music Corporation Used by permission.

DRILL: Explore other melodies applying this technique. LESSON · 22.

Mixed Positions - Axis of the Third and Seventh Still another important architectural device employed in mixed positions is that of the axis of the third and.seventh in Lessons 68, 69, and 10 of Volume I. The principle of the axis is Simply one of placing the root and fifth in the left hand; the third, seventh, melody, and selected ornamental tones in the right hand. Fig. 1 illustrates the scale-tone seventh chords of C - axis of the seventh (seventh is the top voice). Fig. 1. ~

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The principle involved here is a simple one: build down from the melody to the nearest third and seventh or seventh and third immediately below the flU3lody tone; add the root and fifth in the left hand. Occasionally, the student will find that melodic tones accompanying a harmonic unit (half-note or whole-note chord) move through both axes; since the melodic phrase must be pursued to its conclusion, the student must change to the opposite axis at one of the "on beat" points of the bar (Fig. 3).

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DARN TIlAT DREAM - Lyric by Eddie Delange - Music by Jimmy Van Heusen Copyright 1939 by Bregman, Vocco and Conn,IDc., 1619 Broadway, New York, N. Y. Used by pennjssiOD.

DRILL: Practice the scale-tone seventh chords in both axes, through the twelve keys.

LESSON

23.

Mixed Positions 8-7-3 (Major Srd - minor 7th) .J X"X"X CIrcle pattern

Fig. 1.

One of the fundamental devices of ad lib jazz piano is the left.,hand innpr voice movement discussed in Lesson 72, Volume I. Fig. 1 below illustrates the basic inner movement of all jazz or diatonic (they are synonymous) harmony - the third becoming the seoenth and the sooenth becoming the third when joined with a circle of fifths.

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The movement illustrated in Fig. 1 is called a perfect circle · of fifths pattern, since the lower voice moves down a perfect fifth or up a perfect fourth. Fig. 2 illustrates the same intervals in an alternate circle of fifths pattem (lower voice moves down a perfect fifth and up an augmented fourth). Fig. 2.

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These intervals represent fragments of chords, the missing elements (essential, melodic, ornamental) to be added to the right hand. The fin· gering in all cases is usually 1-5 for sevenths and 1-2 for thirds. In the case of Figs. 1 and 2, the implied chords are as follows: INTERVAL

IMPLIED CHOBD

Major Srd

Major Dominant Dominant Minor Half-diminished

Minor 7th

Possible circle patterns:

M-x-M M-m-M M-~M

x-x-x x-m-x x-q,-x The most common of these circle patterns is x-x-x. By displacing the third to a tenth, Tatum developed the following left-hand sequences Fig. S.

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Since Fig. 3 employs every unit of span 3, it will be of little practical value to the average student, although it remains one of the most thrilling sounds ever played by a jazz pianist. Fig. 4 illustrates the circle pattern of Fig. 1 originating on the major thirds of the remaining eleven keys. The student should also explore Fig. 2 originating on the major thirds of the remaining eleven keys. Fig. 4. I

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DRILL: All of the circle patterns .listed in the above should be explored with the missing voices (essential, melodic,. ornamental) added to the right hand (see Fig. 5). Fig. 5.

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Fig. 6 is a harmonization for "Prelude To A Kiss" in Eb employing the x-x-x circle pattern. The melody should be added by the student as .a top voice in the right hand. In x-x-x circle patterns, both the minor seventh and major third imply the dominant chord; it is well to begin the series with the interval that will center the left hand in the area of an octave below middle C. Fig. 6. ~

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PRELUDE TO A KISS - Copyright 1938 by American Academy of Music, Inc. Used by permission.

83

LESSON

24. Mixed Positions 7-3-7 (minor 7th - major 3rd) m-x.,m circle patterns

Fig. 1 illustrates the reverse of Fig. 1, Lesson 23, Although the principle of seven becoming three and three becoming seven is still maintained. Fig. 1 represents the perfect circle of fifths patterns; Fig. 2, the alternate circle of fifths pattern. Fig. 1.

