top 100 giáo trình học piano tài liệu học piano hay cho người mới bắt đầu

The following is a bass line for "Invitation." This tune presents a unique problem due to the absence of major chords (the normal cadence chord) with the exception of the final c[r]

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To Linda

Tara and Gretchen Lucille and Ron

Revised edition published 1984 in New York by Watson-Guptill Publications, a division of Billboard Publications, Inc.,

1515 Broadway, New York, NY 10036 Exclusive distributors to the Music Sates Corporation 257 Park Avenue South New York, NY 10010 Music Sales Limited 8/9 Frith Street London WIV STZ, England Music Sales Pty Limited 120 Rothschild Street Rosebery ‘Sydney, NSW 2018, Australia Library of Congress Catalog Card Number: 84-50368 ISBN 0-8230-2559-4

All rights reserved No part of this publication may be reproduced or used in any form or by any means—graphic, electronic, or mechanical, including photocopying, recording, taping, or information storage and retrieval systems—without written permission of the publisher, Manufactured in U.S.A 7 8 9 10 11/99 98 97 96 95 94 CONTENTS Preface by Leonard Bernstein Introduction SECTION I 1 2 3 4 5 6 Scale-tone Seventh Chords Intervals Chord Qualities

Altered Scale-tone Seventh Chords

Chromatic and Altered-chromatic Scale-tone Seventh Chords The Sixty Chords

SECTION I 7

8

20

Key of C—“Fools Rush In” Key of G—“Nice Work if You Can Get It” Key of F—“I’m Glad There Is You” Key of D—“Misty” Key of Bbh—“Ill Wind” Key of A—“Moonglow” Key of Eb>—“The Man I Love” Key of E—“These Foolish Things” Key of Ab—“Spring Is Here” Key of B—“Just Friends” Key of Db—“Bewitched, Bothered and Bewildered” Key of F#—“Come Rain or Come Shine” Key of Gb—“1 Didn’t Know What Time It Was”

Twelve Key Transposition—“I Only Have Eyes for You” SECTION Mil 21 2 23 24 25 Inversions Inversions—“No Moon At All” Inversions—“Liza” Inversions—“Waltz For Debbie” Inversions—“Giant Steps” SECTION IV 26 27 Modulation—“How High the Moon” 28 29 30 Modulation—“Body and Soul” Modulation—“Laura”

Modulation—“I’ll Remember April” Modulation—“All the Things You Are” 5 31 32 Modulation—“Autumn in New Yor Transposition-Modulation—“In You Own Sweet Way” SECTION V 33 34 35 36 37 38 39 40 Arpeggios Arpeggios in Rhythm Eighth-note Arpeggios—“I Could Write a Book,” in Db Rhythmic Combinations—“Green Dolphin Street” Sixteenth-note Arpeggios—“‘At Lor Last Love,” in C Rhythmic Combinations— “Sophisticated Lady,” in Ab Rhythmic Composite (ballad)—“I Got It Bad,” in G

Rhythmic Composite (up-tempo)—

“You Took Advantage of Me,” in SECTION VI 41 42 43 44 45 46 47 48 49 50 5 = 52 53 Modes—“Speak Low,” in F The Major Scale—“Moonlight in Vermont,” in Eb The Dominant Scale—“It Could Happen to You,” in Ab The Minor Scale—“Little Girl Blue,” in F The Half-diminished Scale—“‘Doi Blame Me,” in C The Diminished Scale—“Birth of the Blues,” in C The Sixty Scales Scale-arpeggio Alteration—“Like Someone in Love,” in C Eighth note Scales—Scale Fragments—“Blue Moon,” in E Eighth-note Triplet Scale Fragments—“Cabin in the Sky,” inG

Sixteenth-note Scale Fragments— “Dancing on the Ceiling,” in F Rhythmic Combinations—“Roum Midnight,” in Eb minor Rhythmic Composite (ballad)— “Have You Met Miss Jones?” in Rhythmic Composite (up-tempo)

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SECTION VIL 55 The Chromatic Tones—“I Cover the Waterfront,” in G 123 56 The Sensitive Tones—“Night and Day,” in Eb 57 Basic Syncopation—‘‘Easy To Love,” in Ab 132 58 Accent—“Makin’ Whoopee,” in A 136 59 Coleman Hawkins’ “Sweet Lorraine” in G 140 SECTION VID

60 The Blues (harmonic) 146 61 The Blues (melodic}—“Willow Weep for Me,” in G 147 SECTION IX 62 Patterns—Circle of Fifths—“Pick Yourself Up,” in F 152 63 Patterns—Diatonic—“Tea for Two,” in Ab 154 64 Patterns-=Chromatic—“]Jeepers Creepers,” in Bb 155 SECTION X 65 Minor Scale-tone Chords— “Yesterdays,” in D minor 156 66 Minor Scale-tone Arpeggios—“My

Funny Valentine,” in C minor 161 67 Minor Scale-tone Scales—“Just One

of Those Things,” in D minor 163 SECTION XI

68 Open Position-Axis of the Seventh— “When Your Lover Has Gone,”

inG 163

69 Open Position—Axis of the Third— “ve Got You Under My Skin,”in Eb 167 70 Open Position—Mixed Axis—“Lover

Man,” in F 11

Z1 Basic Professional Piano (melodic}— “Tenderly,” in D 175 72 Basic Professional Piano

(improvised)—“Gone with the Wind,” in Eb 182 SECTION XH 73 Standard Procedure 193 74 Ear Training 194 75 Memorization 195 76 Sheet Music Conversion 195 77 Touch—Technique 198 Recordings 199 SECTION XIII For Further Study 203 “Dolphin Dance” 203

“Invitation” and “West Coast Blues” 204 “The Summer Knows,” “Time After

Time,” and “For All We Know” 205 “The Preacher” and “Desifinado” 206 “Our Love is Here to Stay” and “Here’s

that Rainy Day” 207 “The Girl from Ipanema” and “One

Note Samba” 208

“Just in Time,” “Tune-Up,” and “The Shadow of Your Smile” 209 “Nica’s Dream” and “Four” 210 “Quiet Nights and Quiet Stars” and

“What Are You Doing the Rest of

Your Life” 211

“Carolina Shout” 212

PREFACE

There has long been a need for a sharp, clear, wise textbook which would once and for all codify and delineate that elusive procedure known as jazz improvisation Of course, no improvisation can ever be explained down to its roots; therein lies the mystery and joy of spontaneous creation And any improvisation will vary greatly in proportion to talent, mood, colleagues and endless personal factors

Still, there is a basis to improvisation of any kind: a coupling of traditions and techniques And that basis can be explained, difficult though it may be I suppose it is this difficulty that has prevented such a book from having been written heretofore; but at last there is a Johnny Mehegan who has the ability to do it He has that peculiar combination of abilities which is abso- lutely necessary for such an endeavor: academic and scholarly knowledge (and insight and interest), plus an immense practical knowledge (and insight and interest) born of long years of simply doing it himself and teaching others to do it I am proud to be able to write this preface to what I am sure will be a highly important and valuable publication

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INTRODUCTION

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

jazz musician improvises This process is not a mysterious and esoteric

rite arbitrarily enacted without discipline or precise knowledge Rather, it is a concise application of logical and comprehensible musical concepts, which attains amazing heights of expression when utilized in conjunction

with a trained and imaginative talent

To do anything well, some intuitive knowledge of the material at hand is required; this intuition we often call talent But talent without knowledge and hard facts is nothing Talent does not need to be described; the facts do need to be set forth and that is the function of this book

