Theory1

FromFundamentalsofJazzImprovisation:WhatEverybodyThinksYouAlreadyKnow

Dr.MarkWatkins

DirectorofJazzStudiesBrighamYoungUniversity–Idaho

©2010byMarkWatkinsMaterialshereinareprovidedforpersonaluse.Nopartmaybereproducedwithout

writtenpermissionfromtheauthor.

JazzTheory

Thistextisdesignedforstudentswhohavehadatleastoneyearofcollegelevelmusictheoryandeartraining.Principlesuniquetoorofmoreemphasisinjazzareexpoundedupon.Topicsinclude:PartIModesoftheMajorScale

MajorDorianDominant

IntervalsChromaticismTheiiV7IprogressionPiano:

MajorVoicingMinorVoicingDominantVoicingiiV7IVoicing1,2,3BluesVoicing1,2Tune:StudentChoice

Worksheets:Major: Scale,Arpeggio,Chord,PatternMinor:Scale,Arpeggio,Chord,PatternDominant:Scale,Arpeggio,Chord,PatternIntervalsChordSymbolChartChormaticism:DominantBe‐bop,MinorBe‐bop,MajorBe‐bop,Pick‐upandPassingNotes,

DiatonicEnclosure,ChromaticEnclosure,InclusivePatterniiV7I:VoicingI,VoicingII,OneMeasurePattern,TwoMeasurePattern

Theorycoveredinothersections:ChordProgressionChordSubstitutionandTurnaroundIntroandTagFormandStructureBluesRhythmChanges

EarTrainingConcepts

Practicallyeveryprincipleandexercisetaughtinjazzimprovisationhelpstodeveloptheear.Hereareafewthingstoconsider:ActiveListening:Listeningforsomethingfocusestheearaccordingtotheelementof

concentration:bassline,instrumentation,harmony(consonant/dissonant;simple/complex),articulation,subdivision,dynamic,inflection,etc.

PracticeTechniques:Eachtechniquefocusesonsomethingspecific.

PT1: Practicingcircularpatternstunetheeartotheparticularchord/scalespectrum.Itcanhelptoplaythecompanionchordonthepianowhilepracticingcircularpatterns.

PT2: Samemodesequencessaturateoneinaparticularmode.Shiftingtherootwhilemaintainingthemodehelpstofocusonthequalityofthemodeversesthememorization,physicaloraural,ofspecificpitch.

PT3: Takingapatternthrough12keyshelpsonetocomprehendthecharacterofthepatternbothauralandrhythmic.Itiswisetoincluderhythmasanelementofeartraining.LikePT1,itisvaluabletoplaytherequisitechordonthepianothenplaythepattern.Italsohelpstosingthepatternwiththepianochordthrough12keys.

PT4: Applicationofmanyconceptsismadeinthisexercise.Theyareappliedtoarecordedaccompanimentthatremainsinasinglemode.Sustainingeachchordtoneandlisteningtothequalityofsoundisavaluableeartrainingexercise.Applyingthevarioustechniquesoverasinglechordhelpsfamiliarizeonetothatquality.

PT5: Chordprogressionlearningtechniquesapplytoeartrainingasabove.Usetherecordedaccompanimentwithopenearsbutnotasacrutch.Singtheexercisesasmuchaspossible.

PT6: Allprinciplesofindependenceapplytoeartraining.Keepinmindthatoneshouldbeabletosingwhatoneplays.Theprinciplesofindependenceareagreatpracticetechniquetostrengthenthisability.Don’tbeafraidtotry.Ofcourse,singinganimprovisedsolowithanaccompaniment,recordedorlive,isadditionallyinvaluable.

Piano:Practicingjazzchordvoicingsonthepianohelpsustobecomefamiliarwithhowchordsare

realizedinajazzsetting.Itisagoodwaytobecomefamiliarwiththejazzidiomharmonicsound.

Theory:Itisimportanttolearnwhatoneisattemptingtohear.Thisintellectualknowledgewill

transfertoappliedknowledge;itmust,oronecannotplayjazz.Alargepartofhavingagoodearcomesfromknowledgeofwhattoexpect.Certainchordprogressions,forexample,havedistinctivesoundssuchasiiV7I.Knowingthetheoryinvolvedhelpsusidentifywhatwearehearingand,consequently,expandsourears.