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84

INTERVAL

IMPLIED CaOBD

Minor 7th

Dominant Minor Half-diminished

Major Srd

Major Dominant

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possible circle patterns:

x-M-x m-M-m

4>-M-4>

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4>-x-4> Of these, the most common circle patterns are the last two. Fig. 3 illustrates the m-x-m circle pattern expanded into open position. Fig. 3 employs only spans 1 and 2, which places it within the reach of every pianist.

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Fig. 4 illustrates the circle pattern in Fig. 1 originating on the minor sevenths of the remaining eleven keys. The student should also explore Fig. 2 originating on the minor sevenths of the remaining eleven keys.

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Explore circle patterns listed above in closed and open position, if possible adding the missing voices (essential,· melodic, ornamental) in the right hand (see Fig. 5). 86

II

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Fig. 6 is a harmonization for "Satin Doll" in E employing the m-x-m circle pattern. The melody should be added as . a top voice in the right hand. "Satin Doll," employs the m-x-m circle pattern in interrupted fragments: m-x, m-x, etc. These fragments should be thought .of as an incomplete II-V pattern, creating a harmonic tension which is finally resolved in the seventh bar. Fig. 6 .II V I II V I III VIx I III VIx I VI I1x I bVI bIlx I I II I III VI I II V I II V I III Vlx I III Vlx I VI I1x I bVI bIIx I I II I III #IVo I Vm Ix I Vm bV I IV Vm I VI bVIIm I VI IIx I VI bVIx I V IV I III bIIlo I II V I II V I III Vlx I III Vlx I VI IIx I bVI bIIx I I I I II SATIN DOLL - Duke Ellington, Billy Strayhorn & Johnny Merl'er Copyright 1958 by q'empo Music, Inc. Used by permission in U.S.A. & Canada only.

In using this device, the missing factors (essential tones, melody, ornamental tones) must be added to the right hand. There are two possible combinations in Fig. 6.

LEn HAND root-seventh root-third

HAND me,lody-third melody-seventh-flatted ninth

RIGHT

In m-x-m circle patterns, the minor chord is always indicated by the minor seventh, the dominant chord by the major third. The same is true of q,-x-'" circle pattern. DRILL: Practice Fig. 1 through 5 for automatic facility.

87

LESSON

25. Mixed Positions 7-3-7 (Minor 7th - major Srd) ~x-~ circle pattern

The ~x-~ circle pattern is built on 'the identical intervals appearing in Fig. 1, Lesson 24, except that the diminished fifth (for ~) must appear in the right hand (see Fig. 1). Fig. 1.

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The ~-x-~ circle pattern should be explored from the various points of origin·illustrated in Lesson 24, Fig. 4, adding the necessary tones (essential, melodic, ornamental) to the right hand. Fig. 2 is a harmonization for 'Woodyn' You" in Ab. The front phrase of this tune is built on a ~x~ fragment; the bridge employs a m-x-m fragment similar to the front strain of "Satin Doll." Fig. 2.

..

IVIx / 11+ I V I I II lVI' IV / bV~ I .. VlIx I III~ I VIx I II~ I V I I II I VI a #IVo I Vm Ix / Vm Ix / Vm bV I IV I VI IIx I VI IIx I VI bVlx I V I bV~ I VIIx I III~ I VIx I II~ I V / I +. I I +. / I bV~ / VIIx / III~

WOODYN' YOU© Copyright 1948, Charling Music Corporation Used by permission.

DRILL: Explore scale.

88

~x-~

patterns from all twelve tones of the chromatic

LESSON

26. Swing Bass

Tatum's swing bass has none of the architectural symmetry of Wilson; nor do the hands move in the interrelated geometric design that characterizes the Wilson style. In Tatum's system, swing bass is only one of a multitude of elements brought to bear on an improvisation. Often the full tenth is not "swung," but Simply acts as a harmonic underpinning for a linear rhythmic pattern appearing in the right hand. The follOwing ten studies (Chapters 26 through 35) will present modified Swing-bass examples in the general idiom of Tatum. Span S is excluded. Swing chords will be identified with those studied in Lessons 7 through 11. A substitute voicing will be introduced in these studies to cover the dominant chords occurring in span S. This voicing consists of a root, major Srd, minor 7th, and one of the ninths (ninth, flatted ninth, augmented ninth) (Fig. 1 to 4). From these studies it is hoped that the student may capture, in spite of the constantly shifting architecture of his style, what remains ,robably the essential "sound" of the Tatum concept.

