2 3 4 “Specific” Chord Symbols Chart 5

Symbol Spelling Symbol Spelling Symbol Spelling C C E G Cdim C Eb Gb C13(b5) C E Gb Bb D A

C6 C E G A Co7 C Eb Gb A C13(b9) C E G Bb Db A

C6/9 C E G A D Co7(add ma7) C Eb Gb A B C13(#11) C E G Bb D F# A

C(add9) C E G D C+ C E G# C7sus(b9) C F G Bb Db

Cma7 C E G B Csus C F G C13sus(b9) C F G Bb Db A C7sus C F G Bb Ab Cma7(add13) C E G B A /C C Eb Ab 9 Cma9 C E G B D C sus C F G Bb D F /C C F A C13sus C F G Bb D A Cma13 C E G B D A E /C C E G# B 7(b5) C7 C E G Bb Cma C E Gb B Bb/ C D F Bb 7(#5) C C9 C E G Bb D Cma C E G# B Gm7 7(#11) /C C D F G Bb C13 C E G Bb D A Cma C E G B F# Ab(add9) Cmi C Eb G Cma9(#11) C E G B D F# /C C Eb Ab Bb

Cmi6 C Eb G A Cma13(#11) C E G B D F# A C(add 9 omit 3) C G D

Cmi6/9 C Eb G A D C7(b5) C E Gb Bb C7(omit 3) C G Bb

Cmi(add9) C Eb G D C9(b5) C E Gb Bb D Cmi7(omit 5) C Eb Bb

Cmi7 C Eb G Bb C7(#5) C E G# Bb Cma7sus(b5) C F Gb B

Cmi7(add11) C Eb G Bb F C9(#5) C E G# Bb D C7sus(add 3) C E F G Bb

Cmi7(add13) C Eb G Bb A C7(b9) C E G Bb Db C(add b13 add 9) C E G Ab D

Cmi9 C Eb G Bb D C7(#9) C E G Bb D# C+(add #9 add b9) C E G# Db D#

Cmi11 C Eb G Bb D F C7(b9 b5) C E Gb Bb Db Cmi7(add11 omit5) C Eb Bb F 13 7(#9#5) B Cmi C Eb G Bb D F A C C E G# Bb D# /C C D# F# B Cmi(ma7) C Eb G B C7(b9 #5) C E G# Bb Db A+ /C C A C# E# 9(ma7) 7(#11) Cmi C Eb G B D C C E G Bb F# Bb7sus /C C Eb F Ab Bb Cmi7(b5) C Eb Gb Bb C9(#11) C E G Bb D F# Dbma7(#5) /C C Db F A C Cmi9(b5) C Eb Gb Bb D C7(#11b9) C E G Bb Db F# Bbma7(#5) /C C D F# A Bb Cmi11(b5) C Eb Gb Bb D F C7(#11#9) C E G Bb D# F# Fma7sus /C C E F Bb C D C E G D F# A C

“Basic” Chord Symbols Chart 6

Basic Symbol Scale Name Scale Complete Symbol Specific Symbols

C Major C D E(F)G A B C C∆ 9 13 C, C6, C6/9, C(add 9), avoid tone: 4th (F) Cma7, Cma7(add 13), Cma9, Cma13

C7 Mixolydian C D E(F)G A Bb C C7 9 13 C7, C9, C13 (5th mode of major) avoid tone: 4th (F)

C- Dorian C D Eb F G A Bb C C-7 9 11 13 Cmi, Cmi7, Cmi7(add 11), (2nd mode of major) Cmi7(add 13), Cmi9, Cmi11, Cmi13

C-∆ Melodic Minor C D Eb F G A B C C-∆ 9 11 13 Cmi6, Cmi6/9, Cmi(add 9), Cmi(ma7), Cmi9(ma7)

Cø Locrian C(Db)Eb F Gb Ab Bb C Cø 11 b13 Cmi7b5 (7th mode of major) avoid tone: b2nd (Db)

Cø9 Locrian #2 C D Eb F Gb Ab Bb C Cø 9 11 b13 Cmi9b5, Cmi11b5 (6th mode of mel min)

Co Diminished C D Eb F Gb Ab A B C Do Cdim, Co7, (whole-half) Co Co7(add ma7), Co9

sus4 G- 9 11 13 7 9 C7 or /C Mixolydian C D(E)F G A Bb C C7 Csus, C sus, C sus, (5th mode of major) avoid tone: 3rd (E) 13 G- Bb C sus, /C, /C

C∆+4 Lydian C D E F# G A B C C∆ 9 #11 13 Cma7(b5), Cma7(#11), (4th mode of major) Cma9(#11), Cma13(#11)

C7+5 Whole Tone C D E F# G# Bb C C7 #5 9 #11 C+, C7(b5), C9(b5), C7(#5), C9(#5)

C7b9 Diminished C Db Eb E F# G A Bb C C7 b9 #9 #11 13 C7(b9), C7(#9), (half-whole) C7(b9 b5), C7(b9 #11), C7(#9 #11), C13(b9)

C7alt or C7+9 Super Locrian C Db Eb Fb Gb Ab Bb C C7 b9 #9 #11 b13 C7(#9 #5), C7(b9 #5) (7th mode of mel min)

C7+4 Lydian Dominant C D E F# G A Bb C C7 9 #11 13 C7(#11), C9(#11), (4th mode of mel min) C13(b5), C13(#11)

C∆+4+5 Lydian Augmented C D E F# G# A B C C∆#5 9 #11 13 Cma7(#5) (3rd mode of mel min) 7 Nomenclature

One basic chord symbol represents the general sound for several specific chord symbols. Basic symbols are found in the Jamey Aebersold play-a-long books, Pocket Changes, and on cocktail napkins scribbled on between sets; specific symbols are used in The New Real Book, jazz band charts, and published sheet music. The basic symbol is merely an abbreviation for the “complete chord symbol” (used theoretically but rarely for performance purposes) which represents a scale, the general horizontal sound of that symbol. This scale is by no means the only scale that can be used for improvisation, however, it is the symbol’s most representative sound. Any note from the scale (except for any “avoid” tones) may be used in the pianist’s or guitarist’s chord voicings (on the chart below, the “avoid” tones are in parentheses). When learning a tune, assuming you already know what each basic symbol represents, simplify the thought process: memorize the basic chords only. The most common ones below (C, C7, C-, CØ, Co, C7b9, and C7alt) are in bold print.

Basic Symbol Scale Name Scale Complete Symbol Specific Symbols

C Major C D E(F)G A B C C∆ 9 13 C, C6, C6/9, C(add 9), avoid tone: 4th (F) Cma7, Cma7(add 13), Cma9, Cma13

C7 Mixolydian C D E(F)G A Bb C C7 9 13 C7, C9, C13 (5th mode of major) avoid tone: 4th (F)

C- Dorian C D Eb F G A Bb C C-7 9 11 13 Cmi, Cmi7, Cmi7(add 11), (2nd mode of major) Cmi7(add 13), Cmi9, Cmi11, Cmi13

C-∆ Melodic Minor C D Eb F G A B C C-∆ 9 11 13 Cmi6, Cmi6/9, Cmi(add 9), Cmi(ma7), Cmi9(ma7)

Cø Locrian C(Db)Eb F Gb Ab Bb C Cø 11 b13 Cmi7b5 (7th mode of major) avoid tone: b2nd (Db)

Cø9 Locrian #2 C D Eb F Gb Ab Bb C Cø 9 11 b13 Cmi9b5, Cmi11b5 (6th mode of mel min)

Co Diminished C D Eb F Gb Ab A B C Do Cdim, Co7, (whole-half) Co Co7(add ma7), Co9

sus4 G- 9 11 13 7 9 C7 or /C Mixolydian C D(E)F G A Bb C C7 Csus, C sus, C sus, (5th mode of major) avoid tone: 3rd (E) 13 G- Bb C sus, /C, /C

C∆+4 Lydian C D E F# G A B C C∆ 9 #11 13 Cma7(b5), Cma7(#11), (4th mode of major) Cma9(#11), Cma13(#11)

C7+5 Whole Tone C D E F# G# Bb C C7 #5 9 #11 C+, C7(b5), C9(b5), C7(#5), C9(#5)

8

Basic Symbol Scale Name Scale Complete Symbol Specific Symbols

C7b9 Diminished C Db Eb E F# G A Bb C C7 b9 #9 #11 13 C7(b9), C7(#9), (half-whole) C7(b9 b5), C7(b9 #11), C7(#9 #11), C13(b9)

C7alt or C7+9 Super Locrian C Db Eb Fb Gb Ab Bb C C7 b9 #9 #11 b13 C7(#9 #5), C7(b9 #5) (7th mode of mel min)

C7+4 Lydian Dominant C D E F# G A Bb C C7 9 #11 13 C7(#11), C9(#11), (4th mode of mel min) C13(b5), C13(#11)

C∆+4+5 Lydian Augmented C D E F# G# A B C C∆#5 9 #11 13 Cma7(#5) (3rd mode of mel min)

Other common scales heard in standard jazz literature that do not have a particular representative symbol include: blues scale (C Eb F F# G Bb C) -- mainly used for dominant and minor chords (but is used everywhere). major pentatonic (C D E G A) -- used for several different chord qualities from various degrees. minor pentatonic (C Eb F G Bb) -- used for several different chord qualities from various degrees. major bebop (C D E F G G# A B C) -- usually used for major chords. dominant bebop (C D E F G A Bb B C) -- usually used for dominant chords. harmonic minor (C D Eb F G Ab B C) -- usually used for minor ma7 chords.

Alternative Lingo and Symbols major 7 = maj7 = ma7 = M7 = 7 = ∆ minor 7 = min7 = mi7 = m7 = -7 = - mixolydian = dominant scale # = + = raised; b = - = lowered

Cø = Cmi7b5; Cmi(ma7) = Cmi+7; C7+ = C7#5 = C+7 9 = 2; 11 = 4; 13 = 6; b5 = #4 = #11; #5 = b6 = b13

sus sus4 11 G- Bb change(s) = chord(s) = harmony C7 = C7 = C = /C = /C

Major Modes (parent scale: C major) Melodic Minor Modes (parent scale: C melodic minor) 1. ionian (major): C D E F G A B C 1. melodic minor (dorian #7): C D Eb F G A B C 2. dorian: D E F G A B C D 2. dorian b2 (phrygian #6): D Eb F G A B C D 3. phrygian: E F G A B C D E 3. lydian augmented (lydian #5): Eb F G A B C D Eb 4. lydian: F G A B C D E F 4. lydian dominant (mixolydian #4) F G A B C D Eb F 5. mixolydian: G A B C D E F G 5. mixolydian b6 (aeolian #3): G A B C D Eb F G 6. aeolian (natural minor; pure minor): A B C D E F G A 6. locrian #2: A B C D Eb F G A 7. locrian: B C D E F G A B 7. super locrian (ionian #1): B C D Eb F G A B super locrian = diminished whole tone scale = altered dominant scale = ionian raised root = ionian raised one augmented = raised 5th = #5 = +5; lydian = raised 4th = #4 = +4; dominant = lowered 7th = b7 “lydian dominant” is a chord/scale with a raised 4th and lowered 7th (C D E F# G A Bb C) “lydian augmented” is a chord/scale with a raised 4th and a raised 5th (C D E F# G# A B C)