TuneLearning:Singingthemelodiestotunes,playingharmoniesin12keys,listening;learning

jazztunescanincludealltechniques,principles,andmethodsknowntoenhanceauralandphysicalskillneededforjazzimprovisation.Overtime,thesetechniqueswilldeveloptheeareveniftheworkisn’tlabeled“eartraining.”

Transcription:Liftingasolooffarecordingisfundamentalintheprogressofone’sauralandrhythmicability.Somemaystartby“henpecking”individualnotesbuteventuallyoneshouldworkwithlargerunits.Singthemfirst,andthenplaythemotifs.Learnthewholesolobymemory.Also,payattentiontothemethodoutlinedfortranscribingchords.Listeningforoneelementatatimehelpstofocustheear.

EarTrainingClass:Althoughprimarilyclassicalinorigin,anyear‐trainingcourseregardlessof

idiomisinvaluabletothejazzmusician.TunesforEarTraining:Thisisachartontunesthatcanhelpstudentsrecognizeintervals.Itis

designedtorecognizeintervalsthroughalreadyfamiliarmeans.Theycaneventuallybecomeindependentofthereferencetunes.

TunesforEarTraining

Thefollowingchartliststunesthathaveprominentmotivesutilizingtheintervalindicatedtotheleft;theyarenotalwaysthefirstnotes.Findtunesthatarealreadyfamiliar.Onewillbegintorealizethatmanyintervalsarealreadyknownandrecognizable.

Ascending Descending‐2 CountYourBlessings

DidYouThinkToPray?FatherinHeaven,WeDoBelieve(do)HowInsensitiveIAmaChildofGod(achild)ILeftMyHeartInSanFranciscoIRememberYouI’llRememberAprilI’mGettingSentimentaloverYouJosephSmith’sFirstPrayerLordIsMyShepherd,The(Iknow)NiceWorkIfYouCanGetItWhat’sNew

BirdlandBye,ByeBlackbird(onBlackbird)Come,YeChildrenoftheLordFlyMetotheMoonFortheBeautyoftheEarthJoytotheWorldLadyIsATramp,TheMajorScale(descending)OLittleTownofBethlehem(town)Solar(MilesDavis)SophisticatedLadyStellabyStarlightTheme,The(MilesDavis)Welcome,Welcome,SabbathMorning

M2 Ain’tMisbehavin’AreYouSleeping(FrereJaques)AutumnLeavesBecauseIHaveBeenGivenMuch(beengiven)BlueMonkBodyandSoulBridgeofAvignon,TheBye,ByeBlackbird(onBye,Bye)ChoosetheRightCome,ComeYeSaintsDesifinadoFar,FarAwayonJudea’sPlainsGodLovedUs,SoHeSentHisSonGod,OurFather,HearUsPrayHappyBirthdayHeIsRisen!I’veGotYouUnderMySkinInHumility,OurSaviorInMemoryoftheCrucifiedIsrael,Israel,GodIsCallingIt’sAllRightwithMeJesusofNazareth,SaviorandKingKookaburraLoveOneAnotherMajorScale(ascending)MyCountry,‘TisofTheeMyFunnyValentineMyHatNiceWorkIfYouCanGetIt(NiceWork)NowtheDayIsOver(Night)Onward,Christiansoldiers(soldiers)PolkaDotsandMoonbeamsRedeemerofIsraelRudolphtheRedNosedReindeerSakuraSilentNightThereWillNeverBeAnotherYouThisLandIsYourlandUpontheCrossofCalvaryWeAreAllEnlistedWeThankThee,OGod,foraProphetWoody‘nYouYou’dBeSoNicetoComeHomeTo