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VI

I-1

~Wd

VII

(0)11

V

u,I

~1IM9

II

VI

V

I

VD

III'UoX:

a #~ P~ ~ra D~ ~ I f V

r4

UtI

I

I

APRIL IN PARISCopyright 1932 by Harms, Inc. Used by permission.

NOTE: In this and the following nine studies, the student may create his own swing-bass structures from the half-note harmony. However, it should be remembered that improvisation is assumed to be present in the right hand and the student should avoid overplaying. These studies, however, do allow for optional variations so long as the bass line remains intact. DRILL: It is suggested at this point that the student begin a systematic study of the piano literature of the nineteenth and twentieth centuries in order to better understand the classical resources of Tatum's conception. This knowledge, jOined with the material presented in this volume will enable the student to deal with the basic stylistic idioms of this great master. 91

LESSON

27 Pedaling

Tatum's exquisite control of the piano extended to the brilliant use of the sustaining (loud) pedal. In stu. I VI I V" I I • 1+' jI I I VI I II IVo I III blllo / II bllx I I Ix. I II. II;'. I I I VI. V t I I 1+' IVx I IIIx VlIm. I Vo IIIx 41 I VIx III. / 10 VIx. I I II I • IIx VI. I IVo IIx. / VII. / jVlo V 41 / I VI I II IVo I m bmo I I II II bllx I I Ix. /11.11;,. / VI. IVo I III!/> bIIIx I IIx bllx I 1+' II I I , I VI

1\

•

I GOT RHYTHM-

Copyright 1930 by New World Music Corporation Used by permission.

DRILL: Review Section VI, Volume I, in preparation for the succeeding material.

45.

LESSON

The Five Qualities Sin~ the block chord style is primarily

used in playing melodies, several problems are raised. First, copyright laws prevent the reproduction of a melody; in addition, the five qualities must be presented before any practical application can be achieved. This chapter will present the block chords for the five qualities in twelve keys. Original melodies will be used as models. Since melodies tend to follow the scales or modes of the prevailing chord, the Simple prinCiple here is one of playing the melody in octaves while adding three appropriate inner voices within the octave tones. On this basis, the various modes ' originating on C would appear in

chord blocks as in Fig. 1. This figure employs the follOwing modes (see Section VI, Volume I): Qu~

MODE

Major Dominant Minor Half-diminished Diminished

Ionian Mixolydian Dorian Locrian 021212121 (semitone combination)

In each case, except diminished, the Signature of the prevailing mode

has been used.

Fig.l.

,

C Major (IonIan of C) 1

·9:

!

1

f f, t f a

"

5

e

C Dominant (Mixolydian of F) 1

130

i 1 .;

~-

e

, t 1

.,

1

1

II

C Minor (Dorian of B~)

2:Jz

, ,

3

J

1

f

C Half-diminished (Locrian of D~)'

:} Wit;

,

3

t

1

"

f 1 «i

'r

8

S

t

1

t t t ¥I

C Diminished ( 0 2 1 2 1 2 1 2 1) 2

1

,

I

jJ; I'~

:)i j,~

5

"

-"1 j -I

8

7

8

1

&,

Fig. 1 illustrates a Visually convenient way of presenting the chord blocks on the various modes; however"this multi-keyed presentation would be highly impractical in dealing with a Single-key melody. Avoiding this problem for the moment, Fig. 2 presents the remaining block chords in their correct modal setting.