C7+9 (in the Jamey Aebersold play-a-long books and Pocket Changes) = C7alt = C7b9 #9 #11 b13 (C7b9 #9 b5 #5) C7b9 (in the Jamey Aebersold play-a-long books and Pocket Changes) = C7b9 #9 #11 13 (natural 5th) 9

XII. Ten Most Important Chord Scales

Chord Scale Name Formula Scale Beginning On C

C∆ Major major scale C D E F G A B C

C7 Mixolydian major scale with a b7 C D E F G A Bb C

C- Dorian major scale with a b3 and b7 C D Eb F G A Bb C

CØ Locrian notes from major scale ½ step higher C Db Eb F Gb Ab Bb C

Co Diminished (W/H) W H W H W H W H C D Eb F Gb Ab A B C

C-∆ Melodic Minor major scale with a b3 C D Eb F G A B C

C7alt Super Locrian notes from melodic minor scale ½ step higher C Db Eb Fb Gb Ab Bb C

C7b9 Diminished (H/W) H W H W H W H W C Db Eb E F# G A Bb C

C7#5 Whole Tone all whole steps C D E F# G# Bb C

C7 or C- Blues Scale 1 b3 4 b5 5 b7 1 C Eb F Gb G Bb C

XIII. Tune Memorization

Tune Learning Order of Events for Each Tune (do in the following order for each tune)

1. listen to the definitive recording numerous times 2. memorize the form 3. memorize root movement, play roots with definitive or play-along recording 4. memorize chord qualities, play chords (arpeggios in quarter notes) with play-along recording as follows: • 1 3 5 7 9 for chords lasting two bars (have the 9th sustain for the second bar) • 1 3 5 7 for chords lasting one bar • 1 3 for chords lasting two beats • for II V I’s in major, play:*

• for II V I’s in minor, play:*

5. play related scales in eighth notes (for chords lasting two bars, have the 9th sustain for the second bar; for chords lasting two beats, just play 1 2 3 4) 6. memorize head, play with definitive and play-along recording 7. improvise with play-along recording 8. transcribe phrases from definitive recording 9. improvise with play-along recording, incorporating phrases transcribed from definitive recording

* You may also have the final 7th in the penultimate measure resolve to the 6th in the last measure (i.e., practice ending the line on both the 9th and 6th)

10

Common “Homonyms” (same upper structure, different root)

Homonyms Example Notes a. II-6 = V7 D-6 (D F A B) = G7 (G B D F A) only one note changes between the II-7 and the V7: the 7th of the II-7 move down ½ step and becomes the 3rd of the V7 (D-7 to G7 = D-7 to D-6) b. bIV-6 = bVII7 F-6 (F Ab C D) = Bb7 (Bb D F Ab C) c. II-7 = IV6 D-7 (D F A C) = F6 (F A C D) d. I∆ = III-7 C∆ (C E G B D) = E-7 (E G B D) e. I6 = VI-7 C6 ( C E G A) = A-7 (A C E G) f. any diminished chord = Bo (B D F Ab) = Do (D F Ab B) = any chord tone can be considered the root four diminished chords Fo (F Ab B D) = Abo (Ab B D F) g. any diminished chord = Bo (B D F Ab) = the roots of the dominant 7b9 chords are ½ step lower than each chord tone four dominant 7b9 chords Bb7b9, Db7b9, E7b9, and G7b9 of the diminished chord h. V7b9 = a diminished chord G7b9 (G B D F Ab) = Bo, Do, Fo, and Abo V7b9 = a diminished chord built from any chord tone but the root built from the 3, 5, 7, or b9 i. V7 = bII7alt = VIIø = II-6 G7 (G B D F A) = Db7alt (Db F A B D) = Bø (B D F A) = D-6 (D F A B)

11

MAJOR MODES

Parent Scale: C Major

Mode Spelling Basic Chord Symbol Complete Chord Symbol

1. C Major C D E F G A B C C∆ C Maj7 9 11 13

2. D Dorian D E F G A B C D D- D Min7 9 11 13

3. E Phrygian E F G A B C D E E- b6 b9 E Min7 b9 11 b13

4. F Lydian F G A B C D E F F∆7+4 F Maj7 9 #11 13

5. G Mixolydian G A B C D E F G G7 G Dom7 9 11 13

6. A Aeolian A B C D E F G A A- b6 A Min7 9 11 b13

7. B Locrian B C D E F G A B BØ B Min7 b5 b9 11 b13

Root: C

Mode Spelling Basic Chord Symbol Complete Chord Symbol

1. C Major C D E F G A B C C∆ C Maj7 9 11 13 (1st/C Major)

2. C Dorian C D Eb F G A Bb C C- C Min7 9 11 13 (2nd/Bb Major)

3. C Phrygian C Db Eb F G Ab Bb C C- b6 b9 C Min7 b9 11 b13 (3rd/Ab Major)

4. C Lydian C D E F# G A B C C∆7+4 C Maj7 9 #11 13 (4th/G Major)

5. C Mixolydian C D E F G A Bb C C7 C Dom7 9 11 13 (5th/F Major)

6. C Aeolian C D Eb F G Ab Bb C C- b6 C Min7 9 11 b13 (6th/Eb Major)

7. C Locrian C Db Eb F Gb Ab Bb C CØ C Min7b5 b9 11 b13 (7th/Db Major)

12

MELODIC MINOR MODES

Parent Scale: C Melodic Minor

Mode Spelling Basic Chord Symbol Complete Chord Symbol

1. C Melodic Minor C D Eb F G A B C C-∆ C Min Maj7 9 11 13

2. D Dorian b2 D Eb F G A B C D D- b9 D Min7 b9 11 13

3. Eb Lydian Augmented Eb F G A B C D Eb Eb∆ +4 +5 Eb Maj7 #5 9 #11 13

4. F Lydian Dominant F G A B C D Eb F F7+4 F Dom7 9 #11 13

5. G Mixolydian b6 G A B C D Eb F G G7 b6 G Dom7 9 11 b13

6. A Locrian #2 A B C D Eb F G A AØ 9 A Min7b5 9 11 b13

7. B Super Locrian * B C D Eb F G A B B7 Alt ** B7 b9 #9 #11 b13

Root: C

Mode Spelling Basic Chord Symbol Complete Chord Symbol

1. C Melodic Minor C D Eb F G A B C C-∆ C Min Maj7 9 11 13 (1st/C Mel Min)

2. C Dorian b2 C Db Eb F G A Bb C C- b9 C Min7 b9 11 13 (2nd/Bb Mel Min)

3. C Lydian Augmented C D E F# G# A B C C∆ +4 +5 C Maj7 #5 9 #11 13 (3rd/A Mel Min)

4. C Lydian Dominant C D E F# G A Bb C C7+4 C Dom7 9 #11 13 (4th/G Mel Min)

5. C Mixolydian b6 C D E F G Ab Bb C C7 b6 C Dom7 9 11 b13 (5th/F Mel Min)

6. C Locrian #2 C D Eb F Gb Ab Bb C CØ 9 C Min7b5 9 11 b13 (6th/Eb Mel Min)

7. C Super Locrian * C Db Eb Fb Gb Ab Bb C C7 Alt ** C7 b9 #9 #11 b13 (7th/Db Mel Min)

* Super Locrian is also known as Diminished Whole Tone or Altered Dominant scales. ** 7 Alt is written as 7+9 in the Jamey Aebersold and Pocket Changes books. 13

Common Piano Voicings

Basic chord symbols are merely abbreviations for particular scales (the general horizontal sounds of the

symbols) from which the player may select notes to construct chords and/or improvise. These scales are by no means

the only ones that can be used for improvisation, however, they are the symbols’ most representative sounds. The most

common basic symbols are C, C7, C-, CØ, Co, C7b9, and C7alt, representing the general sounds of major, dominant,

dorian minor, half-diminished, diminished, dominant 7 flat 9, and dominant 7 altered, respectively.

The 3rd and 7th are the most representative notes of any chord or scale and “should” be included in every

voicing (except for a “sus” chord where the 4th is substituted for the 3rd). Common voicings usually contain at least

one other chord tone, extension, and/or alteration as well. Moreover, any or all notes from the related scale (except for

avoid tones1) may be used in the pianist’s chord voicing, depending on the player and the musical situation. A typical

C7 piano voicing, for instance, might be constructed Bb E A D G (b7 3 6 9 5) if the player is looking for a relatively

evenly spread two-handed chord or, perhaps, E A Bb D (3 6 b7 9) if looking for a left-handed close voicing. Notice

that all these notes come from C mixolydian, C7’s related chord scale. Also notice that the root is not included. As the

root is primarily the bassist’s responsibility, pianists and guitarists often omit the root when comping to avoid

redundancy. For unaccompanied solo piano playing, however, the root is included much more often and generally

voiced as the lowest note of the chord.

“Alt,” short for altered, refers to the raised and/or lowered 5th and 9th. In other words, the dominant 7 altered

chord contains no regular 5th and no regular 9th, but instead, a flat and/or sharp 5th and a flat and/or sharp 9th. The

difference between the dominant 7 flat 9 sound and the dominant 7 altered sound is that the former includes the natural

5th and 6th while the latter does not. Thus, the related scale for C7b9 (half-whole diminished) is comprised of the root,

b9, #9, 3 #4, 5, 6, and b7: C Db D# E F# G A Bb C; the related scale for C7alt (super-locrian) is comprised of the root,

b9, #9, 3 #4, #5, and b7: C Db D# E F# G# Bb C (this scale is often enharmonically spelled C Db Eb Fb Gb Ab Bb C,

using the note names from its parent scale, Db melodic minor, of which C super-locrian is the seventh mode). A C7b9

might be voiced Bb E G Db (b7 3 5 b9) while its C7alt counterpart would be voiced Bb E G# Db (b7 3 #5 b9). Again,

exactly which notes to use from these scales when constructing the chord is left up to the player.

1 On the following chart, any avoid tones (i.e., notes to avoid when voicing the related chord) are in parenthesis in the Scale column. Piano Voicing Mnemonics 14

I. One-Handed Jazz Voicings for Major 7, Dominant 7, and Minor 7 Chords

A. Category A (3rd in the lowest voice)

Chord Quality Voicing Voicing in C Mnemonic

C∆ 3 7 9 E wB D Look at root at the top and “spread out” (up a whole, down a half); 3rd in lowest voice & w

C7 3 b7 9 E bBbw D Look at root at the top and “spread out” (up a whole, down a whole); 3rd in lowest voice & w C- b3 b7 9 Eb bBbw D Look at root at the top and “spread out” (up a whole, down a whole); b3rd in lowest voice & b w

B. Category B (7th in the lowest voice)

Chord Quality Voicing Voicing in C Mnemonic

C∆ 7 3 5 & B wE G Look at triad and lower root a half step w C7 b7 3 6 Bb E A Look at triad and “spread out” outer voices a whole step & w bw C- b7 b3 5 Bb Eb G Look at minor triad and lower root a whole step & w bbw Common LH Chord Fingering: 5 2 1 Common RH Chord Fingering: 1 3 5 (exception -- category B dominant 7 voicing: 1 2 5) II. II V I Progression in Major

A. Chord Qualities 1. II chord is minor 7 (II-) 2. V chord is dominant 7 (V7) 3. I chord is major 7 (I∆)

B. Example in the key of C 1 2 3 4 5 6 7 1 1. C major scale: C D E F G A B C œ 1& 2 3 4 5œ œ6 œ 7 œ 1 œ œ œ 2. II V I in the Key of C: D- G7 C∆

note: any 3 chords in a row progressing counterclockwise around the circle is a II V I in the key of the 3rd chord, e.g., C- F7 Bb∆ is a II V I in Bb; F- Bb7 Eb∆ is a II V I in Eb; etc.

