JAZZ FUNDAMENTALS Jazz Piano, Theory, and More

Dr. JB Dyas 310-206-9501 • [email protected] 2

JB Dyas, PhD

Dr. JB Dyas has been a leader in jazz education for the past two decades. Formerly the Executive Director of the Brubeck Institute, Dyas currently serves as Vice President for Education and Curriculum Development for the Thelonious Monk Institute of Jazz at UCLA in Los Angeles. He oversees the Institute’s education and outreach programs including Jazz In America: The National Jazz Curriculum (www.jazzinamerica.org), one of the most significant and wide-reaching jazz education programs in the world. Throughout his career, he has performed across the country, taught students at every level, directed large and small ensembles, developed and implemented new jazz curricula, and written for national music publications. He has served on the Smithsonian Institution’s Task Force for Jazz Education in America and has presented numerous jazz workshops, teacher-training seminars, and jazz "informances" around the globe with such renowned artists as Dave Brubeck and Herbie Hancock. A professional bassist, Dyas has appeared with Jamey Aebersold, David Baker, Jerry Bergonzi, Red Rodney, Ira Sullivan, and Bobby Watson, among others. He received his Master’s degree in Jazz Pedagogy from the University of Miami and PhD in Music Education from Indiana University, and is a recipient of the prestigious DownBeat Achievement Award for Jazz Education. 3 Jazz Fundamentals

Text: Aebersold Play-Along Volume 54 (Maiden Voyage) Also Recommended: Jazz Piano Voicings for the Non-Pianist and Pocket Changes

I. Chromatic Scale (all half steps)

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

Whole Tone Scale (all whole steps)

C D E F# G# A# C Db Eb F G A B Db ______II. The Major Scale (all whole steps except between the 3rd & 4th and 7th & 8th notes)

1 W 2 W 3 H 4 W 5 W 6 W 7 H 8 C D E F G A B C (C major scale)

A B C# D E F# G# A (A major scale)

Eb F G Ab Bb C D Eb (Eb major scale)

note: all major scales go in alphabetical order; the first and last note are always the same (one octave apart) ______III. Key Signatures

C no sharps or flats

(Order of Flats: B E A D G C F) (Order of Sharps: F C G D A E B)

Mnemonic: “BEAD Greatest Common Factor” Mnemonic: “Fat Cats Go Down Alleys Eating Bananas”

KEY KEY F 1 flat (Bb) G 1 sharp (F#) Bb 2 flats (Bb, Eb) D 2 sharps (F# C#) Eb 3 flats (Bb, Eb, Ab) A 3 sharps (F# C# G#) Ab 4 flats (Bb, Eb, Ab, Db) E 4 sharps (F# C# G# D#) Db 5 flats (Bb, Eb, Ab, Db, Gb) B 5 sharps (F# C# G# D# A#) Gb 6 flats (Bb, Eb, Ab, Db, Gb, Cb) F# 6 sharps (F# C# G# D# A# E#) Cb 7 flats (Bb, Eb, Ab, Db, Gb, Cb, Fb) C# 7 sharps (F# C# G# D# A# E# B#) 4 IV. Major Scale Piano Fingerings (right hand)

“C” Fingering (1 2 3 1 2 3 4 5) -- Keys: C, G, D, A, E, B (right side of circle) “Two-Black/Three-Black” Fingering -- Keys: F, Bb, Eb, Ab, Db, Gb (left side of circle) note: The Key of B represents both fingerings. ______

V. The Five Main Chord Qualities

Chord Chord Symbol Formula Notes in C Notes in A Notes in Eb

Major 7 C∆ 1 3 5 7 C E G B A C# E G# Eb G Bb D

Dominant 7 C7 1 3 5 b7 C E G Bb A C# E G Eb G Bb Db

Minor 7 C- 1 b3 5 b7 C Eb G Bb A C E G Eb Gb Bb Db

Half Diminished CØ 1 b3 b5 b7 C Eb Gb Bb A C Eb G Eb Gb A* Db

Diminished Co 1 b3 b5 6 C Eb Gb A A C Eb Gb Eb Gb A* C

* technically, the b5th in the key of Eb is Bbb (B double flat)