Fig. 2. D~

Major (Ionian of [)!,) I

I

8

7

1

£t t t t

II 131

D~

DomlDant (Mixolydian of G~)

cl Minor (Dorian of B) 1

cl Half-dlmlni8hed (Locrlan of D) 1 I a ,

5:%'

I 1

f,,·, t .. 5

e

7

1

I

CI Dlmln18hed(02 1212121)

wk. ~ i Iflai~. it Ii Io Major (Ionian of D) 1

'5:% 132

1

II

D Dominant (Mixolydian of C)

')if,

a

a

"

I "

i

j.,

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I

1

I

6

7

1

t

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a

•

2:' ,

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6

t t ..

j

I

D Half-diminished (Locrian of EJ,)

•

1

a

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II

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e

1

tt _ If I., It

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6

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7

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1

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1 I

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6

7

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I 133

E/, Minor (Dorian of D~) 1

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E/, Diminished (0 2 1 2 1 2 1 2 1)

E Major (Ionian of E) 1 J

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2:" 134

1

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1 I

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P Major (Ionian of P)

•

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1

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t t

r e

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t

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1

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1 ==

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1

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1

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I

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tf I

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~ ~

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,

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a

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a

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, ... .. 4 • "1 U ~IIIx

IIIx

9:@,h j qJ ~J VIIm

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IVm

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~VIIx

I

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'10

't:J'

I

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IVm

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IZ

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1

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m

IVx

~Vm IVx

m

m

IV

J J I- J I

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1

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~mo

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n

~mo

~mx

1

~IIIx

:0

IJ J qJ U

IIx

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1

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STAR DUSTCopyright 1929 by Mills Music. Inc. Used by permission.

DRILL: Extract the melody from the sheet music. AsSign positions to each melodic tone in relation to the prevailing mode. Add blocks to the right hand. For those whose hand span does not allow the playing of all the tones in each block, it is suggested that the outer voices be played, along with those inner voices within , reach.

161

LESSON

52. Block Chords - "Walking" Bass Lines

"Walking" bass lines refer to the quarter note scale-arpeggio lines played by bass players in modem jazz groups. As described in Lesson 34, Volume I, the unique quality of jazz lies in a particular combination of rhythmic elements: eighth-notes - melodic time half-note - harmonic time quarter-note - rhythmic time In pianistic terms, this may be illustrated as follows: eighth-note - right hand half-note -left hand quarter-note - foot beat These rhythmic elements usually prevail in modem "group" piano. However, it is possible to re-arrange these-elements in order to create an acceptable solo sound in modem rhythmiC terms (aVOiding swing bass). Bassists utilize the identical tonal devices described in Volume I: arpeggios, scales, modes, scale fragments, and chromatic tones. Rhythmically, however, the bassist is generally assigned to the quarter note, in order to establish a finn rhythmiC underpinning for the piano and the various horns (wind instruments). We will return to this aspect of jazz in Volume IV; for now we will attempt to join this walking line with the block chord technique in the right hand. Fig. 1 is a "walking" bass line for "September in the Rain." Proceed as in previous lessons playing the available chord blocks in the right hand. Fig. 1.

2: Wl, plck-up

qJ 110 J J. J IJ J J J IJ J ~IIx

9:0" J ~

162

I

I

U *note

V

I

1 IF ¥ ~

JI

IV

IV

J I~J I J 1.3 J J IJ J

j

J J IJ J ~ J VI

D

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IV

v

J

J

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s S;

; IS S ; ;

Va

VI

Vm

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IIx

2: ~~, J J J J

J

J

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IJ J

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J

JJ

;

j

&r IF &F j J I IV

I

las

J ~J I; J J J I

IV

IV

D

V

IJ

;

j

&r IF &r j J I IV

IV

SEPTEMBER IN THE RAINCopyright 1937 by Remick Music C. r oOr1tion Used by permission.

note: The ninth of the half-diminished chord, unlike the major, dominant minor and diminished, does not fall in the prevailing mode.

DRILL: Construct a walking line on a previous bass line or one CODverted from sheet music and apply melodic chord blocks in the right hand.

163

53.

LESSON

Improvised Chord Blocks Shearing not only developed the block chord technique to present a melody and its accompanying harmony Simultaneously, he also employed the block chord in his improvised line, substituting a quick succession of chord blocks for the exclUSively single note line used by Powell (see Fig. 1: PoweU; Fig. 2: Shearing). Fig. 1.