This book analyzes the basic musical facts utilized by every jazz musician from Buddy Bolden to Dizzy Gillespie These facts, strangely enough, can be expressed in the eternal trinity of all music (1), Melody;

(2) Harmony; (8) Rhythm

1 Melody Each jazz generation develops its own repertoire which best suits its own specific ideas of rhythm (time) and harmony (chord changes) The melodies referred to in this book are more adaptable for modern interpretation However, the basic materials of this book are adaptable and essential to all jazz styles

2 Harmony Jazz harmony is diatonic or major scale harmony found

in the mainstream of classical music from 1600 to 1900 In other words,

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

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

‘The confusion in this area has resulted from the single fact that jazz

musicians have, by nature, been gifted people whose sole concern has been

to play and to leave it at that Analyses and descriptive material have been

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

who possess little insight into the real structure of the music

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

pressed to describe the process of their music, jazz musicians have turned to the makeshift spelling of lettered chords found in sheet music as a means

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

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

knowledge is not enough to meet the theoretical and technical levels existing in jazz The young jazz musician can no longer leave the basis of his knowledge to such idle devices as have prevailed in the past

The use of chord letters among musicians may seem strange when one considers that an organized method of spelling any musical function has existed for some two hundred years — Figured Bass This is the first serious attempt to apply figured bass to jazz Using figured bass, the jazz musician can for the first time correctly and completely indicate his music with precision An irony here is that the jazz musician plays out of one ear and

talks out of the other No jazz musician thinks of lettered chords when he

is playing; he hears interval steps based on the distance between one chord and another Distance can best be described by number In other words, the jazz musician plays by the natural system of figured bass In describing this music, it is reasonable that the same system should be used

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

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

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

It is in the area of rhythm that the jazz musician has made his most

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There is no counterpart in classical music for the unique rhythmic elements in jazz This combination of rhythmic elements can best be described as a form of florid counterpoint involving three levels of time played simultaneously:

Eighth-note—first level;

Half-note—second level;

Quarter-note—third level

Here is the catalyst that converts conventional harmonic elements into the excitement of a jazz performance The function of this book is to explore fully the tonal material which forms the basis for this rhythm

Problems of style are beyond the scope of this volume and will be treated in Volumes H, Ill, and IV

In writing this book, the author has kept in mind the large cross section of the musical public which has comprised his students for over twenty-five years—professionals, aspiring semiprofessionals, dedicated amateurs and the Sunday pianist All have experienced the need to sup- plement their talents with an orderly body of musical facts

There seems no point in deprecating previous attempts to assess these facts Two streams of endeavor have been pursuing slowly con- verging lines of activity for the past twenty years—the improviser on the one hand, the theorist on the other Until recently, these two factions have trod their separate paths, often with mutual hostility and certainly with misunderstanding

Today the art form has evolved to a point at which the improviser and the theorist can calmly exchange their views

“Popular” piano methods are completely outmoded in terms of modem music Most of these methods are based upon antiquated rag- time concepts (swing bass) that have no resemblance to the realities of piano as it is played today This book is an initial attempt to bring to all who love jazz some understanding of the beauties of this great art

It is hoped that this book will be a further contribution to the grow- ing literature of jazz which already bears witness to its significance as a vital art form

The author wishes to express his indebtedness to the following whose efforts in behalf of the revised edition of this book were so valuable: Els Sincebaugh, Linda Pomerantz, Robin White Goode, Ginny Croft, Ellen Greene, Richard Grossman, Clarence Foy, Richard Rodgers,

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

SECTION I Lesson L

The Scale-tone Seventh Chords

The harmony of popular music and jazz is based on the diatonic or major scale (Fig 1) Each of the twelve scales is a frame forming the harmonic system Fig L Scale of C [SSS] Diatonic harmony moves in two directions: Horizontal (Fig 1) and Vertical (Fig 2) Fig 2

By combining these two movements using the root (one), third, fifth and seventh, we derive the scale-tone seventh chords in the key of C (Fig 8)

ÝEEEEEEERH I i mo ow vw wit

Fig 3

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Fig 4 illustrates the scale of CG, Fig 5, the scale-tone seventh chords in the key of G Fig 4 SSS Fig 5 op I on WwW 1W V VI VH I

In Figs 8 and 5, the scale-tone seventh chords are derived by combining the following tones of each scale: Cxorp SCALE-TONES 1 1357 H1 2461 It 8 572 Iv 461383 V 5724 VI 8185 VI 7246 The ideal register for the bottom notes of these chords in the left hand is as follows: Sj

Bass line motion and the register requirements of melodies will sometimes force the left hand down to low G (see below)

=

ø SS

In extreme conditions of register disorientation, the student may be forced to move the melody up an octave and leave the middle C area to the left hand

In two-handed drill, the right hand appears in the octave immediately

above the left hand

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Fig 9 Scale of A — Scale-tone seventh chords Fig 10 Scale of Eb —Scale-tone seventh chords a 1 ft II IV V VI VŨ I Fig 11 Scale of E— Scale-tone seventh chords [SS #úgEEEEElt nu MI IV V VI VH Fig 12 Scale of Áp — Scale-tone seventh chords , ees 1 ¡1 1M íW V VI VH 1

Fig 18 Scale of B—Scale-tone seventh chords

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

hands, Ifa Second, Third, Sixth or Seventh falls in the scale of the Root, it

During this period of his development the student should strive to keep is major (M) (Fig 5) If it is lowered — minor (m) (Fig 6)

his eyes on the keyboard rather than on the printed page Fig 5 Fig 6 LESSON 2 =9 1 9 — ea ee + + " + + Intervals M2nd M3rd Méth M7th m?nd mãrd mộth mĩth

Intervals represent the distance of one scale-tone to another Fig 1 Symbol key: P— Perfect

illustrates the intervals in the scale of C 0 — Diminished + — Augmented

Fig 1 M~ Major

C to D is a Second Bi Mist

C to E is a Third C to F is a Fourth

C to G is a Fifth These rules apply to all twelve scales Fig 7 illustrates the scale-tone

Cto Ais a Sixth seventh chords in the key of C C to B is a Seventh C to C is an Octave Fig 7 Intervals fall into two groups: Primary — 4th, Sth, 8th; Secondary — 2nd, rd, 6th, 7th If a Fourth, Fifth or Octave falls in the scale of the Root, it is Perfect (P) 1H „" IV VỀ W Vú 1 (Fig 2)

If it is lowered — Diminished (0) (Fig 8) By applying the interval rules, we derive the following combinations:

If it is raised — Augmented (+) (Fig 4) Based on the scale of C, the I chord contains M3, P5, M7 Based on the scale of D, the II chord contains, m3, P5, m7 Fig 2 Fig 3 Based on the scale of E, the III chord contains m3, P5, m7 Based on the scale of F, the IV chord contains M3, P5, M7

= Based on the scale of G, the V chord contains M3, P5, m7

= rae Based on the scale of A, the VI chord contains m3, P5, m7

Eấi2SEFEXX =“< Based on the scale of B, the VII chord contaias m3, 05, m7

Fig 4

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

r ——= ‘scales” of C, D, E, F, G, A and B used to determine the intervals for

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16

We have seen how this is applied to the key of C Ít & c truy ín

all keys Thus, in all keys: CHonp INTERVALS 8 5 7 1 MPM 1 mP m 11 m Pm IV MPM V MĐPm VI mPm vn mom