Left Hand Chord Fingering: 5 3 2 1 Right Hand Chord Fingering: 1 2 3 5 ______

VI. The Ten Most Common Chord/Scale Relationships

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

* Three of these scales have “avoid tones” (indicated in parenthesis above), meaning they should not be included in the related chord. That is, as a general rule, don’t include a 4th in a major 7 chord, don’t include a 4th in a dominant 7 chord (unless it’s a sus chord in which the 4th replaces the 3rd), and don’t include a b2nd in a half diminished chord.

5

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 tones*) 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.

* Certain scales have “avoid tones,” meaning they should not be included in the related chord. For example, as a general rule, don’t include a 4th in a major 7 chord, don’t include a 4th in a dominant 7 chord (unless it’s a sus chord in which the 4th replaces the 3rd), and don’t include a b2nd in a half diminished chord.

Piano Voicing Mnemonics 6

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 Example 1: Category A to B to A 7 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 8 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 9 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

5 Common Two-Handed Piano Voicings 10 (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., C 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 d11own 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) 12

Jazz Piano Pedagogy Voicings Teaching/Learning Sequence*

I. Major A. One-Hand Voicings 1. Category A: LH root / RH chord 2. Category B: LH root / RH chord 3. Alternate A-B beginning with A: LH root / RH chord 4. Alternate B-A beginning with B: LH root / RH chord 5. All of the above: chord in LH (RH tacit) B. Two-Hand Voicings 1. Category A 2. Category B 3. Alternate A-B beginning with A 4. Alternate B-A beginning with B II. Dominant 7 A. Repeat I with dominant chords B. Play Bb Blues (first alone, then with play-along recording) 1. LH root / RH chord (start with both A and B; use best voice leading) 2. Chords in LH (RH tacit) 3. Chords in LH / head in RH 4. Two-Handed Voicings (start with both A and B; use best voice leading) 5. Chords in LH / related chord scales in RH (not in tempo) 6. Chords in LH / improvise in RH C. Play Watermelon Man: follow steps II B 1-6 above III. Minor A. Repeat I with minor chords B. Play Song for My Father: follow steps II B 1-6 above C. Play Impressions: follow steps II B 1-6 above (also learn “So What” voicing) D. Play Maiden Voyage: follow steps II B 1-6 above E. Play Cantaloupe Island: follow steps II B 1-6 above (also learn two-handed “Cantaloupe Island” accompaniment figure) IV. II V I in Major (II- V7 I) A. Alternate A-B-A beginning with A: LH root / RH chord B. Alternate B-A-B beginning with B: LH root / RH chord C. A and B above: chord in LH (RH tacit) D. A and B above: two-handed voicings E. Play Satin Doll: follow steps II B 1-6 above V. Half-Diminished - Repeat I with half-diminished chords VI. Dominant 7 Altered - Repeat I with dominant 7 altered chords VII. II V I in Minor ( IIø V7alt I-) A. repeat IV A-D with minor II V I B. Play Blue Bossa: follow steps II B 1-6 above C. Play Summertime: follow steps II B 1-6 above D. Play Footprints: follow steps II B 1-6 above E. Play Autumn Leaves: follow steps II B 1-6 above VIII. Diminished A. Repeat I with diminished chords B. Play Doxy: follow steps II B 1-6 above IX. Dominant 7b9 A. Repeat I with dominant 7b9 chords B. Repeat VII A, substituting V7b9 for V7alt (IIø V7b9 I-) C. Play F Blues: follow steps II B 1-6 above

* All tunes above can be found in Jamey Aebersold’s Play-Along Volume 54: “Maiden Voyage” and can be ordered from www.jazzbooks.com 13 14 15

Tune Learning Order of Events

(Do in the following order for each new 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 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) 16 Elements of Jazz