I

I

I

Fig. 2. ~

I

~) re

t

I

i~

-i·

I I

'i· I

.

...

.,.

h•

I I

~ " ,1T ~

t

.

,...."

I

-i

• I

i" i"

i--

....-..

-

'-"'"

'i-- i~

i· I

......

J?

I

I

In Fig. S the student will note that blocks do not appear on every melodic tone but only on the important tones of the phrases faIling on any one of the eight melodic positions in the bar. This device is employed in rapid passages to give the illusion of continuous block sounds without the awkward necessity of playing a complete five tone block on each melodic tone~ U the student attempts to play Fig. 2 at a rapid tempo, it will be evident that the natural swing of the phrase is diminished; it is to avoid this tha~ the open octave is employed.

164

Fig. 8. 3

~

~

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f!; ~f!;

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r

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r

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•

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...,.

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J

The basic principle of improvised lines employing block chords is as follows: The improvised line is played in octaves employing both hands;

chord blocks are introduced at the accent points in a phrase. Fig. 4 is an improvised block chord line on «Don't You Know I Care"

. in

Eb.

Fig. 4.

'Vt#" It nakf#3 )11 rn , ~Vt§' # ~t '-ffa It II i 1 'Pt §! i t II i til, Ii g·ft ,i I (E~)

(D)

Plok-up ~lIz

viII .

J

~lIz

lIz

JVa

Va

J

Ix

VI

m

165

'Vh (E~)

'Vt (E~)

f3iifj;~i:lii f"jlt~t ~1Ix'

II

_I

~1Ix

I

Ai)li, t t t "ij3ft t Ii' I I

vtl

.

Va

Iz

,§. Sl§J3¥ B;jj,,'jtJatjj&dS I ~)

IIa

IlIIa

I

VI

'Pl. §, " '1lIlfF fdih'filAtfM' ,~ t~jllt f ~1 ~~I~\'f! f 1f tJ 1 (E~)

~v;

(I:~)

II

m

IVa

~1Ia

(It ~Jlx

I

(D

~JlIz

iv' ~ i i 1t 14 itt qij, (g)

II

IIIIx

¥t\.k jl¥jta

1+8

(B)

VI

1+&

$, I~

V

~i8 .Sl~l. tf,l

[,,1

'~l.tf'l f if '.Lil~' i' gii tJl (E~)

166

1m2

~m

~VJx

v

~)

~

I

'~l, 4£ 3a!~ cD)

I

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D

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m

1Vm

I

~mx

~

D

V

I

DON'T YOU KNOW I CARE-

Copyri.wt @ 1944 by Paramount Music Corporation Used by permission.

DRILL: Explore other improvised lines inserting chord blocks in all accented positions.

167

SECTION V

Horace Silver LESSON

54.

General

Much like a serious composer, the jazz musician critically selects the specific tonal and rhythmic elements which best serve his aesthetic purposes. The essential problem confronted by Wilson and Tatum was one of harnessing the blues-ragtime traditions to a classical technique in order to expand the expressive gamut of jazz piano. Powell returned to the "horn~ tradition, transfOrming the lines of Coleman Hawkins, Lester Young, and Charlie Parker to the keyboard as Hines transformed Armstrong Bfteen years earlier. Shearing continued to expand the expressive texture of the piano while securely establishing the "horn" concept of contemporary jazz piano. Horace Silver, the next important link in the history of modern jazz piano, has, like his predecessors, eJfected major contributions in the vital areas of techniques, architecture, and aesthetics. These aspects of Silver's achievement will be discussed in the remaining lessons of this Volume as well as sections of Volume IV. Fig. S illustrates a bass line for "Falling In Love With Love" in Bb. Fig. 1 illustrates a conversion of 3/4 to 4/4 time discussed in Volume I, Lesson 71. In the case of "Tenderly" in Volume I, a 4/4 conversion was accomplished by adding one beat to the first beat of each bar. In the case of "Falling In Love With Love" this device will function, but the resulting 4/4 chart is an awkward 64 bar harmonization containing extended cadences of the V and I chord, which diminishes the "swing" of the conversion.