DRILL: Continue to play the scale-tone seventh chords in 12 kes: «4 udy interval steps in 12 scales (as in Fig 1) Memorize inte: +4) cjrr, binations for each scale-tone seventh chord

LESSON 3

Chord Qualities

We may now proceed to the chord values or qualities formed +, the

interval combinations in Lesson 2

The following outline illustrates the interval combinations, thei: «1,

position and chord qualities for all twelve keys

ComBiNATION PosrnoN QuALrrv 3 5 7

M PM 1L IV Major Seventh Chord MPm V Dominant Seventh Chord m Pm 1L II, VI Minor Seventh Chord mom vu Half-diminished Seventh Clu„d

In other words, in any key

The I chord is always Major The Ii chord is always saxon

The HI chord is always minon The IV chord is always Major

The V chord is always poMINANT

The VI chord is always mrvon

The VII chord is always HALF-DIMINISHED

There is one chord used extensively in jazz harmony which does not appear naturally in any key — the diminished seventh chord This chord

may be formed at any point on the keyboard by building an interval

combination of m8, 05, 07 The 07 interval is lowered twice from its

scale position and is written in Fig 1, as a M6 for convenience

Cy ores

co Fo Go

Fig 1

We now have the five qualities or kinds of chords necessary for jazz

harmony The following table is the complete Quality Series with the

interval combinations:

INTERVALS — QUALITY PosITIONS QUALITY

357

MPM LIv Major Seventh Chord

MPm Vv Dominant Seventh Chord mPm 1, HI, VI Minor Seventh Chord mom VIL Half-diminished Seventh Chord moo Diminished Seventh Chord

DRILL: Thoroughly memorize the qualities of the scale-tone seventh chords Memorize the interval combinations for the five qualities

Practice the scale-tone seventh chords in 12 keys — both hands — in the following patterns:

I- V-L I1-VI-H-V-1

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18 LESSON 4 Altered Scale-tone Seventh Chords Symbol key: BS M _—Major Chord x— Dominant Chord m— Minor Chord ¢— Half-diminished Chord

o— Diminished Chord

Jazz harmony is extremely chromatic and it is important to be able to build any quality at any point in the scale This requires altering from one quality to another The following table describes the Alteration Series from the four natural qualities (M, x, m, $) M (11V) bí bs b3 b3 67 bs b5 b7 bb7 x m $ ° x (v) # bề bồ b3 b5 b5 b7 M m % ° m (11m vĩ) # ‡ồ be b5 g 1 M x $ ° $ (vn) #8 # to bĩ + $5 # A} x m 9

The first group of this series reads as follows:

To alter a Major chord to a Dominant — flat the seventh; To alter a Major chord to a Minor — flat the third and Bat the seventh; To alter a Major chord to a Half-diminished chord, flat the third, flat

the fifth and flat the seventh;

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

The remaining series read in the same manner The symbols for these al-

terations are as follows:

I means I Major (understood); Ix means I Dominant; Im means I Minor; I¢ means I Half-diminished; Io means I Diminished These chords are illustrated in Fig 1 Fig 1 DRILL: Practice the following alterations in 12 keys: Ix - Im - Ig - Io TIM - Hx - Hạ - Ho TIM - IIx - Ifl¢ - Io IVx - IVm - IV¢ - IVo VM - Vm - V¢ - Vo VIM - VIx - VI - VIo VIIM - VIx - VIIm - VHo

LESSON 5

Chromatic and Altered-chromatic Scale-tone Seventh Chords

Any scale-tone chord may be raised or lowered chromatically by sharp-

ing or flatting each note in the chord one semitone (m2) Thus, in Fig 1, Tl in the key of C can be raised or lowered by simply indicating #11 or pIl Since II in any key is Minor, $11 and pl will also be Minor

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It is also possible to alter any scale-tone chord before raising or lower- ing the chord Thus, Fig 2 illustrates: Fig 2 I in the key of C Ix in the key of C pI Ix in the key of C $x in the key of C 4 0 ô & | s6 1i =# eS |e & n Tix biix Hux Fig 3 illustrates: V in the key of C V¿ in the key of C pV in the key of € §V$ in the key of C Vụ

The devices of Chromaticism and Alteration are essential to jazz harmony and must be thoroughly mastered by the student in all 12 keys DRILL: Play the following chromatic scale-tone chords in 12 keys:

#1 - plI - git - pl - pV - ¢V- bVI - ÿVI - pV

Although #V and VI appear on the same tone, their quality will vary since V is dominant and VI is minor On the other hand, #II and pllI will

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

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

pllx - #Ilo - pIlIx - bIHo - #1Vm - #1Vo - bVm

pVø - ‡Vo - pVlx - bV1¿ - ‡V1o - pVDx - pVIlm - pVHo

LESSON 6,

The Sixty Chords

Jazz harmony utilizes five qualities We have learned in Lessons 4 and 5 that these qualities can be applied at any point on the keyboard, There are twelve tones in the octave, each capable of supporting the five qualities Thus, jazz harmony employs a Sixty Chord System Fig 1 illustrates these sixty chords Fig 1.° The Sixty Chord System

DRILL: Practice the five qualities on twelve tones with both hands These series should be played without constant reference to the printed page The student must develop automatic knowledge of the keyboard on three levels: 1 Muscular (hands); 2 Visual (eyes); 8 Auditory (ears)

Jazz playing must be done without reference to written music; learning the sixty chords automatically is the first step in this development

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Fig L

SECTION II LESSON 7

Key of C

We can now proceed to the application of the sixty chord system to the popular song— the basic repertoire of jazz Fig 1 is a model of the procedure to be followed The melody (an original melody) has been transferred from sheet music to manuscript paper leaving a bass clef for the Roman numerals

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One chord to a bar indicates that the chord is held for four beats Two chords to a bar indicates that the first chord is played on the first beat, the second chord on the third beat

Three chords to a bar are accompanied by wedges (see Fig 2) indicat-

ing best values,

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

measure,

Fig, 2 “ota

1 a sw

Suspension The dominant and minor chords are occasionally suspended for purposes of melodic adjustment or harmonic suspense The suspensions are easily made and affect the dominant and minor chords as follows:

Corp Suspension SYMEOL

x sharp third ves Fig &

m double-sharp seventh Ines! Fig 4

m sharp seventh Itt Fig 5

Fig 8 Fig 5

uf?

Fig, 4

The minor suspension may involve only the sharp seventh (Fig 5) or

both (Figs 4 & 5)

Se temas suspension is known generally as the Eleventh chord It often appears in sheet music as the suspended fourth

Avvep Sixru Cuorp The major and minor chords employ the Added Sixth either for melodie adjustment or for a feeling of finality In either case, the seventh is omitted and the major sixth of the scale of the root is added

to the three remaining tones (see Fig 6)

Fig 6

1+8 vịt+5

4-0j.g1080502210024400214/0M006-02Qaui0maxauiiện

The student should be aware that the following copyrighted tunes appear with a title and a chord chart Any reproduction of the melodies

of these sungs is strictly forbidden by copyright la

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

dent must hace access to sheet music, folios, or “fake” books in order to structure the lessons properly

Fig 7 is a bass line for “Fools Rush In.” Transfer the melody from sheet music to manuscript paper using alternate staves so that the Roman

numerals (bass line) may be added beneath the melody, as in Fig 1 of

this lesson,

Fig 7

1H??? H#! / HIVo /IH / VÍ/H/ px /1/ ÿ§lo/H/V!*/ I†* / VI / llx°° Hx / VI biằHo / H / V IY H pH / meter we" 7 Wo / WL / VE / ttt Wes V / pV / Vix / HH HI / IYm pVix / WL / VI / H / V#°®/I†°/1†*