C. Good voice-leading: 3rd to 7th and 7th to 3rd 1. the 7th moves down a half step to become the 3rd of the next chord 2. the 3rd stays on the same note to become the 7th of the next chord

Note that to progress from a II- to a V7: only one note moves (the 7th of the II- moves down a half step to become the 3rd of the V7); the other two notes remain the same

1 Example 1: Category A to B to A 15 KEY OF C

II- V7 I∆ D-D - G 7 G7 C C∆ H W ± 9 6 W 9 E E W D w w H w b7 H 3 7 &Cw H w B w B b3 b7 H 3 F F H w E

KEY OF F - 7 II- V7 I∆ G-G C C7 F± F∆ W 9 6 W 9 A w H wA W G b7 H 3 7 &F w H wE H w E b3 b7 H 3 Bbbw b wBb H w A ______

KEY OF Bb

II- V7 I∆ C- - F77 Bb∆ C F Bb W H ± 9 6 W 9 D D W C w w H w b7 H 3 7 &Bbb w H Aw w A b3 b7 H 3 Ebb w b Ebw H w D

______

Example 2: Category B to A to B KEY OF C - 7 II- V7 I∆ D-D G G7 C± C∆ 5 9 W 5 A A W W G H b3 b7 H 3 &F w H w F H w E b7 H 3 7 Cw H w B w B ______

KEY OF F

II- V7 I∆ G-G - C C77 F F∆ W ± 5 9 W 5 D D H W C bw H bw w b3 b7 H 3 &Bbw Bb H w A b7 H 3 7 F H wE w E ______

KEY OF Bb

II- V7 I∆ C- - F77 Bb∆ C F Bb± 5 9 W 5 G G W W F H b3 b7 H 3 &Ebb w H bEbw H w D b7 H 3 7 Bbb w H Aw w A

2 16 IV. One-Handed Jazz Voicings for Half Diminished and Dominant 7 Altered Chords

A. Category A (3rd in the lowest voice)

Chord Quality Voicing Voicing in C Mnemonic

CØ b3 b5 b7 R Eb Gbb w Bbw C m7b5 chord in first inversion (b3 on bottom, root on top) & bb w C7alt 3 #5 b7 b9 E G# Bb Db think category A dominant 7 voicing, lower 9th (and add #5 which is a b bw whole step below the b7) & # w

B. Category B (7th in the lowest voice)

Chord Quality Voicing Voicing in C Mnemonic

CØ b7 R b3 b5 Bb C Eb Gb m7b5 chord in third inversion (b7 on bottom, “point” to root) & bw bb ww C7alt b7 b9 3 #5 Bb Db E G# think category B dominant 7 voicing, lower 6th (and add b9 which is a half & #w bb ww step above the root)

Common LH Chord Fingering: 5 3 2 1 Common RH Chord Fingering: 1 2 3 5 note: for Category B half diminished chord, use 5 4 2 1

V. II V I Progression in Minor

A. Chord Qualities 1. II chord is half diminished (IIØ) 2. V chord is dominant 7 altered (V7alt) 3. I chord is minor (I-)

B. Example in the key of C minor: DØ G7alt C-

C. Good voice-leading: 3rd to 7th and 7th to 3rd 1. from the IIØ, find the whole step interval in your voicing and “spread out,” i.e., the higher note moves up a half step and the lower note moves down a half step (the other two notes remain the same), then you’re automatically on the V7 alt chord 2. from the V7alt, the b7 moves down a whole step; all other voices move down a half step

3 17 Example 1: Category A to B to A KEY OF C MINOR

IIØ V7alt I- DDØ G 7 G7altalt C C-- H H ø H H R H b5 H 9 D w H #w D# H H w D bw b ww W bw b7 H 3 H b7 & Cw H w B H b w Bb b5 b9 H 5 Ab Ab H G b3 b7 W b3 F F W Eb

KEY OF G MINOR

IIØ V7alt I- AAØ D D7alt7alt G G-- H H R H b5 H 9 Aø HH A# H A w #w H w b7 H 3 H b7 & bGw H #b F#ww HW w F b5 b9 H 5 Ebw Ebw H bw D b3 b7 W b3 C C W Bb

Example 2: Category B to A to B KEY OF C MINOR

IIØ V7alt I- DDØ G 7 G7altalt C C-- ø H b5 b9 H 5 Ab Ab W H G bw H bw H b3 b7 W b3 & Fw H w F H W bwEbw R H #5 H 9 Dw w H # w D# H b w D b7 H 3 H b7 C H B H Bb

KEY OF G MINOR

IIØ V7alt I- AØA D D7alt7alt G G-- H W b5 b9 H 5 bEbwø H b Ebw H H D w H w H bww b3 b7 W b3 & Cw w # # Cw W w Bb R H #5 H 9 A H A# H A b7 H 3 H b7 G H F# H F

4 5 Common Two-Handed Piano Voicings 18 (two notes in the LH, three notes in the RH)**