1. Syncopation the accenting of beats that are not naturally accented; the accenting of "upbeats"

2. Jazz Sounds 1. “jazz” instruments 2. the way each instrument is played

3. Improvisation spontaneous composition; composing the music as you are playing; extemporaneous soloing; “musical conversing”

4. Rhythm steady beat; swing

5. Form the repeated and contrasting sections in the design of a composition; the tune’s harmonic (chordal) “blueprint”

12-Bar Blues

I Bb7 I Eb7 I Bb7 I I

I Eb7 I I Bb7 I G7alt I

I C- I F7 I Bb7 G7alt I C- F7 I

"Song for My Father" Form: A A B (24-Bar Tune)

A: I F- I I Eb7 I I Db7 I C7sus I F- I I

A: I F- I I Eb7 I I Db7 I C7sus I F- I I

B: I Eb7 I I F- I I Eb7 Db7 I C7sus I F- I I

Other Terms:

1. Chord two or more notes played at the same time; the music that accompanies the melody, setting the mood (AKA "change," i.e., the "changes" of a song are the chords that accompany the song)

2 Head the (written) melody

3. Chorus one time through the chords of a song; one time through the song’s form

4. Intro optional introductory music that comes before the first chorus

5. Coda optional ending music that comes after the last chorus

6. Vamp one chord (or a brief chord progression) which is played over and over

Thelonious Monk Institute of Jazz Phone: (310) 206-9501 • E-mail: [email protected] • Website: www.monkinstitute.org 17 Common Forms

A A B A e.g., Take the A Train

A: I C I I D7#5 I I D- I G7 I C I D- G7 I A: I C I I D7#5 I I D- I G7 I C I G- C7 I B: I F I I I I D7 I I D- I G7 I A: I C I I D7#5 I I D- I G7 I C I D- G7 I

A B A C e.g., On Green Dolphin Street

A: I Eb I I Eb- I I F I E I Eb I Eb C7alt I B: I F- I Bb7 I Eb IBb- Eb7 IAb- I Db7 I Gb I F- Bb7 I A: I Eb I I Eb- I I F I E I Eb I Eb C7alt I C: IF- F-/Eb IDø G7alt IC- C-/BbIAø D7alt I G- C7altI F- Bb7 I Eb I (F- Bb7) I

16-Bar Tune e.g., Blue Bossa

I C- I I F- I I Dø I G7alt I C- I I I Eb- I Ab7 I Db I I Dø I G7alt I C- IDø G7alt I

12-Bar Blues e.g., Billie’s Bounce, Now’s the Time, Straight No Chaser, etc.

I F7 I Bb7 I F7 I C- F7 I I Bb7 I (Bo) I F7 I (D7alt) I I G- I C7 I F7 D7alt I G- C7 I

18

Uncommon Forms

Song for My Father

Form: A A B (24-Bar Tune)

A: I F- I I Eb7 I I Db7 I C7sus I F- I I A: I F- I I Eb7 I I Db7 I C7sus I F- I I B: I Eb7 I I F- I IEb7 Db7 I C7sus I F- I I

Peace

Form: 10-Bar Tune

IAø D7b9I G- C7 I B CøF7b9I Bb I B- E7 I A F#- I Ebø Ab7b9I Db I IC7alt B7#4I Bb I

Stablemates

Form: A B A (14 bars--8 bars--14 bars)

A: I E- A7 IEb- Ab7 I Db I C7alt I Ab- I Db7 I Gb I Gø C7altI I F- I Bb7 I Eb- I Ab7b9 I Db I II B: I F- I Gb7 I G7alt I C7 I B7 I Bb7 I A7 I Ab7 I A: I E- A7 IEb- Ab7 I Db I C7alt I Ab- I Db7 I Gb I Gø C7altI I F- I Bb7 I Eb- I Ab7b9 I Db I II