LEsson 8,

Key of G

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

fer the melody to manuscript paper, as in Lesson 7,

x pix / Wx pik / I+* Ivx / Wk flo / I VI /

OM / IV†* V‡* / I†* / Hx bHlx / Hx bHx / Í?* TVz /

1x ÿHo /HH VI / II HI / IV †* V‡° / r+ VI†* / Im TVk / VỊ??? VỊ*" / VI pbVix / Vm†* IHý / VỊ Hx / H II / IVm V#* /

ix pills / Is pix / I+* Ive / Ux #llo /

HỈ VI / UW OT / pVOx Vik / I V‡* / I+* / Its 4

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LESSON 9,

Key of F

The following is a bass line for “I'm Glad There Is You.” Transfer the melody to manuscript paper, as in Lessons 7 and 8

I/1/Im/Im/I/IVo / HIpHx / HH pHx /1 1H / UI plo /

1Ị*?? 11! 711 V / pVIx9* / VIx / 1N V / Vm bV / IV /TVm pVIx / TIV / Vilm bVIlx / VI*#* VỊ#* / VI bHHo / / px /T /1 / im / Im / H#†? H‡' /H IVo / HHệ / bIlx / HE?! Wet /

H pH / I+* / I+* //

EM GLAD THERE IS YOU (In This W h : je by

Ps Gah Ue DU (ln This World of Ordinary People}—Words and Music by

Ð 1941, 1942 Marley Music Co © renewed 1969, Musi '

Used by permission

LESSON 10,

Key of D

Since learning to play in twelve keys is so important to jazz improvising, and since the scale-tone seventh chords are as applicable in one key as another, the only thing to be transposed is the melody Lessons 10, 12,

14, 16, 17, 18 and 19 involve transposition of the melody from one key

to another Failure to transpose these assignments can only prevent the twelve key facility that is necessary It is impossible to find sheet music of possible jazz tunes written in these keys and, as a result, the transposition technique must be used The student must keep in mind that avoiding this transposition does not affect the author — it will be the student's loss Melodic transposition is best achieved by numbering each melody tone indicating its position in the original key (see Fig 1); then transpose their _— positions to the new key maintaining the time values (see

ig 2)

Note that melody tones appearing out of the key signature are indicated by adding ¢ or } to the number Figs 1 and 2 illustrate this treatment to a fragment of the melody appearing in Lesson 7, Fig 1 Fig 1 6 $5 72 bz 6 5 6 b7 1 atizss 217 S72 1 ly ey si] T — † uw 34 ^A Š 5 4 3 4 5 6 4 1 ï 12 316 —— pens T tt © - : Ỉ 7 etc, 17 68572 1 b7 6 5 6bï7

Fig 3 is a bass line for “Misty.” The sheet music appears in Eb When transferring the melody, it must be transposed to D major (See

explanation above.)

Fig 3 “Misty.”

Pick-up

bIIx®S // 1 VI /Vm Ix / IV /IVm bVIx /III VI ZH V /bVHx VỊx /

IIx bllx?5 /I VI /Vm Ix /IV /IVm bVIIx /HI VỊ /H bIlx /I*S 81/ 1*5 VỊ /VmZ”? VmZ7 /Vm bV /IV Vm / VI H / bVYm VHx / bVm IVx#ZŠ / II bI1Ix / II bllx°5 /I VỊ ZVm Ix / IV / Vm bVIIx / 1H VI /H V /bVIM bVIHx /1*8 Z

MISTY—Lyrics by Johnny Burke, Music by Errol! Gamer

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The following table identifies the proper spellings of the inversions appearing in Lessons 11 through 19

MAKESHIFT SPELLING IDENTIFICATION Lesson 11: Fz Vim! =R 6 yor TIL? 223 vi Lesson 12: IVZZR VI, Lesson 14: JZZR HH; Lesson 15: IVEzR VI; VỊIZR II, ocr 4 Lesson 17: HF vie Lesson 19: IVZER VI, VII2R I, VỊZZR 1; LESSON 11 Key of Bh

The following is a bass line for “Ill Wind,” in Bp Transfer the melody to manuscript paper, as in previous lessons,

see note

1*9 TY /VH HIx*5 Z1 VIx /IVm bVIIx /1I1 VI / Hệ Vệ / HỄễể /

bIllx /1I / blx /1*9 IV / VH HIx*5 /THT VỊx /IVm bVIlx /1H VỊ /

Hộ bllx /1*® / $16 / 1 /1V / Wx HE / Vo vet / TIL Vix / I Vix / Wx We / Vo VT / TIL Vix / Hộ blx Z1 IV /

VII H5 / HT Vix / IV bVEx / HH VI / Hộ bHx /1*® VHx /

bVIIx VI / bVIx”5 V / bV IV*S / HỄễ JỊ /1*9 Z

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

LESSON 12,

Key of A

The following is a bass line for “Moonglow.” Transfer the melody to manuscript paper The sheet music appears in G The melody must be

transposed to A major

IV / Im?" pVix / HH VI / Ueh* / Wt 8" / OL ble / IV##® bVo / IVri+* giúo els / TW / Wm!" pVHx / II VI / Ix9? / 1L?£? 1#? / 1T px / TVEÊR bVo / vat? giú hứa / b / ÍẾ vIK pVix / VIx / HI VI / VI / Ix / 1V / Vm ix / IV / IVm?! bVix / II VI / Ux / HE! H9! / H pHx / IV##® pVo / vat? giúo ela “

LESSON 13,

Key of Ep

The following is a bass line for “The Man I Love.” Transfer the melody to manuscript paper

1 / Im / Wg / pills / Up / pUx / WM plik / Ul pl / 1 / Im / Hệ / px / Hệ / pỨx / Í†* ÿE / IÊ° pVHx / VI+* pV¿ / VIx bVHlx / ÝÍ pVệ VẾc / HH bVllx / VI+* bVe / Vilx Ux / HE pli / UW plik /1/ Im / We / pix / Ws /

px / 1†* pVHx / I†* /

THE MAN I LOVE—by George and Ira Gershwin

Trang 16

LESSON 14,

Key of E

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

melody to manuscript paper, transposing from Ep to E major

I†* VI / H pHx / I†* VI / I V / Vm pV / I flo / Ik / W pix / 1+" VI / Wl pik s It* VI/ WV / Vm $V / IV do / HH px / I†* VHx / HI*pH¿ / pVé Vix / WL I??R / pH¿ Imf' / VHm HH / VI Ux / HH pIUx / HN px / I†*° VŨ / H px / 1†* VI / H V / Vm $V / IV §lo / TE pik s It?