Symbol Scale Name Scale Two-Hand Voicings* Mnemonic 5 A C Major C D E(F)G ACBomC mon TwoA-H3 a6n9d5eRd(PE iAanDoGVCoi) cings RH pinky on the root, come down in 4ths (two notes in the LH, three notes in the RH)** avoid tone: 4th (F) R in both hands ( ) œ œ œ 5 & œ œ œ 9 w Symbol Scale Name Savoidœcaleœ tone: 4th (F) Tw&o-Hawnd Voicings* Mnemonic A 3 6 9w5 7 (E A D G B) same as above - just lower top note � step5 6 C Major C D E(F)G A B C A 3 6 39w5 R (E A D G C) RH pinky on the root, come down in 4ths Common TwoB-H?7 a3n6dw9e5d(BPEianAoDVGoi) cings RH pinky on the 5th, come down in 4ths avoid tone: 4th (F) in both hands (two notes in the LHA, three notes in the RH)** in both hands A 3 6 9 5 7 (E A D G B) same as above - just lower top note � step Symbol Scale Name Scale Two-H7and Voicings* Mnemonic 5 C7 Mixolydian C D E(F)G A Bb C A 3 b79 9w5 R (E Bb D G C) RH pinky on the root, come down in 4ths5 B &7 3 6w9 5 (B E A D G) RH pinky on the 5th, come down in 4ths C 5Mthajmorode of maj aCvDoidEt(oFn)Ge: A4thB(FC) A 3 6 9w5 R (E A D G C) iRnHRpHi;n3ky&onb7thien rLoHot, come down in 4ths avoid tone: 4Cthom(F) mon Two-Han6 ded Piano Voicings in both hands 3 w in both hands (two notes in theBL?Hb7, 3th6wre9e5n(oBtbesEinAtDheGR) H)** RH pinky on the 5th, come down in 4ths in RH; b7 & 3 in LH � 7 A 3B6 9 5 7 (E A D G B) same as above - just lower top note step5 SCymbol SMciaxloelyNdaimane SCcDaleE(F)G A Bb C TAw3o-bH7a9nd5 VRo(iEcinBgbs*D G C) MRHnepminoknyicon the root, come down in 4ths 5 5th mode of maj avoid tone: 4th (F) B 7 3 96 9 5 (B E A D G) RinHRpHin; k3y&onb7thien 5LtHh, come down in 4ths Common Two-Han6 dwed Piano Voicings C- MDoarjioarn C D E(bFF)GGAABBCb C A 3b36b97w59R5 (RE(AEbDBbG CD)G C) iRnHboptihnkhyanodnsthe root, come down in 4ths (two notes in theBLHb7, 3th6wre9e5n(oBtbesEinAtDheGR) H)** RH pinky on the 5th, come down in 4ths 2nd mode of maj avoid tone: 4th (F) & 3 in bRoHth;hba3n&dsb7 in LH 7 w in RH; b7 & 3 in LH Symbol Scale Name Scale Two-Hanwd Voicings* Mnemonic C7 Mixolydian C D E(F)G A Bb C AB ?3b7b67b9395557RR(E4(E(ABBbDbEGDb BG)C)F) Rs“apHmoiepnitan”sktayoboRonvienth-RejHurosotatnl,odcwogemor eutopdpoanw4onttheina�n4dsthtesp down a 4th; b7 & b3 in LH C- DM5toharjmioarnode of maj CavDoidEtb(oFFn)GeG: A4AthBB(CFb)C A b336b97 59R5 (RE(AEbDBbG DC)G C) RinHRpHin; k3y&onb7thien rLoHot, come down in 4ths B 7 3 6 9 5 (B E A D G) RH pinky on the 5th, come down in 4ths 2nd mode of maj avoid tone: 4th (F) in both hands 5 B b7 3 6 9 5 (Bb E A D G) RinHbRopHtihn;khbya3no&dnstbh7ei5nthL,Hcome down in 4ths ø C Locrian C(Db)Eb F GCbomAb BmbonC TwoR-Hb5abn7db3edb6P(CianGboBVb Eoib cAibn)gs tihniRnkHA; bv7o&ici3nginoLf dHominant 7 chord up a BA b376Ab93 557R(E4 (ABbDEGb BG)C F) “sapmoienta”staobRoviøen-RjHustanlodwgeor utoppan4otthe a�ndstep 7th mode of maj avoid tone: b(9ttwh o(Dnbo)tes in the LH, three notes in the RH)** draoiwsenda5t4hth(;Cb7=&Ab37)in LH C7 Mixolydian C D E(F)G A Bb C A 3 b7 9 5 R (E Bb D G C) RH pinky on the root, come down in 4ths B 7 3 R6 9 5 (B E A D G) RH pinky on the 5th, come down in 4ths C- 5Dtohrmianode of maj aCvDoidEtbonFeG(: 4 )AthB(Fb)œCbœ œ A b3 b57 9 5 R (Eb Bb D G C) iRnHRpHi;n3ky&onb7thien rLoHot, come down in 4ths5 Symbol Scale Name &Scale œ œ œ Tb5wRo-H49abn7dwbV3 o(GicbinCgs*F Bb Eb) iMtnhibneokmthBohvnaoincidcisng of dominant 7 chord up a 2nd mode of maj avoidœ œ tone: 4th (F) & w ø ø w irnaiRseHd 5; tbh3(&C b=7AinbL7)H C Locrian C(Db)Eb F GCbomAb BmbonC TwoBR-Hbb57ab3n7b7db63e9db56P((BCibanGEboABbVDEoiGb)cAibn)gs RthHinkpiAnkvyooicninthgeo5ftdho, mcoimnaendt o7wcnhoinrd4uthpsa C Major C D E(F)G A B C A 3 6 39 5 R (E A D G C) RH pinky onøthe root, come down in 4ths 7th mode of maj avoid tone: 4b(t9thtwh(Fo(D)nbo)tes in theBLHb7, bth3rb5eweRn4o(tBesb iEnbthGeCRFH))** “irnapioRsieHndt;”5bth7o &(RCi3n=iRnAHLbHa7n)d go up a 4th and C7 Mixolydian C D E(F)G A Bb C A ?3 b7 9 5wR (E Bb D G C) RinHboptihnkhyanodnsthe root, come down in 4ths o down a 4th; b7 & b3 in LH SCymbol S5DtcihamlmeinoNidsahemeodfemaj SaCvcDoaildeEtbonFeG: 4bthAb(FA) B C bTa5wtrRioto-Hn4eabni7ndbeV3aco(hGichbinaCngds*FwBitbh Eab) tMishntaiRnrtekHmoB;no3vann&oicyicbcin7hgoinrodfLtdHoonme ionnanthte7bcohtotordmu;p a (whole-half) mAin3o6rB39rd5b7et(wEeAenDhaGndBs) psalamyeaatsriatobnoevøeab-ojuvsetilto,wtheerntoskpipnoatem�insotrep C- Dorian C D Eb F G A Bb C A b3 b57 9 5 R (Eb Bb D G C) RraHisepdin5kthy o(Cn th=eArobo7t), come down in 4ths (e.g., C Gb A Eb) 3rd between hands; then play a tritone in Cø 2Mnadjomrode of maj C D E(F)G A B C AB 3b76399659wR5(E(BAb EDAGDC)G) RH pinky on the 5rotho,t,ccoommeeddoowwnninin44ththss C Locrian C(Db)Eb F Gb Ab Bb C BR b753b766b935b6(B(CEGAb DBbGE)b Ab) itRnhHeiRnRkpHHiA;n;bkbv7y3o&oi&cni3ntbhgi7enoi5LnftHdhLo,Hmcoimnaendt o7wcnhoinrd4uthpsa avoid tone: 4th (F) w in both handsø 7th mode of maj avoid tone: b9th (Db) w rinaibseodth5hthan(Cds = Ab7) o & 3 C Diminished C D Eb F Gb Ab A B C aBtrbit7onbb7e3in5eRac4h(hBabndEbwiGthCa F) s“tpaortinotn” taonyRcihnoRrdHtoaned ogno tuhpeabo4tthoman;d w � (whole-half) mAin3o6r 39rd5b7et(wEeAenDhaGndBs) pdsaloamwyenaaatsr4iattobhno;evbe7ab-&ojuvbse3tiltio,nwthLeeHrntoskpipnoateminsotrep C-7sus4 MDoixrioalnydian C D(Eb)FFGGAABBbbCC bA75 b4R364b97b75b9wb(5B3bR(GF(EbAbCBDFbGBD)bGEbC)) tRhHinkpiABnkvyooicninthgeorfodmooti,mncoionrma7nectdh7ocwrdhnouripdn au4pt5htash (e.?g., C Gb A Eb) 3rd between hø ands; then play a tritone in C7 5M2tnhidxmomloyodddeieaonoffmmaajj aCvDoidEt(oFn)Ge: A3rdB(bEC) A 3 b7 9 5 R (E Bb D G C) RraHisespudisn54kthy o(Cn th=eArobo7t), come down in 4ths B 7 3 6 9 5 (B E A D G) t(RihnCHe7RRpHHin;kby=3oG&n-)tbh7ei5nthL,Hcome down in 4ths ø 5th mode of maj avoid tone: 4th (F) in bRoHth; 3ha&ndbs7 in LH C Locrian C(Db)Eb F Gb Ab Bb C R b5 b7 b3 b6 (C Gb Bb Eb Ab) think A voicing of dominant 7 chord up a 4Bbb779b53 R5 (RF4B(bBbDEGb CG) C F) t“hpionikntB” tvooRiciiønngRoHf manindogro7ucphoar4dtuhpanad5th o 7th mode of maj avoid tone: b9th (Db) B b7 3 6 9 5 (Bb E A D G) RraHisepdin5kthy o(Cn th=eA5bth7,)come down in 4ths C7sus4 Diminished C D Eb F Gb Ab A B C a tritone in each hand with a (sdCtoa7wrtsnuosna44a=nthyG; cb-h)7o&rdbto3nien oLnHthe bottom; C7 (Mwihxoolley-dhiaalnf) C D(E)F G A Bb C mb7in4or639rd5b(eBtwb eFenAhDandGs) pitnhlaiRnykHaA;tbriv7to&incei3nagbinovLfeHmiitn, othre7ncshkoiprdaumpiano5rth C 5Mthixmoloyddeiaonf maj aCvDoidEt(oFn)Ge: A3rdB(bEC) bA5 3Rb47 b975b3R((GEbBCb FDBGbCE)b) tRhHinskpuiBsn4kvyooicninthgeorfodoot,mcionmanetd7ocwhnoridn u4pthas (e.g., C AGb A Eb) 3(Crd7betw=eeGn -h)ands; then play a tritone in ø 5th mode of maj avoid tone: 4th (F) rinaiRseHd;53th&(Cbø7=inALbH7) C7b9 DLoimcriinainshed C(Db)EEbbEF FG#bGAAb BBbbCC aRnby5“dbi7mbi3nibsh6e(dC” GvobicBinbgEfbroAmb) sthtaienrtRkoHAn avnoyiccinhgorodftdoonme ibnuatntth7e crohotrd(i.uep.,a C- Dorian C D Eb F G A Bb C 4Abb739bR57 R9 (5FRB(bEbDBGb CD) G C) tRhHinkpiBnkvyooicniønthgeorfomoti,ncoorm7echdorwdnuipna45thths (7hthalmf-wodheoloef)maj avoid tone: b9th (Dœ bb)œ œ aBnybc7h3o5rd6 t9o5ne(BbubtEtheAroDotG) 3rRa,Hi5se,pdbin75k,thyor(oCbn9t)h=;epA5labtyh7,)actormitoendeoawbnovine 4itt,hs 2nd mode of maj & bœ œ œ 9 w sus4 œ œ e.g&., 3 b7 b9w5 (E Bb Db G) ti(hnCe7RnHsk;;ibpb7=3a&G&m-3i)bni7onriLn3HrLdHbetween hands; then 7osus4 C MDiimxoinlyisdhiaend C D(Eb)FFGGAb ABb AC B C ba57trR4ito6n4b7e9bi75nb(eB3awbc(hGFhbaACndDFwGBit)bh Eab) ptshtlaainrytkoaBAntrvaitnooyincecinhignorotdhfetdmoRonimnHeoionrna7nthcthe7obcrohdtotuorpdmau;p5tah (whole-half) mBinbo7rb3b33rd5beRtw4e(eBnbhEanbdsG C F) p“plaoyinat”trtiotoRneiønabRoHveaint,dthgeonuspkaip4athmainndor 5th mode of maj avoid tone: 3rd (E) bw (rCai7sesdus54th=(GC-)= Ab7) C-7b9 Doimriiannished C DbEEbbFEGFA# GBbACBb C Aa(en.y?gb.