Moments Notice

Form: A B A B´(6 bars) 8-bar Vamp

A: I E- A7 I F- Bb7 I Eb I Ab- Db7 I D- G7 I Eb- Ab7 I Db IDø G7b9 I B: I C- I Bb- Eb7 I Ab I Db7 I G- I Ab- Db7 I Gb I F- Bb7 I A: I E- A7 I F- Bb7 I Eb I Ab- Db7 I D- G7 I Eb- Ab7 I Db IDø G7b9 I B´:I C- I Bb- Eb7 I Ab I Db7 I G- C7 I F- Bb7 II V: I Eb I F- I G- I F- I Eb F- I G- F- I Eb I I Bb Pedal------19

Jazz History – Evolution of Styles

Style Dates* Basic Performance Practices Representative Figures

Ragtime 1896-1917 solo piano style, steady left hand/syncopated right hand Scott Joplin, piano

Early Jazz 1900-1928 collective improvisation, use of banjo and tuba Louis Armstrong, trumpet; Jelly Roll Morton, piano

Swing 1930-1945 big band, written arrangements, dance music Count Basie, piano; Duke Ellington, piano, Benny Goodman, clarinet; Coleman Hawkins, tenor sax; Lester Young, tenor sax

Bebop 1940-1955 virtuosic, complex, rangy, jazz as art, small group, focus on the soloist Dizzy Gillespie, trumpet; JJ Johnson, trombone Thelonious Monk, piano; Charlie Parker, alto sax; Bud Powell, piano;

Cool 1949-1955 relaxed feel, soft, incorporation of classical music elements Chet Baker, trumpet; Dave Brubeck, piano, Miles Davis, trumpet; Paul Desmond, alto sax; Gerry Mulligan, baritone sax

Hard Bop 1951-1958 return to Afro-centric elements, complex and simple sub-styles Art Blakey, drums; John Coltrane, tenor sax; Miles Davis, trumpet; Sonny Rollins, tenor sax; Horace Silver, piano

Free Jazz 1959-1970 avant-garde, no pre-determined chord progressions, atonal Ornette Coleman, sax; Cecil Taylor, piano

Fusion 1969-1990 blending of jazz and rock elements, electronic instruments Chick Corea, keyboards; Miles Davis, trumpet; Herbie Hancock, keyboards; John McLaughlin, guitar; “Weather Report”

Smooth Jazz 1980-Today simpler, more commercial and accessible style of Fusion Chris Botti, trumpet; Kenny G, soprano sax; Dave Koz, saxophones; Najee, saxophones; David Sanborn, alto sax

Contemporary Today blending of jazz with classical and world musics, hard bop Ambrose Akinmusire, trumpet; Brian Blade, drums; Dave Douglas, sensibilities, and various pop and folk musics trumpet; Kenny Garrett, alto sax; Robert Glasper, piano/keyboards; Roy Hargrove, trumpet; Dave Holland, bass; Keith Jarrett, piano; Branford Marsalis, tenor sax; Christian McBride, bass; Brad Mehldau, piano; Pat Metheny, guitar; Jason Moran, piano; Chris Potter, tenor sax; Joshua Redman, tenor sax; Kurt Rosenwinkel, guitar

* all styles of jazz from Early Jazz to Contemporary are still being performed and recorded today; all style dates given are approximations of when each respective style came to the forefront of jazz and experienced its most concentrated development; of course, styles and dates overlap

For a complete course in Jazz History and further information on the elements and evolution of jazz styles, log onto the Jazz in America website at www.jazzinamerica.org 20 FIFTY-TWO ESSENTIAL JAZZ RECORDINGS