Fig. 1. I / I / #10 / #10 / II / II / V / V / III / bIIIx / II / blIx / I / I / b1Ix / blIx / I / I / IV / IV / etc. In a case of this type, the process described in Lesson 71, VoL I is REVERSED. This means that instead of adding one beat to each bar, one beat is removed from each bar. See Fig. 2 for melodic conversion.

168

Fig. 2.

~J ~11

~.---,

becomes

r r rill r r r I becomes

III r Fig.

becomes

III

II

0

II

s. 4/4 conversion I /

#10 /

II / V / III bIlb: / II bIb: / I / bIb: / I / IV /

VIIm / bVIIx / VI I I T VI' / VI bIllo / II / bib: / I / #10 / II / V / III bIlb: / II bib: / I / bib: / I / IV / VIlm lIb: / I1lcfl VIx / IV + e III / II bIb: / I + 8

/

I +8

/ /

FALLING IN LOVE WITH LOVECopyright © 1938 by Chappell & Co. Inc. Used by permission.

DRILL: Attempt conversion of other 3/4 tunes. In each case either a beat must be ADDED to each bar or REMOVED from each bar. The student should decide upon the most effective solution.

LESSON

55. Technique

Silver's technical innovations stem from the curious fact that at the time of his initial achievement he was not a skilled pianist by existing standards. It was this very fact that led to his "unpianistic" innovations. These innovations consisted of a muscular, legato wrist stroke which simulated the sharp attack of the tenor saxophone, his major instrument prior to 1949.

169

In preparation for this "articulated" stroke, the follow4lg studies are suggested: 1. Practice the 12 major scales employing a rapid wrist stroke, with ~void

alternate hands. (see Fig. 1).

"air-space" between notes.

Fig. 1. ~

I

~

..

•

It

t

I

-

..

I

-

I

~.

I

\

I

I

2. Practice step 1 using the Hanon studies in 12 keys.

3. Practice Step 1 with the sixty scales (modes). An important aspect of these studies is the equal abUity of each of the five fingef's to support the fuU weight of the arm. In modem jazz phrasing the accented arm weight often falls on the fourth or fifth finger (see Fig. 2), which makes this principle of equal finger strength essential.

Fig. 2. 4th ~

~I@

I

I

I

.,-

::>

6th

I

I

I :>

) . I,

~

::>

::>

::>-

I

I mx

J70

4th 1

~

VI

q.. ~Vm

VIIx

Fig. S is a bass line for "One For the Road." Fig. S. pick-up

(Eb)

bIIx I I I II I I I bllx I I II 2 I I II 2 I I II a I I blIx I I Vm I

(Eb)

Ix bV I IV Vm I I IV bVlIx I I II I #IIo III I IlIx # I VIx /

(Eb) II bllM I I + e VI II (G) lIef> bIIx I I II. I I blIx I (G) I II I I , II I I I 112 I I

bllx I

I Vm I Ix

bV I

IV Vm I I

( G ) IV bVIIl I 1 II I #110 III I lUx # I VIx I II bllM I I + 8 (G)

/ /

bVlx I

/

Vm bV I IVx 1m I IVx IVm I III VI bVlx I Vm bV I IVx 1m I

(G) IVx I (G)

/

bill bVIx I

V # a blIx I I II a I I bIIx I I II. I I II. /

I II a I I blIx I I Vm I Ix bV I IV Vm I I IV bVlIx I I II I

(G) #110 III I IIIx # I VIx I II V I I I

bVllx

VIx I bVlx V I

(G) 1+ 8 I I+e II ONE FOR MY BABY (AND ONE MORE FOR THE ROAD)-

by Howard Arlen and Johnny Mercer Edwin Morris & Company, Inc. Used by permission.

DRILL: The student is advised at this point to begin a serious study of pages 122 to 128, Volume II, which notates the entire "Opus de Funk." This improvisation, recorded in the early Fifties, represented a revolutionary development in the history of jazz piano. This recorded solo clearly illustrates the basic characteristics of Silver's style. Also, a stunning discography of Silver dating back to 1950 is suggested as a valuable source of study of this outstanding musician.