“3,dCbim7Gibn9i5sAwhReEd(b”E)vboBicbinDg fGroCm) Rs3dtroHadwrtbpnoeinatwk4ayentheyon;ncbhht7ahone&rdrsobt;o3tnth,iencnboLumpHtleathydeoawrtornoittoin(nie.4eti.hn,s (half-whole) any chord tone but the root 3th,e5R, bH7, or b9); play a tritone above it, C7alt S2nudpemr oLdoecroifanmaj C Db Eb Fb Gb Ab Bb C A4 b37 b975#9R#(5F bB9b(EDBGbCD)# G# Db) tihniRnkHAB; bv3oi&cinbg7oinf mdLoiHmnoirna7ncth7ocrdhourpdaan5dth e.g., 3 bB7 b9 5 (E Bb Db G) then skip a minor 3rd between hands; then Cøo D7tihmminoidsheeodf mel min C D Eb F Gb Ab A B C a tritone in each hand with a (s�Ct�a�7r�ts�uoRsn4Ha=nuyGpc-�h)osrtdeptone on the bottom; C Locrian C(Db)Eb F Gb Ab Bb C R b5 b74 b3 b6 (C Gb Bb Eb Ab) tphlianykaAtrvitoinceinign othfedRomHinant 7 chord up a (whole-half) mBinbo7rb3R3rd5beRtw4e(eBnbhEanbdsG C F) p“plaoyinat”trtiotoRneinabRoHveaint,dthgeonuspkaip4athmainndor 7sus4 7th mode of maj avoid tone: b9th (Db) w raised 5th (Cø = Ab7) C Mixolydian C D(E)F G A Bb C (Bbe7.gb4.7, C6359#G5bb(BA9wbbE5Fb()BAbDEGG)# Db Gb) 3tdhroidwnkbneBAatw4vetohein;cibhn7agn&odfsb;dm3tohiimnneoniLnrpaH7lnactyh7oacrthdrioutropdnaen5indth 5th mode of maj avoid tone: 3rd (E) sus4 � C7b9 Diminished C Db Eb E F# G A Bb C any&“dib3miniswhed” voicing from st(�h�Ctae�7rtR��oHnRHa=nydGoc-wh)onrd tsotneep but the root (i.e., 7alt b5 R 4b7b7 b3 (Gb C F Bb Eb) think B voicing of dominant 7 chord up a NCote: In the J(Shaumaplfe-yrwLAhooecblreei)arsnold bookCsDanbdEibn F�b��G�b��A�b��B�b�C��, C7+9aAn=y3Ccb7h7aolr#td9t#ob5nwebb9u(tEthBebroDo#t G# Db) 3th,i5n,kbA7,vooricbi9n)g; polfadyoamtrinitaonnte7abchoovredita,nd ø 7th mode of mel min b w �ra�i�s�e�dR5Hthu(pC�ø =stAepb7) C Locrian C(Db)Eb F Gb Ab Bb C eR4.gbb?.75, 3b9b757bR3b(9bF65B((CbEGBDbbGBDbCbE)Gb)Ab) theinnksABkipvoaicminingoorf3mdrdoimnboeirntwa7nectehn7ohcrdhanoudrpds;autp5hteahn sus4 ø C7sus4 M7thixmoloyddeiaonf maj CavDoi(dEt)oFnGe: Ab9Bthb(CDb) b7 4 6 9 5 (Bb F A D G) tr(phaClia7nsyekdaA5trtvih=to(iGnCcei-n)ig=n otAhfbem7R)inHor 7 chord up a 5th * “Category A” chords have the 3rd in the lowest voice; “CategorBy Bb”7c3ho#r5dbs9habv5e(tBhbe E7thG#inDthbeGlobw) est vothicine.k B voicing of dominant 7 chord and o 5th mode of maj avoid tone: 3rd (E) �(�C�7�s�usR4H=dGo-w) n � step C** All voicingDsimhaivneishfievde notes withCtDheEebxcFeGptbioAn bofAthBe Cdiminishebad5tarRnitdon4deobmi7niben3acn(hGt 7hbbaC9ndvFowiBictibhngEasb)which havtsehtaifnrotkuorBn(tvawnooyicncinohgtoerosdfintdooenmaeciohnnahntahtne7db)cohtotordmu;p a N7oatel:t In the J(wamhoeyleA-heablfe)rsold books and in ������ �������, C7+9m=inCor7a3lrtd between hands play a tritoneøabove it, then skip a minor C7b9 SDuimpeirniLsohcerdian C Db Eb FEbFG#bGAAbBBbbCC 4Aanby37“bd97im5#i9Rn#i(sF5hebBd9b”(vEDoBiGcbinCDg)#frGom# Db) trshatainsretkdoBAn5tvahnoy(icCcinhg=oroAdfbtmdo7on)inmeoibrnu7atnctthh7eorcdohoutrpd(ia.aen5.,dth (e.g., C5 Gb A Eb) 3rd between hands; then play a tritone in 7(hthalmf-wodheoloef)mel min any chord tone but the root �3�,�5�s,�ubRs74H, ourpb9�);sptelapy a tritone above it, e.g., 3 b7 b9 5 (E Bb Db G) t(hCe7nRsHkip=aGm-i)nor 3rd between hands; then * “Category A” chords have the 3rd in the lowest voice; “Category B” chords have the 7th in the lowest voice. play a tritone in the RH C**oAll voicingDsimhaivneishfievde notes withCtDheEebxcFeGptbioAn bofAthBe CdiminisheaBdtarbnit7don3deo#mi5niben9acnbht57h(baB9nbdvEowiGictih#ngaDsbwGhbic)h havstehtafinrotkuorBn(tavwnooyicncinohgtoerosdfintdooenmaeciohnnahntahtne7db)cohtotordma;nd ����� RH down � step C7sbu9s4 D(wimhoinlei-shhaeldf) C Db Eb E F# G A Bb C amniyno“rdi3mrdinbieshtwede”envohiacnidnsg from sptlaaryt oantraitnoynechaobrodvteoint,etbhuetntshkeiproaotm(in.eo.,r CNote: In the JMamixeoylyAdieabnersold bookCsDan(Ed)iFn G��A��B��b�C������, C7+9(be7=.g4C.,7C6a9lGt5b(BAbEFb)A D G) 3thridnkbeAtwveoeincihnagnodfs;mthineonrp7lacyhoartdriutopnae 5inth 7alt (half-whole) any chord tone but the root 3, 5, b7, or b9); play a tritone above it, C S5tuhpmeroLdoecorifamn aj CavDoibd EtobnFe:b3Grdb(AEb) Bb C A 3 b7 #9 #5 b9 (E Bb D# G# Db) t(hCei7nRskuHAs4v=oiGci-n)g of dominant 7 chord and e.g., 3 b7 b9 5 (E Bb Db G) then skip a m�inor 3rd between hands; then 7th mode of mel min p��la��y�aRtHritounpe insthepe RH * “Category A” chords have the 3rd in the lowest voice; “Categor4y bB7” c9h5orRds(FhaBvbe tDheG7tCh)in the lowest vothicine.k B voicing of minor 7 chord up a 5th ** All voicings have five notes with the exception of the diminisheBd abn7d 3do#m5 ibn9anbt57(bB9bvEoiGci#ngDsbwGhbi)ch havtehifnokurB(tvwooicninogteosfindoemacihnahnatn7d)chord and C7sus4 Mixolydian C D(E)F G A Bb C b7 4 6 9 5 (Bb F A D G) t(hCi7nskuAs4v=oiGci-n)g of minor 7 chord up a 5th ����� RH down � step 7alt 5th mode of maj avoid tone: 3rd (E) sus4 NCote: In the JSaumpeyr LAoecbreiarsnold bookCsDanbdEibn F�b��G�b��A�b��B�b�C��, C7+9A=3Cb77al#t9 #5 b9 (E Bb D# G# Db) (thCi7nk A v=oiGci-n)g of dominant 7 chord and 7th mode of mel min ����� RH up � step C7b9 Diminished C Db Eb E F# G A Bb C 4anby7“d9im5 iRni(sFheBdb” vDoiGcinCg)from tshtainrtkoBn vanoyiccinhgorodftmonineobru7t cthheordooutp(ia.e5.,th (half-whole) any chord tone but the root 3, 5, b7, or b9); play a tritone above it, * “Category A” chords have the 3rd in the lowest voice; “CategorBy Bb”7c3ho#r5dbs9habv5e(tBhbe E7thG#inDthbeGlobw) est vo(thCici7nes.kuBs4v=oiGci-n)g of dominant 7 chord and e.g., 3 b7 b9 5 (E Bb Db G) then skip a mino�r 3rd between hands; then ** All voicings have five notes with the exception of the diminished and dominant 7b9 voicings which hav�e�f�o�u�rR(tHwodonwotnes insteeapch hand) Note: In the Jamey Aebersold books and in ������ �������, C7+9 = C7alt play a tritone in the RH C7b9 Diminished C Db Eb E F# G A Bb C any “diminished” voicing from start on any chord tone but the root (i.e., 7alt (half-whole) any chord tone but the root 3, 5, b7, or b9); play a tritone above it, C* “Category SAu”pcehroLrodcsrhiaanve the 3rCd DinbthEebloFwbeGstbvAobicBe;b“CategoreAy.gB.3,”3bc7hbo7#r9db#s95h5abv(9Ee(tEBhebB7bDthDbi#GnG)th#eDlobw) est vothiceinen.ksAkipvoaicminingoorf3drdombeintwaneten7 hchanodrds;atnhden � ** All voicing7sthhmavoedfeivoef nmoetlesmwinith the exception of the diminished and dominant 7b9 voicings which havp�e�laf�o�y�uarRt(HrtiwtouonpneoitnesstheipenReaHch hand) B b7 3 #5 b9 b5 (Bb E G# Db Gb) think B voicing of dominant 7 chord and � 7alt ����� RH down step NCote: In the JSaumpeyr LAoecbreiarsnold bookCsDanbdEibn F�b��G�b��A�b��B�b�C��, C7+9A=3Cb77al#t9 #5 b9 (E Bb D# G# Db) think A voicing of dominant 7 chord and 7th mode of mel min ����� RH up � step