ARTIST(S) ALBUM LABEL/NUMBER DATE

Various Jazz – The Smithsonian Anthology (6 CD Set) Smithsonian/Folkways SI-146-2011 1899-2003 Various Ken Burns Jazz: Story of America's Music (5 CD Set) Legacy/61432 1917-99 Various Jazz Classics 3 CD Set for Jazz Styles: History and Analysis ISBN-13: 978-0-13-600561-2 1917-2000 Louis Armstrong The Complete Hot Fives & Hot Sevens (4 CD Set) Sony 63527 1925-29 Bix Beiderbecke Vol. 1: Singing the Blues Columbia/CK 45450 1927-28 Sidney Bechet The Legendary Sidney Bechet RCA Bluebird/6590-2-RB 1932-41 Billie Holiday Strange Fruit: 1937-39 Jazztory/102423 1937-39 Count Basie The Complete Decca Recordings (3 CD Set) Decca Jazz-GRP/GRD3-611 1937-39 Benny Goodman Live at Carnegie Hall - 1938 Complete (2 CD Set) Columbia/Legacy 65143 1938 Duke Ellington The Blanton-Webster Band (3 CD Set) RCA Bluebird/ 5691-2-RB 1940-42 Coleman Hawkins Body and Soul Victor Jazz/09026-68515-2 1939-56 Roy Eldridge Little Jazz Columbia/CK 45275 1935-40 Dizzy Gillespie The Complete RCA Victor Recordings (2 CD Set) RCA Bluebird/07863-66528-2 1937-49 Charlie Parker The Complete Savoy & Dial Master Takes (3 CD Set) Savoy Jazz/17149 1945-54 Bud Powell Jazz Giant Verve/829 937-2 1949-50 Thelonious Monk The Best of Thelonious Monk: The Blue Note Years Blue Note/95636 1947-51 Woody Herman Thundering Herds 1945-1947 Sony 44108 1945-47 Miles Davis The Complete Birth of the Cool Capitol/94550 1948-50 Lee Konitz Subconscious Lee Fantasy/OJCCD-186-2 1949 Stan Getz The Roost Quartets Roulette/96052 1950-51 Stan Kenton New Concepts of Artistry in Rhythm Capitol/92865 1952 Charlie Parker Jazz at Massey Hall OJC/044 1953 Dave Brubeck The Essential Dave Brubeck (2 CD Set) Columbia/Legacy C2K 86993 1949-2002 Jay Jay Johnson The Eminent Jay Jay Johnson Vols. 1 & 2 (2 CDs) Blue Note/81505 & 81506 1953-55 Art Blakey A Night at Birdland Vols. 1 & 2 (2 CDs) Blue Note/46519/46520 1954 Miles Davis Round About Midnight Columbia/40610 1956 Sonny Rollins Saxophone Colossus Prestige OJCCD-291-2 1956 Ella Fitzgerald The Complete Ella in Berlin: Mack the Knife Verve/519 564 1960 Horace Silver The Best of Horace Silver Vols 1 & 2 (2 CDs) Blue Note/91143 & 93206 1964-72 John Coltrane Blue Train Blue Note/46095 1957 Miles Davis Milestones Columbia/40837 1958 Charles Mingus Mingus Ah Um Columbia/CK 40648 1959 Ornette Coleman The Shape of Jazz to Come Atlantic/1317-2 1959 Miles Davis Kind of Blue Columbia/CK 64935 1959 John Coltrane Giant Steps Atlantic/1311-2 1959 Wes Montgomery Incredible Jazz Guitar OJC/036 1960 Bill Evans Sunday at the Village Vanguard Fantasy/OJCCD-140-2 1961 John Coltrane Live at Birdland Impulse!-GRP/GRD-198 1963 Wayne Shorter The Best of Wayne Shorter: The Blue Note Years Blue Note/91141 1964-69 Herbie Hancock The Best of Herbie Hancock: The Blue Note Years Blue Note/91142 1962-68 Miles Davis Miles Smiles Columbia/CK 48849 1966 Miles Davis Bitches Brew (4 CD Set) Columbia/C4K 65570 1969-70 Chick Corea Now He Sings, Now He Sobs Blue Note/90055 1968 Cecil Taylor Silent Tongues Freedom/FCD-741005 1974 Keith Jarrett Staircase (2 CD Set) ECM/78118-21090-2 1976 Weather Report Heavy Weather Columbia/CK 65108 1977 Pat Metheny Bright Size Life ECM 1073 1975 Michael Brecker Michael Brecker MCA-Impulse MCAD-5980 1987 Kenny Garrett Songbook Warner Bros. 46551 1997 Brad Mehldau Art of the Trio Volume 4 – Back at the Vanguard Warner Bros. 47463 1999 Maria Schneider Allegresse Enja ENJ 9393/2 2000 Wayne Shorter Footprints Live Verve 314 589 679-2 2002 Vijay Iyer Accelerando Act Music & Vision 9524-2 2012 21 Glossary