THESE FOOLISH THINGS—by Strachey, Link, and Marvell

United States and Canada assigned to Bourne Co Used by permission LESSON 15, Key of Ab The following is a bass line for “Spring Is Here.” Transfer the melody to manuscript paper bVIx /TVZ7ZR / bVớ IVx /HI VI / Vm Ix /IVm bVHx / HI¿ bHIx ⁄ lI bHx /T II / HI VI /JII VH?®* / VHx?? bVHlx / VIZZ7 V7 / VỊ IV7ZR / bHHỊ bVIlx /H V / bVlx / IV##8 / bVó TVx /IH VI / Vm Ix /IVm bVIIx / HIó bI1Ix / HH bÍlx ZT IE / WY VI / pL bVIx / II IV / HH VỊ /HH bHx /1*9 /115

SPRING IS HERE—by Lorenz Hart and Richard Rodgers

‘sed by permission

The author would like to acknowledge the harmonic innovations of Bill Evans in the above chart

LESSON 16,

Key of B

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

to manuscript paper, transposing from G to B major

pick-up

bV //1V /IV?® /IVm / bVllx /HHI 7 VỊ / bHH /Z bVlx/H /V /1/ VI /1x / Hx /H V /Vm bV /1V /TV*6 /IVm /BVHx /IH / VỊ / BIL / bVIx / W/V /VH HHš /VỊf? VỊ ZHx ZH bllx /1*5 /195

The following is a bass line for “Bewitched, Bothered and Bewildered.”

Transfer the melody to manuscript paper, transposing from C to Dp pick-op® px // 1 ÿlo / H ÿHo / HE IHx'* / IV WWo /HỄ? pHHo / II pHo / H / bla / I Ho / U Ho / II Hx‡t / IV Io / WHE pio / V Vm py s IV IV+* / UI pix / Wf" We / WE pe / 1 blk SVE / HH / IV TVo / IH pHố / H pHx / I glo / M 4Mo / II THx?* / IV IVo /HỶ pHHo / HH pHx / I** / 1** /

BEWITCHED, BOTHERED, AND BEWILDERED—by Richard Rodgers and renz Hart

Trang 17

32

LESSON l8

Key of Ft

The following is a base line for “Come Rain Or Come Shine.” Transfer the melody to manuscript paper, transposing from F to F%

major

LIV / Vim Hix / VIE? / VIE / VE Tx / TEV / Vm Ix / Vm bv / IVm bVIx / Im [Vx / 1Vm bl / IV / bV¢ VUlx / He Vix / bVIx V bV IVx / Hx bEllx Ux bilx Z1 1V / Vilm Ix / VIE27 /

VIZT VI / Ux / 61 bY / Vim / HIx / Vix VIP / To 7 / Tix HT? /

IVx 8IVó / VI Hx / IVx IHx?? / VIx / VIx Z

COME RAIN OR COME SHINE—by Harold Arlen and Johnny Mercer

Used by permission

LESSON 19

Key of Gb

The following is a bass line for “I Didn't Know What Time It Was.” Gh is, of course, equivalent to Ff; it is well, however, for the student to become familiar with both spellings Transfer the melody to manuscript paper, transposing from G to Gp major

Vilm IIx / VI IIx / Vim IIx / VI Ux / II VH / VI IVZZ® /IV TH / Tt Im ZVIIm IHIIx / VI IIx ZVHm IIIx / VI IIx / II VII / VI IVZZ8 / 1V HI /HH V /VHZ7® ¡ /VH HIx /VH bVIlx / VI Hx ZH V/ T VIF*8 / VI Ux / 1 Im Z ViIm IIIx / VI Hx / VIIm HHx / VI Hx / II VHI / VI IVZZ® /TV III /IVm bVHx /HII VI /HH V#3 /1*Ê /1*8 /

LESSON 20

12 Key Transposition

The following is a bass line for “I Only Have Eyes for You.” Numb=

the melody notes according to their position in the scale and explore te

composition in twelve keys The purpose of this study is to give the stude= a clear picture of the value of this system (Roman numerals) in transp2- ing to any key

pick-op

glo // I gx / WV / I plik / Wt ple / 1+? / WM We /

LU Vix / pill pvix / W gx / UV / WW plik / Uf ple /

Tit? / OF pvilx / Vix / WT plllx / I / Ws pix / ED /

UE VI / Ve / 1m pVUx / 1 Vix / pl pVik / UL gk / OV /

II pIHx / HH pHx / I I†* / HH IVm / VHm Hx / HI¿ bHx / H / blx / I†* / I†* /

U.K © 193) Remick Music Corp Sub-published by B Feldman and Co Ltd, Used by permission

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SECTION III

LESSON 21

Inversions

An inversion is a rearrangement of the tones of a scale-tone chord to allow for more smoothly progressing bass lines

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

1 ist 2nd 3rd inversion inversion inversion

An inversion breaks the series of thirds characteristic of all scale-tone chords Each inversion contains a second (B to C in Fig 1) The second is the characteristic interval of the inversion and is used to spell the chord The distance from each note of the second to the bottom note is used to identify the position Thus, in Fig 2, in the first inversion, the distances are as follows: C down toE—sixth 2 6 B down to E—fifth ý SYboL- Fig 2 Fig, 3 =A l§ = 3

In Fig 3, in the second inversion:

C down to G—fourth 2 symbol—I4

B down to G—third ƒ 3

In Fig 4, in the third inversion:

C down to B — second } symbol—I,

Fig 4

Ih

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

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

Fig 5 illustrates the II chord in the key of C with its inversions Fig 5 no HỆ HỆ Hạ Fig 6 illustrates the III chord in the key of C with its inversions Fig, 6 mm mỹ m$ mạ Fig 7 illustrates the IV chord in the key of C with its inversions Fig 7 «t IV HỆ ITVỆ IVạ Fig 8 illustrates the V chord in the key of C with its inversions Fig 8 V VỆ Vị Vạ Fig 9 illustrates the VI chord in the key of C with its inversions Fig, 9 VW VỆ VI vip Fig 10 illustrates the VII chord in the key of C with its inversions Fig 10 oe ee va vu8 VH‡ VI,

It is also possible to invert altered (Lesson 4), chromatic (Lesson 5) and altered-chromatie (Lesson 5) scale-tone chords

Fig 11 illustrates the 60 scale-tone chords with their inversions Jazz is basically a “root position” music, but a facility with inversions can be

Trang 19

vu

Trang 21

NOTE: It will be noticed that no second appears in the “inverted” dimini chord Thus, the diminished chord cannot be inverted There are

twelve diminished chards grouped in three series (Co, Eho, Cho, Ao —

Cio, Eo, Go, Bho — Do, Fo, Apo, Bo) The diminished chord is always

in root position

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

392 chords Adding the 12 diminished chords, this gives us a total of 204 chords — the complete harmonic system of jazz

LESSON 22

Inversions

The following is a bass line for “No Moon at All.” It is written in D minor, which is the relative minor of F major The symbols refer to F

major Transfer the melody to manuscript paper

Vit" 7 Ikx* / Vo / Vim? / VIL? / $Ve Wiet* / VIt* Ix / IVx Hix / VI+* / Wx" / Vo / Vim! / VL! / pVé,IHx#* / VI** / VIt* / Vix / Vis / Us / Ux / V/V / LIV / Vi BVI / Vite / Wx? / Vo / Vitm* / VIE? / bVệ« Hlx?* / VI** / VL** //

NO MOON AF ALL—Worlds and Music by David Mitt and Redd Exes

sed by permission

nore: VI + is also }Vé*, but the function of the chord is an adjusted VI

chord rather than an inverted }V¢ LESSON 23 Inversions Here is @ bass line for “Liza.” Transfer the melody to manuscript paper

1V?/ #llo Vix? / ils" glVo / Vm Ix / IV IV+* / TL Bx / II bÏfx / I** #1 /1 V1 / gIlo Vix' / Hệ" #IVo / Vm lx / IV IV?*/ HI pllfrx / H pÏlz / 1** pVllx / VI* pV¿ / VH pVIx / VI pVio / Vm bV / IV IV+* / IH¿ pI1x / HH; / pVlx V /LVỶ / filo Vix? / Hạ* 8IVo / Vm Jx / IV IV†* / TIE px / HH plx / 1#* //