* “Category A” chords have the 3rd in the lowest voice; “CategorBy Bb”7c3ho#r5dbs9habv5e(tBhbe E7thG#inDthbeGlobw) est vothicine.k B voicing of dominant 7 chord and � ** All voicings have five notes with the exception of the diminished and dominant 7b9 voicings which hav�e�f�o�u�rR(tHwodonwotnes insteeapch hand) Note: In the Jamey Aebersold books and in ������ �������, C7+9 = C7alt

* “Category A” chords have the 3rd in the lowest voice; “Category B” chords have the 7th in the lowest voice. ** All voicings have five notes with the exception of the diminished and dominant 7b9 voicings which have four (two notes in each hand) 5 Common Two-Handed Piano Voicings (two notes in the LH, three notes in the RH)** 5 Symbol Scale Name Scale Two-Hand Voicings* Mnemonic Common Two-Handed Piano Voicings C Major C D E(F)G A B C A 3 6 9 5 R (E A D G C) RH pinky on the root, come down in 4ths (two notes in the LH, three notes in the RH)** 5 avoid tone: 4th (F) in both hands Symbol Scale Name Scale Two-Hand Voicings* Mnemonic Common TwoA-H3 a6n9d5e7d(EPAianDoGVB)oicings same as above - just lower top note � step5 (two notes in the LH, three notes in the RH)** C Major C D E(F)G A B C A 3 6 9 5 R (E A D G C) RH pinky on the root, come down in 4ths Common TwoB-H7 a3n6d9e5d(BPEianAoDVG)oicings RH pinky on the 5th, come down in 4ths avoid tone: 4th (F) in both hands Symbol Scale Name Scale (two notes in theTLwHo-,HthanredeVnooictiensgisn* the RH)** iMn nbeomthohnaincds A 3 6 9 5 7 (E A D G B) same as above - just lower top note � step SCymbol SMcaajloerName SCcDaleE(F)G A B C TAw3o-6H9an5dRV(oEicAingDs*G C) MRHnepminoknyicon the root, come down in 4ths5 7 avoid tone: 4th (F) in both hands C Mixolydian C D E(F)G A Bb C BA 73 3b769955R(B(EEBAb DDGG)C) RH pinky on the 5rotho,t,ccoommeeddoowwnninin44ththss C Major C D E(F)G ACBomC mon TwoA-H3 a6n9d5eRd(PE iAanDoGVCoi) cings RH pinky on the root, come down in 4ths 5th mode of maj avoid tone: 4th (F) in bRoHth; 3ha&ndbs7 in LH avoid tone: 4(tthw(Fo)notes in theALH3 ,6th9r5e7e (nEoAtesDinGtBhe) RH)** same as above - just lower top note � step in both hands 5 B b7 3 6 9 5 (Bb E A D G) RH pinky on the 5th, come down in 4ths Symbol Scale Name Scale TBw7o-3H6an9d5V(BoicEinAgs*D G) MRHnepminoknyicon the 5th, come down in 4ths 7 A 3 6 9 5 7 (E A D G B) sinamReHa;sba7b&ov3e i-njuLsHt lower top note � step C Mixolydian C D E(F)G ACBomb Cmon TwoA-H3 ab7nd9e5dRP(EianBboDVGoiCc) ings iRnHboptihnkhyanodnsthe root, come down in 4ths5 5th mode of maj avoid tone: 4(tthw(Fo)notes in the LH, three notes in the RH)** in RH; 3 & b7 in LH C Major C D E(F)G A B C BA 73 36 69 95 5R((BE EA ADDGGC)) RH pinky on the 5rotho,t,ccoommeeddoowwnninin44ththss C- Dorian CavDoidEtboFneG: 4ACthBom(Fb)Cmon TwoA-Hb3abn7d9ed5 RP(iEanb BobVDoiGcCin) gs iRnHboptihnkhyanodnsthe root, come down in 4ths B b7 3 6 9 5 (Bb E A D G) RinHboptihnkhyanodnsthe 5th, come down in 4ths CSy7mbol 2MSnciadxlomelyNoddaiemanoef maj CScDaleE(F)G A(tBwboCnotes in theATLwH3o-b,H7tha9nred5eVRno(oiEctieBnsgbisn*DthGeCR)H)** RMHnepminoknyicon the root, come down in 4ths in RH;;bb73&&3bi7niLnHLH 5th mode of maj avoid tone: 4th (F) A 3 6 9 5 7 (E A D G B) sinamReHa;s3a&bobv7e i-njuLsHt lower top note � step SCymbol SMcaajloerName SCcDaleE(F)G A B C TAw3o-6H9an5dRV(oEicAingDs*G C) MRHnepminoknyicon the root, come down in 4ths5 C7 Mixolydian C D E(F)G A Bb C AB 3b7b7b3955RR4(E(BBbbEDb G C)F) R“pHoipnitn”ktyo oRninthRe Hrooatn,dcogmo eupdoaw4nthinan4dths avoid tone: 4th (F) B 7b733669955(B(BEb EA DA GD)G) RinHboptihnkhyanodnsthe 5th, come down in 4ths C- D5tohrmianode of maj CavDoidEtboFneG: 4AthB(Fb)C A b3 b7 9 5 R (Eb Bb D G C) RidnoHRwpHnin;ak34yt&ho;nbb7t7hie&n rLobHo3t,incoLmHe down in 4ths C Major C D E(F)G ACBomC mon TwoA-H3 a6n9d5eRd(PE iAanDoGVCoi) cings iRnHbRopHtih;nbkh7yan&odns3thien rLoHot, come down in 4ths 2nd mode of maj 5 avoid tone: 4(tthw(Fo)notes in theALH3 6, th9r5e7e (nEoAtesDinGtBhe) RH)** isnambRoeHtha;shbaa3bno&dvseb7- jiunsLt lHower top note � step B b7 3 6 9 5 (Bb E A D G) RH pinky on the 5th, come d19own in 4ths ø C Locrian C(Db)Eb F CGbomAbmBbonC Two-RHb5anb7dbe3db6P(iCanGboBVboiEbcAinbgs) tihniRnkHA; bv7o&ici3nginoLf dHominant 7 chord up a CSy7-mbol DScoarlieanName CScDaleEb F G A Bb C ABTw3b7o37-63Hb967a3n5995d755RV(REBo4ic(AEEBinbADgBEs*DGb GBDG)GC FC)) sRM“apHmnoieepnmitan”soktnayobicoRonvienth-RejHu5rotshota,tnl,ocdcwoogmemoreeutodpdpooawnw4nontthienina�4n4tdshthtsesp C Mixolydian C D( E )(F)G A Bb C bœ œ A 3 b7 b69 5 R (E Bb D G C) RH pinky onøthe root, come down in 4ths 27nthdmmooddeeooffmmaajj &avoid tone:œ(bt9wbtœho(bnDœobt)es in the LH, thrb3ee notes in the RH)** idrnaoibwseondtha5ht4hathn(;dCbs7=&Ab37)in LH 5th mode of maj avavoidœoibdœ tone:tobœn eb9th: 4t (Db)h (F) bw in RH;;3b&3 &b7bi7niLnHLH C Major C D E(F)G A B C A 3&6 9b75 bR (wE A D G C) RH pinky on the root, come down in 4ths C- Dorian C D Eb F G A Bb C AB b733b67 9955(RB (EEbABDb GD)G C) RH pinky on the 5rotho,t,ccoommeeddoowwnninin44ththss Symbol Scale Name Scale Tbw5oR-H4anbb5d7 bV3bow(icGinbgCs*F Bb Eb) Mthninemk Bonvicoicing of dominant 7 chord up a avoid tone: 4th (F) B b7 b3 5 R 4 (Bb Eb G C F) “inpobiontth”htoanRdsin RH and go up a 4th and ø 2nd mode of maj B b7 3 R6 9 5 (Bb E A D G) riRnaHiRsepHdin5;ktbhy3(o&Cnøtbh=7eAi5nbthL7,)Hcome down in 4ths C7 MLoicxroilayndian C(DbE)(EFb)GF AGbBAbbCBb C AR b3?5bb77 b935bbR6w(EC BGbb BDbGEbC)Ab) idRtnhoHiRwnkpHniA;nabk4v7ytoh&oi;cnbi3nt7hgi&enorLfobHdo3oti,mncioLnmHanetd7ocwhnorind 4utphas C Major C D E(F)G A B C A 3 6 9 5 R (EwA D G C) RH pinky on tøhe root, come down in 4ths 57th mode of maj avoid tone: 4bt9hth(F(D) b) A 3 6 9 5 7 (E A D G B) irsnaimRseeHda;5s3tha&b(oCbv7e=i-nAjuLbsHt7)lower top note � step avoid tone: 4th (F) B b7 b3 5 R 4 (Bb Eb G C F) in“pbooitnht”hatondRs in RH and go up a 4th and C7 Mixolydian C D E(F)G A Bb C A 3 b7 9 5 R (E Bb D G C) RH pinky on the root, come down in 4ths øo b3 down a 4th; b7 & b3 in LH C- 5Dtoihmrmiiannoidsheeodf maj aCvDoidEtbonFeG: 4bAthABb(FbA)CB C AbBa5trb7Rit37o3n4b3e67bb76i79n99b5e535a(RcB(hGB(EhEbabCEnABdDAFbwBGDiDtbh)GGEa)bC)) iRtsnhtHaiRnrtkpHoiB;n3kvayn&oyoicnbci7nhthgoienrod5rLfotdHhoo,nt,mcecoionmnmaentehtdde7oowbcwohnntotiornidnm4u4;tphthsas C Locrian C(Db)Eb F Gb Ab Bb C R b5 b7 b3 b6 (C Gb Bb Eb Ab) think A voiciøng of dominant 7 chor�d up a (whole-half) Ami3no6r 93r45d7be(bEtwAeenDhGanBds) saipnmlaRbeyoHaaths;tbrahib7taon&nvdeesø3a-ibjnuoLvsteHloitw, tehretnopsknipotae minstoerp 72tnhdmmooddeeooffmmaajj avoid tone: b9th (Db) b w rinaiRseHd 5; tbh3(&C b=7AinbL7)H (e.g&., C Gb AwEb) 3rd between hands; then play a tritone in ø B b7 3 R6 9 5 (Bb E A D G) RH pinky on the 5th, come down in 4ths C Locrian C(Db)Eb F Gb Ab Bb C BR 7b53b67b59b35 b(B6 (EC GAbDBGb)Eb Ab) RtHheinpRkinHAkyvonicitnhge 5otfhd,ocmomineandto7wcnhionrd4tuhps a bB5 bR7 4b3b75bR3 4(G(bBbCEFb BGbCEbF)) t“ihnpioRnikHntB;”btv7oo&Riciiøn3ngiRnoHfLdHaonmdignoanutp7ac4htohrdanudp a C-7 D7tohrmianode of maj CavDoidEtboFneG: bA9tBh b(DCb) A b3 b7 9 5 wR (Eb Bb D G C) inRrabHisoetpdhin5hktahyndo(Csn th=eArobo7t), come down in 4ths Co DMiimxoinlyisdhieadn C D Eb(FF)GGAb ABb AC B C aAtr3i?tobn7e 9in5ebRawc(hEhBanbd DwiGthCa) rsdRatoaHiwsretpndoina5kt4ahynthy(o;Cncbøht7h=o&erAdrobto37nt)i,encoLnmHtehdeobwotntoinm4; ths 2nd mode of maj (5wthhmoloe-dheaolff)maj avoid tone: 4th (F) minor 3rd between hands pinlaRyHa;t;3rbit3&on&be7bab7inoivnLeHLiHt, then skip a minor C-7sus4 Dorian C D Eb F G A Bb C Ab5 bR3 4b7b79b53R(G(EbbCBFb BDbGEbC)) RthHinkpiBnkvyooicninthgeorfodoot,mcionmanetd7ocwhnoridn u4pthas C Mixolydian C D(E)F G A Bb C (be7.g4., C6 9G5b(BAbEFb)A D G) 3thridnkbeAtwveoeincihønagnodfs;mthineonrp7lacyhoartdriutopnae 5inth C7 Mixolydian C D E(F)G A Bb C A 3 b7 9 5 R (E Bb D G C) RrHaispeidnk5ytho(nCth=e rAobo7t,)come down in 4ths ø 52tnhdmmooddeeooffmmaajj avoid tone: 3rd (E) B b7 b33659R5 4(B(Bb bEEAb DGGC)F) ti“RhnpHeoRRispHnuHitsn”;4kbtyo3oR&nintbh7ReiH5nthLa,nHcdogmoeudpoaw4nthina4ntdhs Co DLoimcriinainshed C(DbE)bEbFFGGb bAAb bABBbCC aRtbri5tobn7ebin3 eba6ch(ChaGnbdBwbitEhbaAb) st(hCtai7nrtkoAn av=noyiGcci-nh)gorodftdoonme ionnanthte7bcohtotordmu; p a 5th mode of maj avoid tone: 4th (F) indinoRwRHHn; ;a3b4&7th&b;7bø37ini&nLLHbH3 in LH (7wthhmoloe-dheaolff)maj avoid tone: b9thbœ(Dn œb) œ œ minor 3rd between hands pralaisyeda 5trtihto(nCe a=boAvbe7i)t, then skip a minor & bœ œ bœ 4Bbb779b53 R5 (RF4B(bBbDEGb CG) C F) t“hpionikntB” tvooRiciinngRoHf manindogro7ucphoar4dtuhpanad5th o œ œ B(e.bg7&.,3C 6G9b 5A(BEbb)E A D G) R3Hrdpbinektwyeoennthhaen5dtsh;,tchoemn epldaoywantriinto4ntehsin C7sus4 MDiimxoinlyisdhiaend C D(Eb)FFGGAb ABb AC B C ba7tr4ito6ne9biw5n (eBabchFhaAndDwGit)h a tdshtoaiwnrtsknuoAsna44avntohyi;ccbinh7go&rodfbtmo3niinenooLrnH7thcheobrodttuopma; 5th C-ø Dorian C D Eb F G A Bb C Ab5 bR3 4b7b7w9b53R(G(EbbCBFb BDbGEbC)) inRt(hCRHei7nHRkp;HiBnbk7vy=o&oiGcn3i-n)tihgneoLrfHodoot,mcionmanetd7ocwhnoridn u4pthas C 5L(wtohhcmroilaoen-dheaolff)maj aCv(oDidb)tEobneF: 3Grbd A(Eb)Bb C Rmibn5orb37rbd3bbet6w(eCenGhbaBndbsEb Ab) tphlianyskuaAst4rvitoinceiønagbovfedoitm, tihneanntsk7ipchaomrdinuopra 2nd mode of maj (rCai7sed 5th=(GC-ø)= Ab7) 7th mode of maj avoid tone: b9th (Db) (e.g?., C bGwb A Eb) ri3naridRsebHdet5;wtbhe3e(n&Chba=7nAdinsb;L7th)Hen play a tritone in ø w the RH CC-7sbu9s4 DDLooirmciarininainshed CCD(DEbb)EEFbbGEF FAG#bBGAb AbCBBbbCC A4aRnbby735“bd97im5b9iR3n5i(bsFRh6eB(dCEb”bGvDBobibGcBinbDCgE)GfbroCAm)b) RtsHhtainrptkionBAnkyvanoyinccitnhgeorordofotmdot,onicnmeoibmrnu7aetnctdthho7eowrcdnohouintrpd(4ia.uteh5p.s,tha C Mixolydian C D(E)F G A Bb C Bb7 b476b39 55(RBb4F(BAb