Axe Synonym for instrument

Basic Chord Symbol Symbol indicating the fundamental vertical (chordal) sound of its related scale; any note from the related scale (except for any “avoid” tones) may be used in the pianist’s or guitarist’s chord voicing; the most common basic chord symbols are C (major), C7 (dominant 7 AKA mixolydian), C- (dorian), CØ (half diminished AKA locrian), Co (whole- half diminished), C7b9 (half-whole diminished), C7+5 (whole tone), and C7alt (diminished whole tone AKA super locrian); (please note that C7alt is written as C7+9 in the Aebersold Play-Along and Pocket Changes books)

Bossa (Bossa Nova) Straight-eighth, medium tempo Latin groove that usually incorporates the underlying two-measure repeated rhythmic pattern:

or variation thereof (e.g., Solar Flair/Blue Bossa, Song for My Father)

Change Synonym for chord (e.g., the changes of a tune = the chords of a tune)

Chops Synonym for technique

Chord Two or more notes played at the same time; the music that accompanies the melody, setting the mood (AKA "change," i.e., the "changes" of a song are the chords that accompany the song); harmony

Chorus One time through the chords of a song; one time through the song’s form

Coda Optional ending music that comes after the last chorus (see Ending)

Comp To play chords in a rhythmically interesting fashion, accompanying a melody (comes from the words accompany and complement)

Contrafact a jazz tune based on an extant chord progression, usually of a standard; common examples include Oleo (based on I Got Rhythm), Donna Lee (based on Back Home Again in Indiana), Groovin’ High (based on Whispering), Ornithology (based on How High the Moon), Hot House (based on What Is This Thing Called Love), and Dig (based on Sweet Georgia Brown)

Ending Optional music that comes after the last chorus of a jazz performance providing a sense of finality (endings are either written by the tune’s composer or decided upon and inserted by the performers)

Fakebook Book containing lead sheets of numerous tunes (see Lead Sheet)

Form The repeated and contrasting sections in the design of a composition; the tune’s harmonic (chordal) “blueprint;” common forms include: 12-bar blues, e.g., Shuffle Time, Tootsie, Footprints; 16-bar tune, e.g., Watermelon Man, Cantaloupe Island, Solar Flair/Blue Bossa, Summertime, Doxy; and AABA, e.g., Impressions, Maiden Voyage, Satin Doll; uncommon forms include AAB, e.g., Song For My Father, and AABC, e.g., Autumn Leaves

Funk Straight-eighth, medium tempo rock groove incorporating syncopated sixteenth notes against a steady, underlying pulse

Gig Synonym for job

Head The written melody of a tune (previously composed, not improvised), usually played as the first and last chorus in a jazz performance

Homonym A chord that has different names and functions depending on its root (e.g., the notes E Bb D G comprise a 3 b7 9 5 voicing of a C7 chord, a b7 3 #5 b9 voicing of a Gb7alt chord, a R b5 b7 b3 voicing of an Eø chord, and a 6 b3 5 R voicing of a G-6 chord; therefore C7, Gb7alt, Eø, and G-6 are considered homonyms of each other)

Improvisation Spontaneous composition; composing the music as you are playing; extemporaneous soloing; “musical conversing”

22 Intro Optional introductory music that comes before the first chorus (intros are either written by the tune’s composer or decided upon and inserted by the performers)