‘TisSweettoSingtheMatchlessLoveAbidewithMeBeStillMySoulBeThouHumbleCorcovado(QuietNights)DoWhatIsrightDon’tGetAroundMuchAnymoreFeverHotCrossBunsJesus,theVeryThoughofTheeJesus,theVeryThoughtofThee(thever‐)JollyOldSaintNicholasLord,DismissUswithThyBlessingLord,IWouldFollowTheeMaryHadaLittleLambMercy,Mercy,MercyNowLetUsRejoicePoorWayfaringManofGrief,APreciousSavior,DearRedeemerSatinDollSoWhatSunnymoonforTwoTheFirstNoelThemefromM*A*S*HThreeblindMiceTuneUpWeThreeKingsofOrientAre

‐3 AbidewithMe;‘TisEventideAngelsWeHaveHeardonHighBlueTraneBluesbyFive

500MilesHighAmericatheBeautifulAprilinParisCaissonSong,The(OverHill,OverDale)

BoplicityBrahms’LullabyConfirmationFoggyDay,AGeorgiaonMyMindGoTellItontheMountainGodBeWithYouTillWeMeetAgainGreensleevesI’llGoWhereYouWantMetoGo(notbe)ImpossibleDream,TheInRemembranceofThySufferingMinorChordSpringCanReallyHangYouUptheMostStompin’attheSavoyWeThreeKings(Oh)WhileofTheseEmblemsWePartakeWorksong

CamptownRacesForAlltheSaintsFrostytheSnowManGirlfromIpanema,TheGlorytoGodonHighHeyJudeHowGreatThouArtIronRod,The(holdto)Jesus,OnceofHumbleBirthKookaburra(oldgumtree)MistyOGod,theEternalFatherOnTopofOldSmoky(smoky)Short’nin’BreadStarSpangleBanner,TheThisOldManWhatisThisthingCalledLove

M3 Come,ListentoaProphet’sVoiceICan’tGetStartedIHeardtheBellsonChristmasDayINeedTheeEveryHourKumbayaLittleTomTinker(goyburned)MajorTriadMarines’Hymn,TheMichael,RowtheBoatAshoreOhWhentheSaintsOnTopofOldSmokyPraisetotheManSweetHourofPrayer

AbidewithMe(2ndand4thnotes)ComeRainorComeShineCome,FollowMeDownintheValley(valley)GiantStepsHeIsRisen!(risen)HowGentleGod’sCommandsLord,DismissUswithThyBlessing(2ndand4thnotes)Nearer,DearSavior,toTheeShoo,fly,Don’tBotherMeSkiptoMyLouSummertimeSwingLow,SweetChariotTenorMadness(SonnyRollins)

P4 ‘RoundMidnightAlltheThingsYouAreAuldLangSyneAwayinaManger(HymnBookversion)BeholdtheGreatRedeemerDieBingoCJamBluesCome,LetUsAnewDownintheValleyDoxyHark!theHeraldangelsSingHaveIDoneanyGood?HereComestheBrideHighOnaMountainTopHowFirmaFoundationHowHightheMoonISawThreeShipsIStandAllAmazedImprovetheShiningMomentsLoveMeTender(auraLee)MaidenVoyageMoreHolinessGiveMeNow’stheTimeOhChristmasTreeOrnithologyRejoice,theLordIsKingReveilleShadowofYourSmile,TheShenandoahSomedayMyPrinceWillComeSongforMyFatherStraightNoChaserTapsTheDayDawnIsBreakingTheSpiritofGodTwelveDaysofChristmas,TheWeWishYouaMerryChristmasWeWishYouaMerryChristmasWhenIFallinLoveYeeldersofIsrael

AllCreaturesofOurGodandKing(thouBurningSun)AllofMeBluesforaliceClementineGoodKingWenceslaus(lookedout)GreatIstheLordHopeofIsrael(Irael)IDidn’tKnowWhatTimeItWasI’veBeenWorkin’OntheRailroadLittleTomTinker(Ma)MightyfortressIsOurGod,AOhComeAllYeFaithfulOldMacDonaldHadaFarmSoftlyAsaMorningSunriseValseHotWalkin’(afterintro)WhatisThisThingCalledLove?WhenJohnnyComesMarchingHomeYardbirdSuite

TT AngelEyes(1stto3rdnotes) BlueSeven(SonnyRollins)

MariaThemefromTheSimpson’s

Sakura(12thand14thnotes,gi‐riofkagiriorthesky)