LIZA—by Gus Kahn, Ira Œershwin, and Gershwin

Used by permission

NOTE: I#* is also VẺ, but the function of the chord is usually an adjusted 1 chord rather than an inverted VI chord,

LESSON 24

Inversions

The following is a bass line for “Waltz for Debbie.” Transfer the

melody to manuscript paper

This tune presents 2 special prablem in that the chord chart for the melody (called the “head chart”) is not the same as the chord chart for improvising on the tune (called the “blowing chart”) This problem will

be treated more extensively in Volume IV For now, here are the ‘vo

charts for “Waltz for Debbie.” Note modulation to the key of A and the retum to the key of F The “head” chart appears in 3/4 time with a

transition to 4/4 time in the final six measures of the tune; the “blowing”

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

Trang 22

42

Head CH4ãT: Key of F, 9/4 time

3 / VI Z1 ⁄ VIbŸ / Hay / Vbễ / 1, / V8 7 by THẾ / (F3$ Jớ! / Ÿ TẾ ¿11 / Víto bÚ@ VIxÌ ¿10 Ô Ví / vít Ï HÍ / (PEEL VEZ AV 4 iE 7 Vig / 108 / Vy / Mx? ¿ ẲT VÍ,

AZU/SV VIS UES, SR M/S VSI Is Ss

(FY HiIxF5 / VE / Vm / IV / Tix / VE / Ex / bITIM 7 6VIM / 1 / (FJ$ V /Ẻ ⁄VI /H /VIbỗ / Hạ / VDỄ / Hx, / VỀ / xy 8 / (Đỷ Hạ` / VŨ, Ý; /1H ⁄ VIx / bVm ⁄VIkể /Ÿ ẲÌ / x FV / (E)$ IHx?* ⁄ VI ⁄ ÿVIx / VI, / VM°S / V3 7 ves // (F)4 VI, VME / (FJ VZ3 V*3 / VI, VMẾS / V23 VS1 /J+6 /1*6 BLOWING Cyan: Kev of F, 4/4 time (f4 IH VL 0 V Z HHš VÍx / 1x V Zlx IV*S / Hệ V /TH VỊ /

(Fj4 II V /11I1 Vĩ Z1I V /IIx VIx / Tx ¥ ZHIx VI # (A}4 II V/1/

(A4 1 ⁄⁄(FJ{ H V /TH Vix / IE IHš ¿VỊ Văn ZTV THx Z VỊ Tx / (F34 bHEm bVIM /T11 V /TH VE/ TV / [lx VE / IIx V/ Ix E78 /

(P4 H@ V / TH Vix / bVm Vilx / ILE Lx / IV Elix / VE/ Ix bVo /

(Fy} UE bilo / 1 Vv // (FY 1° / bilo / LV

Da Capo to head

WALTZ FOR DEBBY—by Bill Evans and Gene Lees

Used by pennissian

LESSON 25

Inversions

The following is a bass line for “Giant Steps.” Unlike the bass lines in this volume, the chords are indicated by letters instead of the usual

Roman numerals The reason for this is that “Giant Steps” has no pre-

vatling key center but, instead, a series of implied key centers

4 4

BM Dx} / GM Bbx? / EbM / Am Dx / GM Box) / EbM Fx) /

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SECTION IV

LESSON 26

Modulation

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

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

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

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

tunes of this type A sunple rule for identifying the presence of a new key is the appearance of a major chord on other than I or IV (ie., HIM,

hVIM, etc }

The followtag is a bass line for “Body and Soul” in Db The original key of this tune is C major, but since 1930, the year the tune was written, convention has prevailed in fivor of D4 Transfer the melady ta manuseript paper using the following signatures: bars |] - 15, key of Db, har 16, beats 1, 2, kev of Da; har 16, beats 3, 4, key of DO; bars I7 - 20, key of D; bars 21-23, key of C; bar 24, beats 1, 2, key of C; bar 24, beats 3, 4, key of Do; bars 25 - 32, key of Db The letters in parentheses indicate the key in which the symbols are to be piayed

(Db) (#*7 1177 / U1 bilx fT IL / TUE plo / Tt TE, / VIE bVHš / (Db) VI EI bilx /1 So / UF*? M4 4 I blix / 1 IE / ELL dT flo / (Db) IL Il, / VE bVIlx Z Vĩ 1Í blÏx /1'*“ (D) V/ZIˆ*“H/ (D) VI IVm / Hi VĨ IĨ IÝo 2 IH bHx HH pHlx ⁄(C) Vv

(C) E bllle ZII blIX ZIx VŨx (Đb) VĨx ZIIZ*? I?? ZH bIlx /

(Do) I IW ⁄ HI ¿IlIo Z II HH, Z VÌI bVIIx ¿ VĨ [Í blẴx Z E*$ Z

BODY AND SOVL —Lyress bụ Edwvard Hevman, Robert Sour, and Frank Eyton, Music by John Green © 19 (renewed) Wamer Bras Inc AW rights meserved Used by pennissian LESSON 27 Modulation

The following is a bass line for “How High the Moan,” in the key of G Transfer the melody to manuscript paper following the signatures indicated by the letters

rey ves yp Lyte / (EY WL / pHx /1/1**/ (Eb) WL / pllx /

(Ep) LVI / pve Vx / Itsy (G) vies Ty te Iver / (G) 1H px / 1Í V3 /T/1**/ (E) IE/ px /1/1#*/ (Ep) TH / (Ep) plik / 1 VE / (G) Hạ V /11I/HIIV»* / 1H pH / (G) 1 pgHx / 1†* / I?* sf

HOW HIGH THE MOON ay Hn ted TH CAN Q

Intemational copyright secured, All rights resetved Used by permission

LESSON 28

Modulation

The following is a bass line for “Laura,” in the key of C Transfer the melody to manuscript paper following the signatures indicated by the letters

(G) 1 / pHx /1/1†*/ (E) HE / pÚx /1/13* / (Ep) 1 /

(Eh) px /1/ Vi / (G) Hạ V°*/ V**1Vo / HH / pile / H /

(G) pllx /1/1#*/ (F) M/ px / E/1#* / (C) IYm / IVo / HH /

(C) VI / Ike y Wve ¢ its f Itt ff

LAURA—by Johany Mercer and David Raskin - - có

, wenti ` , All rights adi red and

Oe eee TS crt tnlogwe of CBS Songs, a Division oF CBS Inc Al

Tights reserved, Used by pennission

As indicated above, “Laura,” in the key of C, does not start in the key of C However, the tune comes to a final close in the key of C which

definitely establishes the key

LESSON 29

Modulation

The following is a bass line for “{U Remember April,” in the key of

G Transfer the melody to manuscript paper following the signatures

Trang 24

{G) If/I/'WƠ / 1 Â Im Im, / VI¢ /# Hx / I/ V/ (G) 1Hẻ / blfx / H / bIIx 7 l /1†" / (Bb) Ti/ V/ i Ivo / (Bh) WI ple ys Vs Ty it ey (Gc) IÚ/V/1/1V/ (E) H / bllx / E VI / (G) Uf blk f 1/17 Vx 71 / Im / (C) Em, / Vip ¢ Ux / W/V / We / bulk ý ML / blix / (G)I†* 7 1+" // ULL REMEMBER APRH,—Words and ÀIlusie by Don Raye, Gene De Paul, and Pat Juhnston