Jazz Waltz Medium to up tempo swing groove in 3/4 time, i.e., a feeling of three beats to the bar (please note that a tune does not necessarily have to be written in 3/4 to be played as a jazz waltz; for example, Footprints is written in 6/4 but is generally played with a jazz waltz feel, i.e., each 6/4 bar feels like two bars of 3/4); tunes in the jazz repertoire usually played as a jazz waltz include All Blues, Black Narcissus, Bluesette, A Child is Born, Emily, Footprints, How My Heart Sings, My Favorite Things, Someday My Prince Will Come, Up Jumped Spring, Valse Hot, West Coast Blues, and Windows

Latin Catchall term used by jazz musicians denoting any straight-eighth groove that incorporates bossa and/or samba rhythms (or other Latin dance rhythms including Afro-Cuban, baion, beguine, calypso, cha-cha, conga, guaguanco, mambo, merengue, paso doble, rumba, salsa, and songo)

Lead Sheet Sheet of music indicating the basic melody and chord symbols (i.e., head and changes) of an entire tune (e.g., the way each tune is written in the Aebersold play-along books - or any fakebook - is considered a lead sheet)

Modal Tune Type of tune that is harmonically based on a small number of modes (scales), each lasting a long time (four or more bars) rather than a progression of rapidly changing chords; examples of modal tunes include Impressions, Maiden Voyage, and Cantaloupe Island

Real Book Fakebook (see Fakebook)

Rhythm Changes The chord progression (i.e., the “changes”) that accompanies the tune I Got Rhythm by George Gershwin; the chords (including their many substitutions and variations) that accompany the tune I Got Rhythm and its many contrafacts

Shuffle Medium tempo swing groove incorporating a repeated pattern of dotted eighth/sixteenth notes on every beat (in jazz, the dotted eighth/sixteenth note rhythm is interpreted with more of a triplet feel, i.e., a repeated pattern of triplet quarter note /triplet eighth note on every beat)

Specific Chord Symbol Symbol indicating the specific notes to be included in a chord, e.g., Cmaj9 indicates that the chord contains C E G B D, Cmi11 indicates C Eb G Bb D F, etc. (although a specific chord symbol is able to indicate the notes that should be included in a particular chord, it does not indicate any particular voicing)

Straight-ahead Term used by jazz musicians to denote the style of jazz that is mainstream, i.e., bebop, hard bop, and cool jazz; tonal, acoustic jazz with a repertoire of standards and jazz classics; (an example of one of the greatest straight-ahead jazz groups of all time is the Miles Davis Quintet of the mid-1950s)

Straight-eighth Groove in which the underlying beat is comprised of non-swung eighth notes, i.e., eighth notes are even in length (eighth notes played on downbeats or upbeats each receive exactly 1/2 of the beat), e.g., Cantaloupe Island, Maiden Voyage, Solar Flair/Blue Bossa, Song for My Father, Watermelon Man

Swung-eighth Interpretation of eighth notes in which notes played on downbeats and upbeats receive 2/3 and 1/3 of the beat, respectively, providing a rhythmic lilt (swing) to the music

Syncopation The accenting of beats that are not naturally accented; the accenting of "upbeats"

Tag Type of ending in which a III- VI7 II- V7 progression (or variation thereof) is substituted for the last chorus’ final I chord, elongating or repeating the last phrase before culminating on the ultimate I chord

Tune Any song or composition that is part of the jazz repertoire

Turnaround A short melodic or harmonic passage usually comprised of a I VI II V progression (or variation thereof) that returns (“turns around”) to the beginning of a section or top of the form (e.g., last two bars of Tootsie)

Vamp One chord (or a brief chord progression) which is played over and over (e.g., ending of Cantaloupe Island, Song for My Father, and Summertime); a numerously repeated section of music, usually two or four bars in length (e.g., Track 15 of Aebersold Play Along Volume 54)

Voicing The particular order of notes in a chord (e.g., E Bb D G is a 3 b7 9 5 voicing of a C7 chord)