P5 AllGlory,Laud,andHonorAllthePrettyLittleHorsesAngeleyesBaa,Baa,BlackSheepBag’sGrooveGodRestYeMerryGentlemenIronRod,TheLetUsOftSpeakKindWordsMyFavoriteThingsNica’sDreamPraisetotheLord,theAlmightyPressForward,SaintsScarboroughFairTwinkle,TwinkleLittleStarTwinkle,TwinkleLittleStarWayfaringStrangerWhileShepherdsWatchedTheirFlocksYouCanMakethePathwayBright(2Xs)

BringaTorch,Jeannette,IsabellaBuffaloGalsFeelingsHaveYouMetMissJonesItDon’tMeanaThing

+5,‐6 HomeontheRange(buffaloroam)Lor,IWouldFollowThee(Ilearn)

JustFriends(5thand6thnotes)LetUsAllPressOn(presson)Misty(1stto3rdnote)PleaseDon’tTalkAboutMeWhenI’mgoneTakethe“A”Train(5thand6thnotes)You’reEverything(ChickCorea)

M6 AmericatheBeautiful(America)DaysofWineandRosesHowGreattheWisdomandtheLoveHush,LittleBabyIBelieveInChrist(HeIs)InchWormItCameuponaMidnightClearJingleBells(dashing)LordIsMyShepherd,TheLoveatHomeMyBonnieLiesOvertheOceanNBCOhSay,WhatIsTruth?PutYourShouldertothewheelShort’nin’Bread(chorus)SpeakLowTakethe“A”TrainWe’llSingAllHailtoJesus’sNameWhenSunnyGetsblue

IndianaLoveOneanother(haveloved)NobodyKnowstheTroubleI’veSeenThereIsSunshineinMySoulToday(sunshine)

‐7 AsNowWeTaketheSacramentLordIsMyShepherd,The(Ifeed)ThemefromStarTrek

HuneysuckleRose(1stand3rdnotes)WatermelonMan

M7 Ceora ILoveYouP8 CalledtoServe

ChristmasSong,TheLetItSnowOldFolksatHome(Swanee)SingaSongofsixpence(sixpence)SomewhereOvertheRainbow

WillowWeepforMe

ScaleSyllabus

Scalesarechordswithextensions.Forexample,CEGBiseveryothernoteoftheCMajorscale:CDEFBABC.Ifonecontinueswiththiseveryothernoteconcept,aCMaj.13chordresults:CEGBDFA.Onmajorchordsthe11th(Finthiscase)isusuallyomittedbuttheprincipleremainsintact.Thus,playingthenotesofascalehorizontallyinanyorder(asinamelodyorimprovisation),whilestayingtruetothecollectionofpitches,isthesameasplayingtherelatedchordharmonically.Granted,thenotesarenotsoundedsimultaneouslysonottechnicallyachordbutthenoteswillfitandtheprogressionwillbeheard.Allofthenotesinthescalesontheleftinthischart,withthedisputedfourthnoteofthemajorscale,willworkasnotechoices,againinanyorder,forthechordsindicatedtotherightofthechart.

Major

Minor(Dorian)

Dominant(Mixolydian)

DominantBebop

MinorBebop

MajorBebop

Blues

HarmonicMinor

DominantSharp‐5(WholeTone)

DominantFlat‐9(Diminished½step1st)

DominantAltered(Superlocrein,DiminishedWholeTone,Altered)

Half‐diminished(Locrian)

Half‐diminishedMajor9(Locrian#2)

Diminished

MajorSharp11(Lydian)

DominantSharp11(LydianDominant)

MajorPentatonic

MinorPentatonic

Sus4

ChordSymbolChart

Manymorechordqualitiesexistthanareincludedinthischart.UseofMformajorandmforminorisnotrecommended.Onemayalsosee+forsharpand–forflat.TheprefixofachordisitsrootletternamesuchasAforA7.Thesuffixofachordiswhatfollowstoindicatequality,extension,and/oralteration.