Used by permission

LESSON 30

Modulation

The following is a bass line for “AU the Things You Are,” in the key of Ab Transfer the melody to manuscript paper following the signatures

indicated by the letters

(Ap) VE/ Hy Vs Tle WY (CC) Vs Ty Ite /

(Ep) Vis I / VY /1/W/(G) V/1/Vi/H/

() Ý?* / 1 / I†* / (E) H / px / I / I?+* /

(Ab) VI / H / V / 1 / 1Ÿ / Wm /1H ÿ pHlo /H /

(Ab) V?* bUr / Ị†* / Ị?* vy

Jsed by punnission

LESSON 81

Modulation

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

the melody to manuscript paper following the signatures indicated by the letters, (F) UD WW / IV V?* / I+* LY IW HH pile / Ik Ul / {F) IV V / II Vi / TH¿ bllx / II HI / (Ab) IE pix / (Ab) EW / (Ep) VI VIL / I#* pVệ / (C) II px / 1 VH / (F) HH bHI / H II / IV V3* / Ị†°* ry TW mw / (F) Vm VE / (Dỳ) IÍ [Hxf? / VI VI; / bVẹ 1Vx / 1IL†*VIx‡9 ÿ (Dp) UI pli ïI biix / I pllx / E VI VỊ Vm / {F) H HI / (F) IVm Y?!* / En†? / lnÝ*

Fig ] is a lead sheet of “In Your Own Sweet Way" by Dave Boi beck, Fig } represents the composer's view of his composition; Fig 2

Trang 25

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

tion, Fig, 1 represents the composer's original conception of the piece, and Fig 2 represents the author's view of the essential structure of the

tune seen through twenty-five years of social usage

Note the appearance in Fig 2 of key changes which social consen- sus has established as part of the fabric of the tune

The key series for transposition will be: 1—bVI—I—bVI—I—I1I~——II-—ï—bVI-—I

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

The key order is as follows:

Bb—Gb—Bb—Gb~—-Rb—D—C—-Bb—Gb—Bb

In Roman numerals this reads:

I—bVI—~—I—~ bVI—1— li]—l—I— bVI—~1 as above

Fig 2 “In Your Own Sweet Way.”

Pick-up

(Bb) IV /⁄⁄ VHm IlIx Z VI IHx /Z II V Z1 TV Z(Gb) IV /L IV ⁄

(Bb) Hộ bHx ¿1 IV / VIm ITỊx / VŨ Hx / HH V /1 IV / (Gb) H V Z1 IV / (Bb) Hạ bllx / 1 VỊ ⁄⁄ (D) IÍ V ZE VI / (D I V/1T/ (C) WV / 1 Vix / (Bb) IVm bVHx /VIx 3Vlo / (Bb) Vilm Ykx / VI Ix /IL V/LIV 4 (ð) II V 71 IV /⁄ (Bb) Hé bHx ⁄/ 1 Z

Used by permission

When transposing this tune, number the melody tones according to

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

position problem

SECTION V

LESSON 33

Arpeggios

The basie problem of jazz improvisation is to abandon the melody and build an improvised line on the elements of the chards in a tune Thus, we will combine the vertical (left hand) with the horizontal (right

hand) The chord elements are as follows: (1) Arpeggios; (2) Scales;

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

system

Trang 26

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

the sixty scale-tome chords using the following fingering € — 5 qualities 123412345 D — 5 qualities 1234123465 E — 5 qualities 1238412345 F — 5 qualities 123412345 G — 5 qualities 123412845 A — 5 qualities 123412345 B — 5 qualities 123412945 Dh —S qualities 212841234 Ab —~5 qualities 212341234 Bọ M—x 212341234 Bh—At m—%—o 231234123 ChM—x 284128412 Gh—Ft m—¢—0 212941234 Ep M—x 212341234

Eb m (the only arpeggio with

all black notes) 123412345 Ep— Dg ¢—o 231234123

These sixty arpeggios must be thoroughly mastered, asccnding and descending, so that they can be played automatically with correct fingering

LESSON 34

Arpeggios in Rhythm

Rhythmic problems in jazz will be thoroughly studied in Volurnes Ik, III and £V The student must first learn “what” ta play before leam- ing “how” to play it For now, the following basic material on rhythm

will suffice

The rhythmic division of the front and rear lines of a IQ) New

Orleans jazz band was as follows:

Eighth-note ( *)ì — trumpet

Whole-note (=) or half note (2) — tuba or trombone

Quarter-note (J) — drums

Technically this is a form of florid counterpoint involving three kinds of time played simultaneously This is the essence of the {azz beat

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

Eighth-note ( i ) — trumpet Whole note (@) or half-note (3) — piano

Quarter-note (j) — _ bass Transferred to the keyboard, the rhythmic assignment is as follows:

Eighth-note (¢} — right hand

Whole note {@) or half-note(J} — le hand Quarter-note {2} — foot beat

This rhythmic composite is occasionally interrupted, but its continu-

ing presence is essential to jazz improvisation

As soon as the student has become familiar with the chords of a tune, a quarter-note beat should be tapped by the foot in order to create the

basis for a jazz beat

In succeeding chapters, we will explore the three fundamental rhyth-

mic structures used in jazz improvisation — the eighth-note, the eighth-

note triplet and the sixteenth-note The jazz line can employ rhythmic values up to the thirty-second-note See Fig 1 However, for practical

purposes we will limit our work to the three above-named values

Trang 27

Fig 1 32 Right hand Left hand Right hand Rest values of both more and less than an eighth note are equally

I chord — eighth notes

Ti chord -— eighth-note triplets Ili chord — sixteenth notes IV chord ~~ sixteenth-note triplets V chord — thirty-second notes

important in the jazz line

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

In Fig.2:

I and I chord — whole-note rest (four beats) Til chord — half-note rest (two beats)

¥ chord ~~ dotted quarter-note rest bV¢ chord — quarter-note rest IVm chord —— dotted eighth-note rest

UI chord — eighth-note rest blll chord —- dotted sixteenth-note rest

Trang 28

Fig 2

LESSON 35

Eighth-note Arpeggios

Fig 1 is a bass line for “I Could Write a Book,” in the key of DỤ The sheet music appears in the key of C, so the melody must be transposed Transfer the melody to manuscript paper using three staves —- one for melody, one for an improvised line and the third for the chord symbols As a starting point for improvisation, abandon the melody and play the arpeggios of the chords in eighth notes Try to keep an uninterrupted quarter-note beat with the foot — no pedal

Do not “set” the improvised figures Use the arpeggios both ascend- ing and descending as well as from the various inversion points (third, fifth and seventh) Respect the fingering shown on page 50 at all times

The following rules will be helpful in fingering problems:

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

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

go to the thumb on the first white note Fig 1

pik’ yy Vis U Wo / WM blx / H px / 1H /

HH VỊ / HH HI / TV IVo / VIÌ pIHHfo / HH V / pVệ IWx / Ul ÿVio / Hí” pVHo / VI pVlx / V IV /UIH /L Vi ý

WH Wo / Ul plik s U pk sI Ms UW Ws um / IV Io / VI pHo / H V / Vm pV / IY Wm / WM px / H px / I+* / 1+*

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

Trang 29

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

DRILL: Study Fig 2 and explore various eighth-note arpeggio lines on the chords of Fig 1 In the beginning, the student may write out a line as a starting point

LESSON 36,

Rhythmic Combinations—-On Green Dolphin Street Fig 1 is a bass line for “Green Dolphin Street” in Eb Transfer the melody to manuscript paper using three staves as in the previous lesson Note the modulation to Gb major and the rehim to Eb