DRILL: Analyze "Opus de Funk" for the following: 1. "Peak" positions of phrases in each bar to determine accent points. 2. Fingering of phrases, employing normal fingering rules, to determine arm-weight points in each bar. 3. Punctuation of phrases to determine melodic "COntours."

171

LESSON

56. Architecture

Bud Powell firmly established a left hand architecture based upon the 3-7-3 concept. Shearing's left hand architecture is of little formal significance in the format of the quintet, since the underpinning of the group is well distributed between drums, bass, piano, and guitar. Silver has maintained the basic Powell architecture, although he has brought a rhythmic punctuation to the style not present in the more legato Powell idiom. More important, Silver established new dynamic and expressive levels with the right hand. This has allowed for the interplay of contrapuntal lines between the hands, an important aspect of the 3-7-3 concept in contemporary jazz piano.

Fig. 1.

Silver's basic right hand register is illustrated in Fig.· 1. This allows the "hom line" to be played in the middle area of the keyboard instead of the less intense upper area. The eighth note is the basic unit of the highly accented line, the accent falling on constantly shifting points (eight to a bar). These accent points preponderantly fall on the top note of the phrase, which inVariably places the accent on the fourth or fifth finger (see Fig. 2). Fig. 2. ~

~

) 14! )

l

I

-

-

•

.. .,-

~

>-

>-

•

>

. ~ D

172

>-

.,;

• IVa

If'* lIvo

.

;

~

~

. .

~

g,

•

VII

i

V

1to8

fI

l ~)

It

-

3

I

J

...

~

•

:>

•

>

:>

if·

~

... = qi-

~i Gt

~

q-.

~

I, Tacit

Tacit

Fig. 3 is a bass line for "The Breeze And I" in D.

I+e

/

I + II

/

I / I / I+e V~

/

V~

#10 / II / V # a

/

V~ / V~ / III bIIIx / II bIIx / I + e / I / I

/ I / VI / II / V # a /

/

I

III/VI/II / bIIx / I /

III / VI/II / bIIx / I + e

/

V~ / I + e

/

I+e

//

THE BREEZE AND 1Copyri~t 1928, 1940 by Edward B. Marks Music Corporation Renewed 1955 and assigned to Edward B. Marks Music Corporation Used by permission.

LESSON

57.

The Blues Tradition

The joining of the African beat with the many facets of our culture (popular, classical, theatrical, religious), resulted in the emergence of a new exciting art form - jazz. These joinings first appeared in a variety of forms: work songs, field hollers, blues, folk songs, rags, marches, dances, chanties, and spirituals. In each period, these basic sub-;strata elements are "rediscovered" and revised to fit the new conceptions of rhythm and harmony. Silver has performed this service by returning to the blues-folk-spiritual tradition, and revising thes~ idioms in terms of post-bop ideas. Integrated into the "modem hom" line we find the follOWing revised elements: 1 "Blue" notes. 2. Crushed tones.

173

The following tables illustrate the "blue" or non-modal tones for each . of the Dve quailties: Major: #1 Dominant:

#2 #4 #5 #6 #1 #2 #4 #5 #7

Minor: #1 #3 Half-diminished: Diminished: #1

#4 #5 #7 #2 #3 #5 #6 #7 #3 #5 #7

(all figures based on prevailing mode of the chord). As described in Lesson 61. Volume I, the crushed tones are derived from the tradition of folk guitar. In addition to the material described in Volume I, the following is a basic underlying principle of the crushed tone technique:

The fifth finger in the right hand is placed and held upon the tonic of the prevailing key of the tune, while a moving lower voice is played in the lower part of the hand. This lower voice usually centers about the third. fourth, of the prevailing tonic (Ionian) mode m. addition to the surrounding chromatic tones. The student should keep in mind that this technique is not determined by the quality or position of the immediate chord. only by the prevailing key or tonic of the tune. See Fig. 1 noting each prevailing tonic (Signature). Of course in tunes involving modulation to a new key, the tonic of the new key will prevail. This feeling is by no means limited to the 12 bar blues, but is an all embracing quality which should,be present in any jazz performance. Fig. 1 illustrates this technique applied to several keys by various jazz pianists.