QualityPossibleChord

Tones Quality Extensions Examples(RootandSuffix)

Major 1357913 MajmajMma∆ 7913

Major6 1356 MajmajMma∆(ornone) 6

Major6/9 13569 MajmajMma∆(ornone) 69

Minor/Dorian 1b35b791113 Minminmmi– 791113

Minor6 1b356 Minminmmi– 6

Minor6/9 1b3569 Minminmmi– 69

Dominant 135b7913 none 7913

Minor/Major 1b35∆79 Minminmmi– ∆791113

DominantFlat9 135b7b913 none 7913

Half‐diminished 1b3b5b7 Minminmim–ø(aloneorwith7)

7(b5)

Half‐dim.Major9 1b3b5b7∆9 Minminmmi–ø(aloneorwithext)

9(b5)11(b5)

DominantSharp5 13#5b79 noneor+(with7or9)

7(#5)9(#5)

DominantAltered 13b5#5b7b9#9 none 7altorspecific

MajorSharp11 13579#11 MajmajMma∆

7(#11)9(#11)

DominantSharp11 135b79#11 none 7(#11)9(#11)

Sus4 1457913 sus 7913

Diminished b1b3b5b b7 Dimdimº b b7

Intervals

Half‐Step:thedistancefromonekeytothenextclosestkey,upordown.Whole‐Step:twohalf‐steps,twonotesonthekeyboardwithoneinbetween.MelodicIntervalsScale:apatternofwhole‐stepsandhalf‐steps

MajorScaleIntervals:majorandperfect(distancefromthefirstnoteofthescaletothenoteinquestion)

NaturalMinorScaleIntervals:minorandperfect(exceptsecondandninth)

HarmonicIntervals

Intervalscanbemeasuredascendingordescending.Whendeterminingintervals,bothmelodicandharmonic,maketheassessmentbasedonthelowestnote.

C ED F G A B C ED F G A B C ED

C# D# F# G# A#

Db Gb Eb Ab Bb

C# D# F# G# A#

Db Gb Eb Ab Bb

C# D#

Db Eb

QualityFirstconsiderthenumericdistance(2nd,3rd,4th,etc.).Thisiscalculatedbyassociatingthenumber(scaledegree)tothealphabeticname(ifCis1,Eis3).Donotuseenharmonics:F‐flatisnotE,C‐flatisnotB,etc.Next,determinethequalityoftheinterval(perfect,minor,major,diminished,augmented).Startwiththeknownqualitiesofthemajorscale:allintervalsaremajorexcepttheunison,octave,4thand5th,whichareperfect.Inreducingintervals,majorcanbemademinor;minorcanbemadediminished.Inenlargingintervals,majorcanbemadeaugmented.Perfectintervalscanbediminishedoraugmented.Thereductionorincreaseisbyhalf‐step.Practicalapplicationinjazzisasfollows:

Unison:remainsunison,nodiminishedoraugmentedusage.Second:amajorsecondcanbecomeminororaugmented;augmentedisuncommon.Third:majorandminorthirdsarecommon;theaugmentedthirdisnot,itbecomesaperfectforth.Fourth:augmentedfourthsarecommon;diminishedfourthsarenot,theybecomemajorthirds.Fifth:boththediminishedandaugmentedfifthiscommon.Sixth:aremajororminor;augmentedsixthsbecomeminorsevenths.Seventh:major,minor,anddiminishedseventhsarecommon;augmentedbecomestheoctave.

Diminished:flatasinflatfive,flatnine,orflatthirteen.Augmented:sharpasinsharpfour,sharpfive,sharpnine,orsharpeleven;orplusasinplusfour,

plusfive.AtoD‐sharpisafourthbecausefourlettersofthealphabetareinvolved.Dnaturalisthenotefoundinthemajorscale(allintervalsaremajorexcepttheunison,octave,4thand5th,whichareperfect);itisaperfectfourth.Perfectintervalscanbediminishedoraugmented.AtoD‐sharpisaugmented,oftencalledsharpfourorplusfour.AtoE‐flatisafifthbecausefivelettersofthealphabetareinvolved.Enaturalisthenotefoundinthemajorscale;itisaperfectfifth.AtoE‐flatisdiminishedoftencalledaloweredfifthorflatfive.

mM+° P+°

ModesoftheMajorScale

Themodesofthemajorscalearescalesderivedfromstartingonagivenscaledegreeandretainingthekeysignature.Forexample,thekeyofCMajorhasnosharpandnoflats.IfwestartonD,retaintheCMajorkeysignature,andplayastep‐wisemotion,weareintheDorianmode.