(Eb) 1*° /1 /1Im ZIm / Hx; 7 blM;¿ /1 / #lo / EE / bIIx £1 / VI (Gb) I / bllx /I RIV /⁄ (Eb) H bHx Z I*® /I ZIm Z1Im / Il, / (Eb) bHM; Z1 / Slo / I IL, / VIL bVIlx / VI VI, / bVé TVx / (ŒEb) HI billx / I] bilkx /1/ 1+ #

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

Bronislau Kaper 57

Trang 31

CHORUS

aoe

Trang 32

DRILL: Study Fig 2 and explore the various eighth-note triplet arpeggio

lines on the chords of Fig 1 Write out the lines if necessary 63

Trang 33

Fig 2

LESSON 37,

Sixteenth-note Arpeggios

Now that we have investigated a line employing the eighth note (two notes to a foot beat) and the eighth-note triplet (three notes to a foot

beat), we will explore, in this chapter, the sixteenth-note line {four notes

to a foot beat)

Fig 1 is a bass line for “At Long Last Love,” in C Transfer the

melody to manuscript paper using three staves, Fig 1 bir //it*s Vs V/s Wy / Ok s/s us VI? / pH / H, / Vũ / HỀ / V#* / 1†* / pũy / I†* / VI / VI / II / Ix VmỲ / ÿHo HỨ@ / IV*+* / IV / bve / Us? / WE / bllr / H / px / 1†* / 13* /

AT LONG LAST LOVE—by Cole Porter

the Cole Porter Musical and Literary Property Tnusts

Fig 2 illustrates a sixteenth-note drill employing the arpeggics of the chords in Fig 1

Trang 34

DRILL; Wiite out or play a sixteenth-note arpeggio line on Fig 1, LESSON 38 Rhythmic Combinations

Since the problem of shifting from one rhythm to another is of the utmost importance in playing a jazz line, we will now consider combining the rhythms in Lessons $5, 86 and 37 Under no circumstances can the shift from one chythm to another be allowed to disturb the quarter-note

foot beat

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

Fig 1

{Ab) use ys 1Í “ bVilx Vix pV%x V / L IV: / (Ab) Tx VIx pVHx Vx / Ủx / HH bpHx / E / ÿlỏ / (Ap) Hes? I? If / pVix Vix bVx V / I ivr / (Ab) Ix VIHx pVUx Vix / Ix / If pllx / E +* / (G) He pllx / () 1 VL / 11 V / HH pllx / H pHx / L VI / H V/ (C) I pbÝ (Ab) HÍ / I VIE Wye pix / Use Wet (Abp) pVHx VỊx bVlx V / 1 IV / lx VIlr pbVHx Vlx / (Ab) Dx / Wt pix / It* s It*

Trang 35

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

Trang 36

70

DRILL: Write or play a line on the chords of Fig 1 using eighth nate, eighth-note triplets and sixteenth note rhythms Keep an unin-

terrupted quarter-note foot beat when playing

LESSON 39

Rhythmic Composites (ballad)

Now that we have some facility with abandoning the melody and

using the arpeggios of the chords, we may consider combining the note

and rest values studied in Lesson 34 into four-bar composites which allow us to shift suddenly from one rhythm to another or introduce a rest value without disturbing the foot beat Fig, 1 is a possible four-bar composite for a slow tune:

poy SVT ITT

day FF 71312

CST bs 7 d

$7717

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

The third line to the third har;

The fourth line to the fourth bar

Then we start over again:

The first line to the fifth bar;

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

Trang 37

Fig 2 is a bass line for “I Got It Bad,” in G Fig, 2 [II /111 VI / Hà VỀ /IVo #iVớ / II H, / bVÏlx Vĩx bVlx Ý / 16 Slo / Il blk /1 WU / IN VỊ /11x VỀ /1Vo IV /1L HH, ⁄ bVllx VĨx bVÏx V /Í*® VĨ bVÍ ZVm bV /1V'*° /JV*® ZTIVm*S / bVIlx Z I }V /IH blHJx Z HH /V*3 Z1 1Í / HH VI / Ux VP /

IVo #IVộ /1I lÏ, Z bVHx VĨx bVIx V / 146 / 146 7

1 GOT IT BAD AND THAT AIN'T GOOD—by Paui Francis Webster and Duke Eliingten

Trang 38

DRILL: Transfer the melody to manuscript paper using three staves: one for melody; one for the student's improvisation; one for the bass line Using Fig 3 as a model, the student should write out, if necessary, an improvisation using the composite and the ar-

peggios of the bass line in Fig 2

LESSON 40

Rhythmic Composite (up-tempo)

In the quicker tempos in jazz, the composite usually becomes more simple in order to avoid a cluttered sound and to insure a strong pulse

The following is a possible up-tempo composite: dro bh lI JJJ3:: rà J1) 4à! }4 hrJJ¿2d4+ 24 Fig 1 is a bass line for “You Took Advantage of Me,” in Ep Fig 1

I ZSloZH V/Z/1H bHHIo /IE V Z Vm 1x Z1V bVHx /IHx VIx Ix V¥ / I*Š #{ /I io / I V / TU bIHo ZIHI V Z Vm Ix /IV bVIx / Hy VIx Hx V Z E*Š pVIIx Z VĨ*9 bW¿ VÏx / IIx VIx / Ux V / Y bVIIx / Vit® pVÝá VĨÏIx Z 1Hx VIx / Hx V Z HE bIHx II bIExš 7 I Elo /II V Z11I bIHlo /II V ZVm Ix /IV bViĂx /THx VIx Hx V Z I*S ý

YOU TOOK ADVANTAGE OF ME—Lyries by Lorenz Hart, Music by Richard Radgers & 1928 (renewed) Wamier Bros fac Atl rights reserved

Used by pennission

If we apply the composite to the arpeggios of Fig, 1, we derive the Fig 2 following drill

Trang 39

As in Lesson 39, the student should thoroughly analyze the use of rest values and arpeggios in Fig 2 Simply to play over these specimens is of little value When playing these examples, try to keep a steady quarter- note foot beat Above all, do not use any pedal

DRILL: Transfer the melody to maanuscript paper using three staves: one for melody; one for the student's improvisation; and one for the bass line Using Fig 2 as a model, the student should write out, if necessary, an improvisation on the bass line in Fig 1

Trang 40

78

SECTION VI

LESSON 41,

Modes

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

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

the scale of C A mode is a displaced scale played from root to root of the chord Fig 1 CHoRb SCALE DISPLACEMENT Mopr 1 C C-C T]ONIAN 1 Cc D-D Dorian Mit C E-E PHAYGIAN IV C F.E Lyptan V G G-G MIXOLYDIAN VI C A-A AEOLIAN VH C B-B LOCRIAN

Fig 2 illustrates the modes of the scale of G:

Cuorp SCALE DisPLAcEMENT Move I G G-G JONIAN i G A+«A Dorian 1II G B-B PHRYGIAN IV G c-c LYDIAN Vv G D-D MixOLYDTAN VI G E-E AEOLIAN VII G FE - FE LOCRIAN

The following table illustrates the modes existing in any key:

CHORD DisPLACEMENT Move I 1-1 ÏONIAN H 3-8 DoRIAN 1H 3-3 PHRYGIAN 1V 4-4 LYDIAN V §-5 MIxoLyDIAN VI 6 - 6 AEQLIAN Vil 7-7 LOCRIAN

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