EDbGG) C F) “thpionikntA” tvooRiciiønngRoHf manindogro7ucphoar4dthupanad5th o 27(nhtdhalmmf-owoddheeooloeff)mmaajj avoid tone: b9th (Db) abn5yRch4orbd7tbo3ne(GbubtCtheFrBoobtEb) r3tha,i5sne,kdbB75,tvhoor(iCcbi9n)g=; poAlfabdy7o)amtirnitaonnte7acbhoovrediut,p a C D5tihmminoidsheeodf maj CavDoidEtboFneG: 3brAd b(EA) B C a tritone in each hand with a in(sCtRa7rHtsuo;sn4ba3=n&yGcb-øh)7oirnd LtoHne on the bottom; e.g., 3 b7 b9 5 (E Bb Db G) tr(dhaCoei7wsnendska5ipt4h=tah(G;Cmb-i)7n=o&Ar 3br37d)inbeLtwHeen hands; then 7sus4 (whole-half) minor 3r5d between hands play a tritone above it, then skip a minor C Mixolydian C D(E)F G A Bb C b57 R4 649b9 75 b(B3b(GFbAC DFGB)b Eb) tphlianykaBAtrvitooinceinign othfedmRoimnHoinra7ncth7ocrhdourpd aup5tah ( ) bœ œ B(e.bg7.,bC3 6G5bRwA4 E(Bbb) Eb G C F) “3prodinbt”ettwoeReninøhaRnHdsa;nthdegnopulapyaa4ttrhitaonde in 5th mode of maj &avoid tone:œ3rdœ(Eœ) 4 b7 9 5 R (wF Bb D G C) (rthCai7sneskduBs54tvh=o(iGCci-n)g= oAfbm7)inor 7 chord up a 5th C7øb9 Diminished CavoidœDbœ tone:Ebœ E3rdF (E)# G A Bb C any “diminished” voicing from dstohtwaerntRoaHn4athn;ybc7h&ordb3toinneLbHut the root (i.e., Co Locrian C(Db)Eb F Gb Ab Bb C R b&5 b74b3 bw6 (C Gb Bb Eb Ab) (thCi7nskuAs4v=oiGci-n)g of dominant 7 chord up a C (Dhiamlfi-nwishhoelde) C D Eb F Gb Ab A B C antyritcohnoerdintoenacehbhuatnthdewroitohta 3st,a5rt, obn7,aonrybc9h)o; rpdlatyonaetrointotnheeabbootvtoemit;, 7alt 7th mode of maj avoid tone: b9th (Db) 4 b7 9 5b7R (wF Bb D G C) trhainsekdB5tvho(icCiøng= oAfbm7)inor 7 chord up a 5th C (SwuhpoerleL-hoaclrfi)an C Db Eb Fb Gb Ab Bb C emA.gin.3,o3br73br7#d9b#9e5t5wbe(9Ee(nEBhbBanbDdDsb#GG) # Db) tphleainnyksaAktirpivtoaincmeiniangboorvf3edrdoitm,bteihntewanneteskn7iphchaanomdrdsi;natonhrden bw sus4 Cø7osus4 D7tihmminoidsheeodf mel min C D Eb F Gb Ab A B C a(et.rgi?.t,oCneGinb eAacEhbh)and with a sp(3�Ct�lraad�7r�yt�boaeRnttwHrai=etnoueynGpec-�hh)ianonsrtdhespet;oRtnhHenonpltahyeabotrtittoomne; in CC7b9 LDMociimrxioainlnyisdhieadn CC(DDbb()EEE)bFbFGEGFAb#BAGbbACBBb bCC Rbanb57y5R4“bd674im9bb37i5nbbi(s6B3hb(e(CGdF”bGvACboBDicFbiGnBEg)bbfErAobmb)) thtshitnainrktkAoBAnvvaonoicyicincinhggoorofdfdtdmoomnimneionibnrauan7tnttct7hh7eocchrohdoorudtrpd(uiau.pep5.a,tah (whole-half) minor 3rd between hands pthlaeyRaHtritonøe above it, then skip a minor 7(5ththamlmf-owoddeheoolofef)mmaaj j aavvooididtotonnee: :b39rtdh (ED)b) any chord tone but the root ra(3Ci,s75ed,sub5s7t4h, o=(rCGb-9ø=));Apbla7y) a tritone above it, (Be.gb.7, C3 #G5bbA9 bE5b()Bb E G# Db Gb) 3trharidnsekbdeBt5wtvheoe(incCihnag=noAdfsb;d7toh)meninpalnaty7acthriotrodneanind C7b9 Diminished C Db Eb E F# G A Bb C aen.gy.,“3dibm7inbi9sh5ed(E” vBobiciDngb fGro)m s�t�hta�ernt��osknRipHanaydmocwhinonor�rd3tsortdneepbebtuwtetehne hroaontd(si;.eth.,en C7alt Super Locrian C Db Eb Fb Gb Ab Bb C bA5 R3 b47b#79b#35(Gb9b (CE BFbBDb#EbG)# Db) ththinienkRkBHAvvooiciicninggoof fddoommininanant t77chchoordrduapnad N7osteu:s4In the J(hamalfe-ywAhoeblee)rsold books and in ������ �������, C7+9a4n=by7Cc7h9ao5lrRtdRto(FneBbbutDthGe rCoo)t 3tph,lia5ny,kbaB7tr,viotoorincbei9ni)gn; pothlfaemyRianHtorrit7oncehoabrdovuep iat,5th C 7Mthixmoloyddeiaonf mel min C D(E)F G A Bb C b7 4 6 95 5 (Bb F A D G) ra�thi�si�en�d�k 5RAtHhv(ouCipcøi�n=gsAtoebfp7m) inor 7 chord up a 5th o e.g., 3 b97 b9w5 (E Bb Db G) t(hCe7nsusks4ip=aGm-i)nor 3rd between hands; then C 5Dtihmminoidsheeodf maj aCvDoidEtbonFeG: 3brAd b(EA) B C a tri&tone in ewach hand with a (sCta7rtsuosn4a=nyGc-h)ord tone on the bottom; 7sus4 (whole-half) minor 3rb7d bwetween hands play a tritone ainbothveeRitH, then skip a minor C7alt Mixolydian C D(E)F G A Bb C bB7 b47639#4 5 b(B9bb5F (BAbDEGG)# Db Gb) think AB voicing of dmoimnoinra7ncth7ocrdhourpd an5dth *C“Category SAu”pcehroLrodcsrhiaanve the 3rCd iDnbthEebloFwbeGstbvAobiceB;b“Categor(Aye.Bg3”.,bcC7hoG#r9bds#A5habEv9be()tEheB7bthDi#nGth#eDlobw) est vo3thircidne.kbeAtwveoeincihnagnod�fs;dtohmeninpalnaty7acthriotordneanind o 5th mode of maj avoid tone: 3rd (E) 4 b7 9 5 Rb(wF Bb D G C) (t�h�Ci�7n�sku�BsR4Hv=odiGcoi-�wn)gnof msteinpor 7 chord up a 5th CC**7bA9ll voicinDgD7istmihmhimanivnioseihdshfeiedvodef nmoetel smwiniCthCDtDhEebbeExFbceGEpbtFioA#nbGoAAf tBhBeCbdCiminishaeadtnraiytn?o“dndedimoinmineiinawscahhnetdh7”abnv9doivwcoiinitchginafgrosmwhich havsts�eaht�aref�tro�Rto�uonHrRn(aHtanwnyuoypcnchohotoresdrstdetipontoneneaeocbhnuhtthatenhdbe)ortototm(;i.e., Note: In the Jamey Aebersold books and in ������ �������, C7+9 = C7alt (C7sus4 = G-) C7alt (wS(huhapolfel-erw-Lhhoaolcflre)i)an C Db Eb Fb Gb Ab Bb C mAainnyo3rcbh37ordr#d9bte#ot5nwebebe9nu(tEhtahBnebdrsoDo#t G# Db) pt3lha,iy5n,kabtA7ri,tvoonriecbi9anb)g;opovlfeadyito,amthtirenitnaonnstke7ipacbahoomvredinitao,nrd (eeB4..gb.b.7,,7C393bG5#7b5RbbA(99F5EbBb5(bE)(BBDbbGEDCGb)#GD) b Gb) 3trhdeinbnkestBkwiepveoanicmhi�naingodorsf;3dmtrhdoiemnbnoeipnrtwla7aneycteha7notchrrdhiatonourdnpdse;aaitn5hdtehn 7th mode of mel min ����s�uRs4H up st�ep 7sus4 th(p��Cela�7Ry�H�aRtrHi=todGnoe-w)in thesRteHp C* 7“Cb9ategory DMAi”imxcoihnloyisrdhdieasdnhave the 3rCd Dinb(tEhE)eFbloGEwFAe#sBtGvboACicBe;b“CCategorabyn7By4”“dc6ihm9ori5ndis(sBhbaevdFe” tvAhoeDic7itGnhg)ifnrothme lowest vosthitcainert.koAn avnoyiccinhgorodftmonineobru7t tchheorodoutp(ia.e5.,th Note: In the Jamey Aebersold books and in ������ �������, C7+9B=bC773al#t5 b9 b5 (Bb E G# Db Gb) think B voicing of dominant 7 chord and ** All voicing(5hsthahlmfa-vwoedhfeoivloeef)nmoatjes w&ithavtohiedetxocneep:t3iordn (oœEf)tœhebœdimœinisheadnayncdhdoor5dmtionnaentb7ubt9thveoriocointgs which hav3(eC,f57o,suubrs7(4,two=roGbn-9o))t;epslianyeaactrhithonaneda)bove it, œ bœ bœ n œ #œ b9 ����� RH down � step C77subals9t4 Diminished C Db Eb E F# G A Bb C aen.gy.&,“3dibm7inbi9wsh5ed(E” vBobiciDngb fGro)m sthtaernt osknipanaymchinoorrd3tordnebebtuwtetehne hroaontd(si;.eth.,en CNCote: In theMJSaiuxmpoelyr dLAioaecnbreiarsnold booCkCsDDa(nEbd)EFibnGF�Ab��GB�b�b�AC�b��B�b�C��, C7+b9A7=43C6b77a9lb7#5t9(bB#w5b bF9 A(EDBbG)D# G# Db) ththininkkAAvvooicicininggooffmdionmorin7acnht o7rdchuoprdaa5nthd * “Category (Ah”alcf-hwohrdosleh)ave the 3rd in the lowest voice; “Categora4ynbBy7”chc9oh5rodrRdtso(FnheaBvbbeutDhtheGe7rtChoo)itn the lowest vo3pthi,lcai5ney,.kbaB7tr,viotoorincbei9�ni)gn; pothlfaemyRianHtorrit7oncehoabrdovuep iat,5th 57ththmmooddeeooffmmaej l minavoid tone: 3rd (E) 3 bw (C��7�s�u�sR4H= uGp-) step ** All voicings have five notes with the exception of the diminisheed.ga.n?,d3dbo7mbin9wa5nt(E7bB9bvoDicbinGg)s which hav(tehCef7onsuusrks(4itpw=aoGmn-oi)nteosr i3nrdeabcehtwheaennd)hands; then play a tritone in the RH * “Category A” chords have the 3rd in the lowest voice; “Catego4rBybB7b”79c35ho#Rr5d(bsF9hBabvb5e(DtBhbeGE7CthG) #inDthbeGlobw) est vtohthincinek.kBBvvooicicininggooffmdionmorin7acnht o7rdchuoprdaa5nthd 7alt � *C* All voicingSsuhpaevr eLoficvreiannotes withCtDhebeExbceFpbtiGonboAfbthBebdiCminisheAd a3ndb7do#m9i#n5anbt97(bE9BvobiDcin#gGs#wDhbic)h hav�te�hf�inso�uku�srA4R(tHvwoodiconiwontgnesofindstoeemapcihnahnatn7d)chord and NCo7tbe9: In the J7DatimhmmeiynoiAdsheeebodefrmsoelldmboinokCsDanbdEibn E��F�#��G� �A�B��b�C��, C7+9an=yC“7Adaimltinished” voicing from (C�s�t7a�r�t�oRnH=anuGyp-c)�hosrtdeptone but the root (i.e., 7alt C S(huaplfe-rwLhooclrei)an C Db Eb Fb Gb Ab Bb C Aany3cbh7orb9#d9t#o5nebb9u(tEthBebroDo#t G# Db) t3h,i5n,kbA7,vooricbi9n)g; polfadyoamtirnitaonnte7acbhoovredita,nd 7th mode of mel min & bœ bœ bœ œ Be.gb.,733b##575bb995b5(E(BBbbEDGb#GD) b Gb) �th�ie�n�n�ksRBkiHpvouaipcmi�ningosotref3pdrodmbeintwanete7n chhaonrdds;atnhden C7b9 Diminished C Db EbbœEbœF#bœG A Bb C any “dim#9inishbewd” voicing from start on any chord tone but the root (i.e., * “Category A” chords have the 3rd inœthe lowest voice; “Category B&” chord#s hwave the 7th in the lowest vo�p�ilc�aey�.�aRtrHitodnoewin t�hestReHp (half-whole) any chord tone but the root 3, 5, b7, or b9); play a tritone above it, *N*otAe:ll IvnoitchiengJasmheayveAfeivbernsotledsbwoiotkhsthanedexince�p�ti�o�n��o�f t�h�e�d�i�m�,inCi7sh+e9Bd=abnC7d73daol#b7tm5 ibn#9awnbt57(bB9bvEoiGci#ngDsbwGhbi)ch havtehifnokurB(tvwooicninogteosfindoemacihnahnatn7d)chord and e.g., 3 b7 b9 5 (E Bb Db G) then skip a minor 3rd between hands; then 3 bw ����� RH down � step play a tritone in the RH CNo7tael:t In the JSaumpeyr LAoecbreiarnsold bookCsDanbdEibn F�b��G�b��A�b��B�b�C��, C7+9A=3C?b77al#t9 #5wb9 (E Bb D# G# Db) think A voicing of dominant 7 chord and * “Category 7Ath” cmhoodrdesohfamvelthmein3rd in the lowest voice; “Category B”Bchords have the 7th in the lowest vo�i�c�e�.� RH up � step ** All voicings have five notes with the exception of the diminished and dob5minant 7b9 voicings which have four (two notes in each hand) C7alt Super Locrian C Db Eb Fb Gb Ab Bb C A 3 b7 #b99 #5bbw9 (E Bb D# G# Db) think A voicing of dominant 7 chord and * “Category A” chords have the 3rd in the lowest voice; “CategorBy Bb”7c3ho##5r5dbs9hwabv5e(Bthbe E7thG#inDthbeGlobw) est vothicine.k B voicing of dominant 7 chord and ** All voicin7gths hmaovdeefiovfemneoltemsiwn ith the exception of the diminished and dominant 7b9 voicings which hav��e���fo��uR�rHR(tHwupodo�nwostnetes�pinsteeapch hand) & 3 #w Note: In the Jamey Aebersold books and in ������ �������, C7+9 = C7alb7t B b7 3 #5 b9bbw5 (Bb E G# Db Gb) think B voicing of dominant 7 chord and ? ����� RH down � step N*o“teC:aItnegthoeryJaAm”ecyhAoredbsehrsaovledtbhoeo3krsdaindthine �lo�w�e�s�t� v�o�i�ce�;�“�C�,aCte7g+o9ry= BC”7achltords have the 7th in the lowest voice. ** All voicings have five notes with the exception of the diminished and dominant 7b9 voicings which have four (two notes in each hand)