IfwestartonGandusethosenotesintactasagroupwiththeCMajorkeysignature,itisthemixolydianmode.

Adistinguishingelementisthechordthesescalesrepresent.Dorianisaminorscaleappropriatetoaminorchordfromasimpletriadthroughextensions9,11,and13.Mixolydianisadominantscaleappropriatetoadominantchordfromthetriadthroughextensions9and13.Noticethattheminorchordintheexamplebelowisamm7andthedominantisaMm7chord.Whenapplyingextensions,includethe7thandkeepstackingthirds.Thenumbersarederivedfromscaledegreesbeginningontherootofthechord(Ddorian:D=1,E=3,F=3,etc)ratherthantherelativemajororthekeysignatureofthecomposition.

Thenamesofthemodesofthemajorscaleare:

Thedorian,mixolydian,andionian(Major)modesaremostsignificantduetotheirplaceinaiiV7Ichordprogression.Thesequenceisderivedfromachordthatstartsonthesecondscaledegreeofthemajor,ortonic,scalethenmovestoachordstartingonthefifthscaledegreeandresolvingtotonic,orI.Thesechordsallsharethesamekeysignature.

Asamatterofhistoricalperspective,oneshouldnotethatthejazzmodesdorian,mixolydianandthelikearescalesandnotcompositionalmodesasinMedieval,Renaissance,orotherclassicalmusicdefinitionsorusages.ThefirstoccurrenceofthesenameswasintheancientGreekperiod.Constructsofmusicwerederivedfromcombiningfour‐noteunitscalledtetrachordsasusedinkitharaplaying(aharp‐likeinstrument).Tetrachordswerecombinedtoformwhatwemightcallscalesandmusicwascomposedwithinthesegroupsofnotes.Someofthe“scales”thusderivedparallelthejazzmodesinnameandintervallicrelationship,suchasdorian,butothersdonot;someincorporatequartertonesorhaveotherintervalrelationshipsverydissimilartotheabovejazzscales.Greekmusictheoryprinciplesprogressedthroughandweremixedwithothercultures,suchasHebrewandByzantine,totheWesternEuropemedievalmodesandcodifiedbythe9thcentury.Therewereeightmedievalmodes:dorian,hypodorian,phrygian,hypophrygian,lydian,hypolydian,mixolydian,andhypomixolydian.Onecanseethenamerelationstothejazzmodes.Thepitchrelationshipsofdorian,phrygian,lydian,andmixolydianrelatetothejazzmodesofthesamenames;however,usagewasnotthesame.Ionian,aeolian,andlocrianaremuchlateradditions.Modalmusic,asitwasintheMedievalthroughtheRenaissanceeras,bydefinitionismusicthatusesaspecificgroupofnotessomewhatexclusivelywithoutattentiontochordprogression,withtonalcenterbutnotasinthemajor/minortonalsystemordiatonicmusic(whichbeganc.1600,codifiedinTraitédel'harmonie,1722byJean‐PhilippeRameau).MedievalandespeciallyRenaissancetheoryismelodicwithconcernforintervallicharmony.ModaljazzsuchasSoWhatorImpressionsstayonasinglechordforalongperiodoftimeand,eventhoughtheyhavemorethanonetonalcenter,areclosesttobeingtrulymodalandaptlynamed.Thus,thejazzmodesarethoughtofasmode=aspectI,referringtoitsrelationtomajorasaboveorotherknownscalebasisincludingascendingmelodicminorandharmonicminor.Thejazz“modes”arenotmodalintheclassicalorhistoricalsensebutarescales.