Fig. 1.

.....-....

.

I 1+8

..-..

!sf

#4E ..-...

'I 1+8

174

I ~VI

'I

~r v

n

VI

r

r r Ei

....-...

#=IE +f r T r::r Vm

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175

The Jazz Improvisation Series 1. Tonal and Rhythmic Principles

By John Mehegan Preface by Leonard Bernstein

The fundamental musical concepts used by every great jazz musician from Buddy Bolden to Dizzy Gillespie. , Here for students, professional and amateur musicians, and serious jazz enthusiasts are more than 70 lessons that define and clearly systematize the basic principles of jazz-using more than 60 jazz standards as examples: "Laura," "Body and Soul," "Spring is Here," "Stella by Starlight," "Autumn in New York," "Round Midnight," and others by such leading composers as Gershwin, Rodgers, Porter, Ellington and Kern, "A highly important and valuable publication,"-Leonard Bernstein in the preface. "A great book."-Dave Brubeck. "Fulfills a desperate need."-Oscar Peterson. "A most valuable volume ."-Andre Previn . "The finest organization of jazz material that I have seen."-Bill Evans.

2. Jazz Rhythm and the Improvised Line

Preface by Harold Arlen

A brilliant analysis and schematic history of these two supremely important facets of jazz. Many figured bass lines and solos are given for dozens of well·known tunes of all periods-"High Society," "Oh, Daddy Be Good," "Just You, Just Me," "I Can't Get Started," "Night in Tunisia," "Bernie's Tune" and others-as well as 29 transcriptions of performances recorded from 1923 to 1958 by such ,artists as Bessie Smith , Louis Armstrong, Bix Beiderbecke, Roy Eldridge, Art Tatum, Bud Powell, Charlie Parker, Dizzy Gillespie, Miles Davis, Stan Getz, Horace Silver. "John Mehegan in this book continues the high standards of jazz teaching he has set prevIously in a field that needs these standards so badly."-Nat Hentoff.

3. Swing and Early Progressive Piano Styles

Preface by Horace Silver

An analysis of the great piano styles of 1936 to 1950, a period of creative ferment which saw the culmination of the rag-time tradition and its destruction and replacement by the innovations of the "bop" era . This volume examines the stylistic structure of over fifty major performances by the five greatest jazz pianists of the periodTeddy Wilson, Art Tatum, Bud Powell, George Shearing, Horace Silver-giving jn unprecedented detail their extraordinary improvisations on the basic songs of the jazz repertoire. "Brings to the aspiring jazz musician a helping hand that will put him on the right track." -Horace Silver in the preface,

4. Contemporary Piano Styles A rich, instructive survey of the history of jazz piano from 1950 to the present with clear and systematic analyses of the styles of such leading figures as Oscar Peterson, Bill Evans, George Shearing, Ahmad Jamal, Horace Silver, Red Garland, Cecil Taylor and many others. Abundant illustrations of left hand voicings, right hand modes, solo piano, comping, turn arounds, modern funky piano, harmonic distortions, modal fourths, minor blues, and modal fragments enable the student to apply modern devices to his personal style,

John Meheaan, jazz pianist, teacher and critic, was born in Hartford, Connecticut, and first

played the piano at tile age of five. His distinguished career as a jazz educator began in 1945, when he became Teddy Wilson's assistant at the Metropolitan Music School in New York. The following year, he was appointed head of the school's jazz department. In 1947, Mr. Mehegan was named jazz instructor at the Juilliard School of Music. He taught privately for over 25 years. He also taught at the Yale School of Music. Mr. Mehegan's unmatched contribution to the literature of jazz includes not only his major series on jazz improvisation, but a unique series of jazz instruction books for elementary and secondary school students, entitled The Jazz Pianist. From 1957 to 1960, he was jazz critic for The New York Herald Tribune. He was a contributor to such magazines as Downbeat, Metronome, alJd The Saturday Review, and a reviewer for Jazz magazine. ISBN 0-8230-2S73-X