* “Category A” chords have the 3rd in the lowest voice; “Category B” chords have the 7th in the lowest voice. ** All voicings have five notes with the exception of the diminished and dominant 7b9 voicings which have four (two notes in each hand) 6 20 21 22

Jazz Theory Test

Name______

Instrument ______

I. Chord-Scale Relationship. Fill in the blanks with each symbol’s related information. Put any “avoid tones” in parenthesis. The first two examples are complete.

Basic Symbol Chord Name Scale Name Scale Mode (if applicable)

1. C∆ C Major 7 C Major C D E (F) G A B C 1st of C major

2. C7 C Dominant 7 C Mixolydian C D E (F) G A Bb C 5th of F major

3. C-

4. C7b9

5. C7alt

6. Co

7. C-∆

8. Cø

9. C7sus4 or G-/C

10. Cø9

11. C7+5

12. C7+4

13. C∆+4+5

14. C∆+4

23

II. Spell the following specific chords from bottom to top (the first example is provided):

C13 C E G Bb D A

Cmaj13

C9

C13b9b5

Cm9

Cm9(maj7)

III. Write the following scales (the first example is provided):

1. C major pentatonic: C D E G A C

2. C minor pentatonic:

3. C major bebop:

4. C dominant bebop:

5. C harmonic minor:

6. C blues scale:

IV. Write the chords for a II V I in C major: ______

V. Write the chords for a II V I in C minor: ______

24

Jazz Theory Test Answer Sheet

Name______

Instrument______

I. Chord-Scale Relationship. Fill in the blanks with each symbol’s related information. Put any “avoid tones” in parenthesis.

Basic Symbol Chord Name Scale Name Scale Mode # (if applicable)

1. C∆ C Major 7 C Major C D E (F) G A B C 1st of C major

2. C7 C Dominant 7 C Mixolydian C D E (F) G A Bb C 5th of F major

3. C- C Minor 7 C Dorian C D Eb F G A Bb C 2nd of Bb major

4. C7b9 C7 Flat 9 C Diminished C Db Eb E F# G A Bb C (half-whole)

5. C7alt C7 Altered C Super Locrian C Db Eb Fb Gb Ab Bb C 7th of Db mel min

6. Co C Diminished C Diminished C D Eb F Gb Ab A B C (whole-half)

7. C-∆ C Minor Major 7 C Melodic Minor C D Eb F G A B C 1st of C mel min

8. Cø C Half Diminished C Locrian C (Db) Eb F Gb Ab Bb C 7th of Db major

9. C7sus4 or G-/C C7 Suspended 4 C Mixolydian C D (E) F G A Bb C 5th of F major

10. Cø9 C Half Diminished 9 C Locrian #2 C D Eb F Gb Ab Bb C 6th of Eb mel min

11. C7+5 C7 Sharp 5 C Whole Tone C D E F# G# Bb C

12. C7+4 C7 Sharp 4 C Lydian Dominant C D E F# G A Bb C 4th of G mel min

∆+4+5 ∆ 13. C C Sharp 4 Sharp 5 C Lydian Augmented C D E F# G# A B C 3rd of A mel min

14. C∆+4 C∆ Sharp 4 C Lydian C D E F# G A B C 4th of G major

25

II. Spell the following specific chords from bottom to top.

C13 C E G Bb D A

Cmaj13 C E G B D A

C9 C E G Bb D

C13b9b5 C E Gb Bb Db A

Cm9 C Eb G Bb D

Cm9(maj7) C Eb G B D

III. Write the following scales:

1. C major pentatonic: C D E G A C

2. C minor pentatonic: C Eb F G Bb C

3. C major bebop: C D E F G G# A B C

4. C dominant bebop: C D E F G A Bb B C

5. C harmonic minor: C D Eb F G Ab B C

6. C blues scale: C Eb F F# G Bb C

IV. Write a II V I in C major: D- G7 C∆

V. Write a II V I in C minor: Dø G7alt C-

26 Jazz Nomenclature Test

Name ______

Instrument ______

I. Chord-Scale Relationship. Fill in the blanks with each symbol’s related information. Put any “avoid tones” in parenthesis. The first two examples are complete.

Basic Symbol Chord Name Scale Name Scale Mode # & Parent Scale (if applicable)

1. C∆ C Major 7 C Major C D E (F) G A B C 1st of C major

2. F7 F Dominant 7 F Mixolydian F G A (Bb) C D Eb F 5th of Bb major

3. Bb-

4. Eb7b9

5. Ab7alt

6. Dbo

7. Gb-∆

8. Bø

9. E7sus4 or B-/E

10. Aø9

11. D7+5

12. G7+4

13. C∆+4+5

14. F∆+4

27

II. Spell the following specific chords from bottom to top (the first example is provided):

A13 Gmaj13 Bb9 Eb13b9b5 Dm9 Bm9(maj7)

F# B G E C# A

III. Write the following scales (the first example is provided):

1. Eb major pentatonic: Eb F G Bb C Eb

2. Ab minor pentatonic:

3. Db major bebop:

4. Gb dominant bebop:

5. B harmonic minor:

6. E blues scale:

IV. Write a II V I in Bb major: ______

V. Write a II V I in Bb minor: ______

28

Jazz Nomenclature Test Answer Sheet

Name______

Instrument______

I. Chord-Scale Relationship. Fill in the blanks with each symbol’s related information. Put any “avoid tones” in parenthesis. The first two examples are complete.

Basic Symbol Chord Name Scale Name Scale Mode (if applicable)

1. C∆ C major 7 C Major C D E (F) G A B C 1st of C major

2. F7 F dominant 7 F Mixolydian F G A (Bb) C D Eb F 5th of Bb major

3. Bb- Bb minor 7 Bb Dorian Bb C Db Eb F G Ab Bb 2nd of Ab major

4. Eb7b9 Eb dom 7 b9 Eb Dim (h-w) Eb E F# G A Bb C Db Eb

5. Ab7alt Ab7 altered G# Super Locrian G# A B C D E F# G# 7th of A mel min

6. Dbo Db diminished Db Dim (w-h) Db Eb E F# G A Bb C Db

7. Gb-∆ Gb minor maj 7 F# Mel Min F# G# A B C# D# E# F# 1st of F# mel min

8. Bø B half dim B Locrian B (C) D E F G A B 7th of C major

9. E7sus4 or B-/E E dom 7 sus4 E Mixolydian E F# (G#) A B C# D# E 5th of A major

10. Aø9 A half dim9 A Locrian #2 A B C D Eb F G A 6th of C mel min

11. D7+5 D dom 7 # 5 D Whole Tone D E F# G# A# C D

12. G7+4 G dom 7 # 4 D Lydian Dom G A B C# D E F G 4th of D mel min

13. C∆+4+5 C maj 7 #4 #5 C Lydian Aug C D E F# G# A B C 3rd of A mel min

14. F∆+4 F maj 7 # 4 F Lydian F G A B C D E F G 4th of C major

29

II. Spell the following specific chords from bottom to top (the first example is provided):

A13 Gmaj13 Bb9 Eb13b9b5 Dm9 Bm9(maj7)

F# E C B A C Fb (E) E C# G F# Ab Db C A# E D F Bbb (A) A F# C# B D G F D A G Bb Eb D B

III. Write the following scales (the first example is provided):

1. Eb major pentatonic: Eb F G Bb C Eb

2. Ab minor pentatonic: Ab Cb Db Eb Gb Ab

3. Db major bebop: Db Eb F Gb Ab A Bb C Db Eb

4. Gb dominant bebop: Gb Ab Bb Cb Db Eb E F Gb

5. B harmonic minor: B C# D E F# G A# B

6. E blues scale: E G A Bb B D E

IV. Write a II V I in Bb major: C- F7 Bb∆

V. Write a II V I in Bb minor: Cø F7alt Bb-