Worksheets

Worksheetsareorganizedintopackets:

1. Major:Scale,Arpeggio,Chord,Pattern2. Minor:Scale,Arpeggio,Chord,Pattern3. Dominant:Scale,Arpeggio,Chord,Pattern4. Chormaticism:DominantBe‐bop,MinorBe‐bop,MajorBe‐bop,Pick‐upandPassingNotes,

DiatonicEnclosure,ChromaticEnclosure,InclusivePattern5. iiV7I:VoicingI,VoicingII,OneMeasurePattern,TwoMeasurePattern

Additionalworksheetsinclude:

IntervalsChordSymbolChartImprovSoloComposition:SoWhat,SatinDoll,Blues

ScalesandArpeggiosWriteallscalesandarpeggiosuptothe9thanddown.Donotusekeysignatures.Includeaccidentalsascendinganddescending.ChordsWritechordvoicingsasintheexamplegiven.KeepvoicingscenteredaroundmiddleC.Playallchordsonthepiano,listen,becomefamiliarwiththesoundofthejazzvoicing.Playthecompanionscale,arpeggio,andpattern.PatternsSeveralexamplesaregivenforeachquality.Thechordmostappropriatetothepatternincluded.Findtwopatternsforeachpatternworksheetthatarespecifictothequalityindicted.Sources

mightincludeatranscription,ajazzimprovisationtextbook,Aebersoldplay‐a‐longseries,abookonjazzpatternssuchasJerryCoker’sPatternforJazz,areputableprofessional(i.e.AaronMiller,RyanNielsen,MarkWatkins,JayLawrence,KeithPhillips,JustinNielsen).

Addpatternstothelogtoincreasevocabulary.ChromaticismBe‐bopScales:Dominant,Minor,Major;Be‐bopscalesuseachromaticpassingtonetokeepchord

tonesinlinewithbeatemphasis.Thedominantandminorbe‐bopscalesusethesamepitches,asislogicalforuseiniiV7Ipatterns.

Pick‐upandPassingNotesDiatonicEnclosureChromaticEnclosureiiV7IChordVoicingsI,II,IIIOne‐measurePatternsTwo‐measurePatterns

WorksheetPacket#1:Major

ScaleWriteallscalesuptothe9thanddown.Donotusekeysignatures.Includeaccidentalsascendinganddescending.ArpeggioWriteallarpeggiosuptothe9thanddown.Donotusekeysignatures.Includeaccidentalsascendinganddescending.ChordsWritechordvoicingsasintheexamplegiven.KeepvoicingscenteredaroundmiddleC.Playallchordsonthepiano,listen,becomefamiliarwiththesoundofthejazzvoicing.Playthecompanionscale,arpeggio,andpattern.PatternsSeveralexamplesaregivenwiththechordmostappropriatetothepatternincluded.Findtwopatternsthatarespecifictothequality(major).Sourcesmightincludeatranscription,a

jazzimprovisationtextbook,Aebersoldplay‐a‐longseries,abookonjazzpatternssuchasJerryCoker’sPatternforJazz,areputableprofessional(i.e.AaronMiller,RyanNielsen,MarkWatkins,JayLawrence,KeithPhillips,JustinNielsen,oravisitingguest).

Includetheappropriatechordsymbolandpatternsource.Addpatternstothelogtoincreasevocabulary.

ScaleExample:

Arpeggio

Example:

Chord

Patterns(treble)

Examples:

Patterns(bass)

Examples:

WorksheetPacket#2:Minor

ScaleWriteallscalesuptothe9thanddown.Donotusekeysignatures.Includeaccidentalsascendinganddescending.ArpeggioWriteallarpeggiosuptothe9thanddown.Donotusekeysignatures.Includeaccidentalsascendinganddescending.ChordsWritechordvoicingsasintheexamplegiven.KeepvoicingscenteredaroundmiddleC.Playallchordsonthepiano,listen,becomefamiliarwiththesoundofthejazzvoicing.Playthecompanionscale,arpeggio,andpattern.PatternsSeveralexamplesaregivenwiththechordmostappropriatetothepatternincluded.Findtwopatternsthatarespecifictothequality(minor).Sourcesmightincludeatranscription,a

jazzimprovisationtextbook,Aebersoldplay‐a‐longseries,abookonjazzpatternssuchasJerryCoker’sPatternforJazz,areputableprofessional(i.e.AaronMiller,RyanNielsen,MarkWatkins,JayLawrence,KeithPhillips,JustinNielsen,oravisitingguest).

Includetheappropriatechordsymbolandpatternsource.Addpatternstothelogtoincreasevocabulary.

ScaleExample:

Arpeggio

Example:

Chord

Patterns(treble)

Examples:

Patterns(bass)

Examples:

WorksheetPacket#3:Dominant

ScaleWriteallscalesuptothe9thanddown.Donotusekeysignatures.Includeaccidentalsascendinganddescending.ArpeggioWriteallarpeggiosuptothe9thanddown.Donotusekeysignatures.Includeaccidentalsascendinganddescending.ChordsWritechordvoicingsasintheexamplegiven.KeepvoicingscenteredaroundmiddleC.Playallchordsonthepiano,listen,becomefamiliarwiththesoundofthejazzvoicing.Playthecompanionscale,arpeggio,andpattern.PatternsSeveralexamplesaregivenwiththechordmostappropriatetothepatternincluded.Findtwopatternsthatarespecifictothequality(dominant).Sourcesmightincludea

transcription,ajazzimprovisationtextbook,Aebersoldplay‐a‐longseries,abookonjazzpatternssuchasJerryCoker’sPatternforJazz,areputableprofessional(i.e.AaronMiller,RyanNielsen,MarkWatkins,JayLawrence,KeithPhillips,JustinNielsen,oravisitingguest).

Includetheappropriatechordsymbolandpatternsource.Addpatternstothelogtoincreasevocabulary.

ScaleExample:

Arpeggio

Example:

Chord

Patterns(treble)

Examples:

Patterns(bass)

Examples:

WorksheetPacket#4:Chromaticism

Pick‐upandPassingNotesChromaticPickupNote:Anydesirednoteofemphasis,usuallyachordtone,canbeapproachedby

1/2stepeitheraboveorbelow.PassingTone:1/2stepscanconnectchordtoneswithinachord,asinthebebopscales,or

betweenchordsasbelow.Transposepatternexamplein12keys.Includechordsymbols.Donotuseenharmonics.ScaleWriteallscalesuptothe9thanddown.Donotusekeysignatures.Includeaccidentalsascendinganddescending.DiatonicEnclosurePrecedechordtonebythediatonicscaletoneaboveand1/2stepbelow.Transposepatternexamplein12keys.ChromaticEnclosurePrecedechordtoneby1/2aboveand1/2stepbelow,orvisaversa.Transposepatternexamplein12keys.

InclusivePatternNoticeintheexamplethatthiscontrivedpatternincludesbothchromaticpassingtonesand

enclosures.Transposepatternexamplein12keys.

Pick‐upandPassingNotesExample:

Be‐bopScale:Dominant

Example:

Be‐bopScale:MajorExample:

Be‐bopScale:Minor

Examples:

Enclosure:Diatonic

Examples:

Enclosure:ChromaticExample:

InclusivePatternExample:

WorksheetPacket#5:iiV7I

iiV7IVoicingsWritechordvoicingsasintheexamplegiven.KeepvoicingscenteredaroundmiddleC.Followthesequenceindicated.Playallchordsonthepiano,listen,becomefamiliarwiththesoundoftheiiV7I.Voicingoptionsareprovidedfor:

Shell3‐note4‐note

PatternsSeveralexamplesaregivenwiththechordmostappropriatetothepatternincluded.Findtwopatternsthatarespecifictothequality(major).Sourcesmightincludeatranscription,a

jazzimprovisationtextbook,Aebersoldplay‐a‐longseries,abookonjazzpatternssuchasJerryCoker’sPatternforJazz,areputableprofessional(i.e.AaronMiller,RyanNielsen,MarkWatkins,JayLawrence,KeithPhillips,JustinNielsen,oravisitingguest).

Includetheappropriatechordsymbolandpatternsource.Addpatternstothelogtoincreasevocabulary.WorksheetsforoneandtwomeasureiiV7Ipatternsareprovided.

iiV7I:shellvoicing

iiV7I:3‐note

iiV7I:4‐note

Patterns:1‐measure(treble)

Examples:

Patterns:1‐measure(bass)

Examples:

Patterns:2‐measure(treble)

Examples:

Patterns:1‐measure(bass)

Examples: