TONAL

AND
RHYTHMIC
PRINCIPLES
Jazz ImprovisationI
REVISED AND ENLARGED EDITION

JohnMehegan

Watson-Guptill Publications/New York

Amsco Publications
New York/London/Sydney

NOTE:

It w.iIlbe noticedthat no secondappears in the-U1verted" diminished

chord. Thus, the diminished chord eaunot be inverted. There are
twelvediminishedchordsgrouped in three series(Co,EbO,
CbO,AoC#o,Eo, Co, Dbo- Do, Fo, Abo,Do).The diminishedchord is always
in root position.

LESSON

23.
Inversions

Here Is a bassline for "Liza, Transfer the melody to manuscript

Since the M, x, m and 4>can be played in four positions,this gives us
192 chords. Adding the 12 diminished chords, this gives us a total of
204 chords - the complete harmonicsystem of jazz.

paper.

I V: / #IIo VIx: / II</>:#IVo / Vm Ix / IV IV + I / III bIIIx /

II bIIx / 1+I

#I/

I V: / #IIo VIx: / II</>:#IVo / Vm Ix / IV IV + I /

III bIIIx / II blIx / I + I bVlIx / VI + I bW / VII bVIIx / VI bVIo /

Vm bV / IV IV+I / III</>bIIIx / II II. / bVIxV / I V: /
II</>:#IVo / Vm Ix / IV IV+" / III bIIIx / II bIIx /1+

#JIoVIx: /
1

/ /

L1ZA-by Gus Kahn, Ira Gershwin, and George Gershwin

1929 New World Music Gorp. (renewed). All rights reserved.
Used by permission.

LESSON

22.

NOTE:

Inversions

The following is a bassline for "No Mono at All.n It is written in D

minor, which is the relative minor of F major. The symbols refer to F
major. Transfer the melody to manuscript paper.

..

I+e Is also VI', but the functionof the chord is usuallyan adjusted I
chord rather than an invertedVI chord.

LESSON

24.
Inversions

VI+I/

IIIx: /

va /

VIIm: / VII: / bV.". IIIx"

/ VI+' Ix /

IVxIIIx I VI+' / IIIx: I Vo I VIIm: I VII: I bV4-,IIIx" / VI +' I

VI +' I VIx / VIx / IIx I IIx / V / V I I IV I VII bVIIx / VI +' I

IIIx'1 Vo / VIIm' I VII' I bV</>,IIIx" I VI+' / VI+' /1

1\0

AT AJ..L..-Wordsand Music bv David

C 1947, 1949 Jefferson Music
Inc:
'"
International copyright secured. lIJl rights
Used by permission.

NOTE:

40

..

Inc.

VI +e is also bV</>",
but the function of the chord is an adjusted VI
chord rather than an inverted bV",.

The following is a bass line for "Waltz for Debbie." Transfer the
melody to manuscript paper,
This tune presents a special problem in that the chord chart for the
melody (called the "head chart") is not the same as the chord chart for
improvising on the tune (called the "blowing chart"). This problem will
be treated more extensively in Volume IV. For now, here are the two
charts for "Waltz for Debbie." Note modulation to the key of A and the
return to the key of F. The "head" chart appears in 3/4 time with a
transition to 4/4 time in the final six measures of the tune; the "blowing"
chart appears in 4/4 time with a transition to 3/4 time in the final four
measures in preparation for a return to the "head" chart.
41

HEADCHART:Key of F, 3/4 time

3

25.

LESSON

(Fl 4 J5 I VI I II I VIIx' I IIIXz I VIx' I IIXz I V' I bel I 113 I

(Fll II.p3 I
(F)l

IV I III I

I VI I II I V I

(All II I

V V2

vlre

bV.p3 Vlx3 I IV V

I VIXz I

vi

I ViI

i II

I V2 I IIIx"S I VI

v12

II

I III I II I I I 12 II (Fll II I V I III I VIx I II I

(F)l IIIx'" I VI I Vm I IV I IIIx I VI I Ilx I bIIIM I bVIM I II I

3
6
6
6
6

(F)4 V I J5 I VI I II I VIIx5 I IIIXz I VIx5 I IIXz I V' I IX2 I 113I

(F)l II.p3 I

V, I III I VIx I bVm I

(F)4 IIIx:5 I VI I bVIx I VI, I VMu I

-Isy3 I

Ix I IV I

I V" II (Flj VI,

:3

(F)j V., V" I VI, VM:5 I V" V" I J+6 I I +6 II

Inversions

The following is a bass line for "Giant Steps," Unlike the bass lines
in this volume, the chords are indicated by letters instead of the usual
Roman numerals. The reason for this is that "Giant Steps" has no prevailing key center but, instead, a series of implied key centers.
4

BM Dx 3 I GM Bbx3 I EbM I Am Dx I GM Bbx" I EbM F::x

BM I Fm Bbx I EbM I Am Dx I GM I
EbM I
EbM

IBM
4

4
3

'"
3

I BM I Fm Bbx I
4
3

Dx I GM Bbx I EbM ! Am Dx I GM Bb3 I

I BM I Fm Bbx I EbM I Am Dx I GM I

F;:;x I

BM I Fm Bbx I EbM I EbM II

BLOWING CHART:Key of F, 4/4 time

III VI I II V I lIIx VIx I IIx V I Ix IV+6 I II.p V I III VI I

GIAl\'T STEPS-by John Coltrane

1974 jowcol Music
Used by permission.

(F)4 II V I III VI I II V I IIIx VIx I Ilx V I IIIx VI II (Alj II V II I

(Alj I II (F)j II V 11II VIx I II IIIx I VI Vm I IV IIIx I VI IIx I
(F)j bIIIm bVIM I II V I III VI I II V I IIIx VI I Ilx V I Ix IV+6 I
(F)4 lIt/>V I III VIx I bVm VIIx I III Ix I IV IIIx I VI IIIx
(F)4 III bIIIo I II V II

bVo I

The symbol key for the preceding chord chart is as follows:

M-major
x-dominant
m-minor

I +6 I bIIIo I II I V 1/
Da Capo to head,

WALTZ FOR DEBBY-by Bill Evans and Gene Lees

TROC 1964 and 1965 Acorn Music Corp., New York, N.Y.
U.K. C 19i' Acorn Music Inc. Assigned to Kensington Music Ltd., B5 Gower Street,
London,
for the territory of the world excluding USA and Canada
Used by permission.

42

43

SECTION

pidc-up

IV

II I I 1+" I (F) II I blIx I I I 1+"

I bW VlIx I nr-: I (G) V" /
(G) III bIlIx I II VU I I I 1+" I (F) III blIxI
(Eb) bIIx I I VI I (G) 114>V I I II I ill
(G)
II bllx / 1+" I 1+" II

(G) VP

(Eb) I VI
LESSON

26.

Modulation

Many of the popular tunes used as jazz material modulate from one
key to another in the course of a 32-bar chorus. This modulation is seldom
indicated in sheet music although the jazz musician "thinks" in these key
changes for Simplicity and order. The following six lessons will deal with
tunes of this type. A Simple rule for identifying the presence of a new
key is the appearance of a major chord on other than I or IV (i.e.. 111M,
bVIM, ete.).

The following is a bass line for "Body and Soul" in Db. The original key of this tune is C major, but since 1930, the year the tune was
written, convention has prevailed in favor of Db. Transfer the melody to
manuscript paper using the following signatures: bars I - 15, key of Db;
bar 16, beats 1,2, key of Db; bar 16, beats 3, 4, key of 0; bars 17 - 20,
key of 0; bars21- 23, key ofC; bar 24, beats 1,2, key ofC; bar 24, beats
3,4, key of
bars 25 - 32, key of Db. The letters in parentheses
indicate the key in which the symbols are to be played.
(Db) II U 7 Il:7 I II bflx I I II I III bIlIo I II II, I VII bVIIx I
(Db) vi Ii bIIx I I lHo I IIu7

II"7 I II bl lx I I II I III bUIo I

(Db) II II, I VII bVIIx I VI II bIIx I p6

(D) V I p6 II I

(D)

VI3 IVm I III VI II IVo I III bIlIx II blIx II (Cl II V I

(C)

I bUIa I II bIIX I ix vIIx

(Db) I II lUI

(Db) VIx I Ilu7

oUIo I II II 2 I VII bVIIx I

Vi

Ip7 I II bIIx I

II blix I I +6 II

I (Eb) II I blIx I
I II I III IVb' I
1/1+ 1 I (Eb) II I
IVb' I ill bUIx I

HOW HIGH THE .MooN-hy Morgan Lewis and Nancy Hamilton

{j HMOby Chappell & Co., Inc. Cl renewed.
Interuanonal copyright secured. All right", reserved.
Used by permission.

LESSON

28.

Modulation
The following is a bass line for "Laura, in the key of C. Transfer
the melody to manuscript paper follOWing the Signatures indicated by
the letters.

I I I 1+ 1 / (F) II / bIlx I I / 1+" I (Eb) II I

I I I VI I (G) II</>Vb l / Vb l IVo I III I bUIx / II I
(G) blIx jI jI + "/ (F) II I b1Ix I I / 1+' / (C) IVm / IVo / III I
(C) VI / I1xb l / II VII / 1+" / 1+' /1

(G) II / bIIx
(Eb) bllx

LAURA-by Johnny Mercer and David Raskin

e 1945, renewed 1973 Twentieth Century Music Corp. All rights administered and
controlled by Robbins Music, a catalogue of CBS Songs. a Division of CBS, Inc. All
rights reserved.
Used by permission.

As Indicated above, "Laura," in the key of C, does not start In the key
of C. However, the tune comes to a final close In the key of C which
definitely establishes the key.

BODY AND SOUL-Lyrics by Edward Heyman, Robert Sour. and Frank Eyton, Music
by John Green
:>1930 (renewed) Warner Bros. Inc. All rights reserved.
Used by permission.

LESSON
LESSON

44

29.

27.

Modulation

Modulation

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

The following is a bass line for -111Remember April," in the key of

G. Transfer the melody to manuscript paper follOWingthe signatures
Indicated by the letters.

45

(G) I / I / IV" / I / 00 /

Im , / VI", / IIx / II / V /

LESSON 32.

(G) III'" / bIIIx / II / bIIx/

I /1+/ (Bb) II / V / I IVa /

(Bb) III bUIx / II I V / I / 1+< / (G) II / V / I / IV I

(E) II / bUx I I VI / (G) II bIIx I I / I / IV" / I I Im /

(G) Im , / VI", I. IIx / II I V / III", / bIIIx I II / bIIx /
(G)I+'
/ 1+< II
I'LL REMEMBER APRIL-Words and Music by Don Haye, Gene De Paul, and

Pat Johnston
1941, 1942 bv MeA Music. a Division of MCA Inc., New York, N.Y. renewed
and assigned toMCA
a Division of MCA Inc. and PIC Corp., New York, N.Y.
All ri,mts reserved.
Used by permission.

Transposition-Modulation
Fig. 1 is a lead sheet of "In Your Own Sweet Way" by Dave Brubeck. Fig. I represents the composer's view of his composition; Fig. 2
represents a figured bass solution of the same tune.
Fig. I. "In Your Own Sweet Way."

Eb

Am

07

Gm

F7

Cm

Bb

Eb

LESSON 30.

Modulation
The following is a bassline for -All the Things You
in the key
of Ab.Transfer the melody to manuscript paper following the signatures
indicated by the letters.
(Ab)

VI/II

V /

I /

IV /

(C)

V /

I /

1+-

F
Ob7

Abm

(Eb) VI / II I V / I / IV / (G) V / I / VI/II

/
(G) V" / I / 1+< / (E) II / bIIx / I / 1+< /
(Ab) VI / II / V / I / IV / IVm / ill
(Ab) V" blli / 1+' / 1+' /I

/ billo

"1

/ II /

r"

I\lld
Em9

Ell Maj.

ALL THE THINGS YOU ARE-by Jerome Kern and Oscar Hammersteln II
C 1939 T.B. Harms Co. e renewed % The Welk Music Group.
International copyright secured. All rights reserved.
Used by permission.

Qr

A7

J UJQr
o

A7

LESSON3l.

Modulation
The following is a bassline for "Autumn in New York," in F, Transfer
the melody to manuscript paper following the signatures indicated by the
letters.

bIII / II ill I
(F) IV V / ill VIx / III", bIlli / II ill / (Ab) II bIIx /
(F) II III / IV VP

/ 1+'

I / I II III

bW / (C) II bIIx / I VII /

(F) III bIII / II III / IV VII / 1+- I I I II III IV /
(F) Vm VI / (Db) II IIIxf< / VI VI./bWIVxjIII+-VIbf</

4,\1&
m
Om

I
Ab7

F=t" FI*'

e7

Cm

ttl

07

Am

Gm

(Ab) I II / (Eb) VI VII / P-

Cm

Bb

Eb

Abm

Gb

Cb

(Db) III bIII II bIlx j I bIIx / I vn VI Vm / (F) II III j

(F) IVm V" / 00+- I 00+< /I

46

AUTUMN IN NEW YORK-Words and music by Vernon Duke

C 1934 (renewed) Warner Bros, Inc.
All rights reserved.
Used by permission.

Ebm

47

Both Fig. 1 and Fig. 2 present the essential "facts" of the composition; Fig. 1 represents the composer's original conception of the piece,
and Fig. 2 represents the author's view of the essential structure of the
tune seen through twenty-five years of social usage.
Note the appearance in Fig. 2 of key changes which social consensus has established as part of the fabric of the tune.
The key series for transposition will be:
l-bVI-I
-bVI -I -III-II-I-bVI-I.

The following is a bass line for "In Your Own Sweet Way" in Bb.
The key order is as follows:
Bb-Cb-Bb-Cb-Bb-D-C-Bb-Cb-Bb.
In Roman numerals this reads:
l-bVI-I-bVI-I-III-II-I-bVI-I
as above.

SECTION
LESSON

33.

Arpeggios
The basic problem of jazz improvisation is to abandon the melody
and build an improvised line on the elements of the chords in a tune.
Thus, we will combine the vertical (left hand) with the horizontal (right
hand). The chord elements are as follows: (1) Arpeggios; (2) Scales;
(3) Chromatictones. Thus, jazz improvisationemploys a twelve-tone line
(twelve chromatic tones in the octave) superimposed on the sixty chord
system.
An arpeggiOis a "broken"chord moving in alternate steps. The IollOWingillustrates the arpeggiosof the five qualities on C for two octaves.

Fig. 2. "In Your Own Sweet Way."

picl<.up

....

(Bb) IV II VIIm IIIx I VI IIx I II V I I IV II (Cb) II V I I IV II

....

r,.-

......

(Bb) II<p bIlx I I IV I VIlm IIIx I VI IIx I II V I I IV II

(Cb) II V I I IV II (Bb) II<p Mix I I VI II (D) II V I I VI I
(D)

II V I I II (C) II V I I VIx"s II (Bb) IVm bVIIx I VIx #VIo I

CM

Cm

Cx

(Bb) VIlm IIIx I VI IIx I II V I I IV II (Cb) II V I I IV II

(Bb) II<p blIx I I II

...

I,. .......

IN YOUR OWN SWEET WAY-by Dave Brubeck

C>1955 Deny Music Co.
Used by permisslon.

When transposing this tune, number the melody tones according to

the prevailing key in the bassline, Transpose to various keys as a transposition problem.

48

Co

These notes should he played ascending and descending.

49

Using the chord chart on pages 25 and 26, practice the arpeggios for
the sixty scale-tone
chords using the fonowing fingering.

C-5qualities
123412345
D-5qualities
123412345
E-5qualities
123412345
F-5qualities
123412345
G-5qualities
123412345
A-5qualities
123412345
B-5qualities
123412345
Db-5 qualities
212341234
Ab-5qualities
212341234
Bb M - x
2 123 4 1
Bb-AJm-+-o
231234123
GbM-x
234123412
Gb-F# m-+-o
2 1 234 1
EbM-x
212341234
Eb m (the only arpeggio with
all black notes)
12 34 12
Eb-D# +-0
23 1234

Eighth-note (1') - trumpet

or half note (J) - tuba or trombone
Quarter-note (J) - drums
Technically this is a form of florid counterpoint involving three kinds
of time played simultaneously. This is the essence of the jazz beat.

Whole-note (0)

This rhythmic counterpoint is always present in jazz, although these

three levels of time can be assigned to various instruments. In a modern
group, the rhythmic breakdown is as follows:

23 4

Eighth-note (J)
Whole note (D) or half-note (J)
Quarter-note (J )

trumpet
piano
bass

23 4

345
12 3

These sixty arpeggiosmust be thoroughly mastered, ascending and

descending, so that they can be played automatically with correct fingering.

Transferred to the keyboard, the rhythmic assignment is as follows:

Eighth-note (J)
Whole note ("') or half-note (.J)
Quarter-note ( J )

right hand
left hand
foot beat

This rhythmic composite is occasionally interrupted, but its continuing presence is essential to jazz improvisation.
LESSON

84.
Arpeggios in Rhythm

Rhythmic problems in jazz will be thoroughly studied in Volumes

II, III and IV. The student must first learn "what" to play before learning "how" to play it. For now, the following basic material on rhythm
will suffice.
The rhythmic division of the front and rear lines of a 1900 New
Orleans jazz band was as follows:

50

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

In succeeding chapters, we will explore the three fundamental rhythmic structures used in jazz improvisation - the eighth-cote, the eighthnote triplet and the sixteenth-note. The jazz line can employ rhythmic
values up to the thirty-second-note. See Fig. 1. However. for practical
purposes we will limit our work to the three above-named values.

51

Fig. I.

Fig. 2.

"

fugtt han

i
IAlft band

-(9-

:
'I
I

]I

IV

,ft
bV"

Foot beat

IV

Foot beat

,.,

Right band

,.

t: r=t:.,...

" ,Rlgtt band

ii

It'

1Alft.

-,

IVm

II
Foot beat.

Foot beat

I chord
eighth notes
II chord
eighth-note triplets
sixteenth notes
III chord
IV chord
sixteenth-note triplets
V chord
thirty-second notes
Rest values of both more and less than an eighth note are equally
important in the jazz line.
A dot adds half the value to either a note or a rest.

,..,

bm
Foot beat

In Fig.2:

52

I and II chord - whole-note rest (four beats)

III chord - half-note rest (two beats)
V chord - dotted quarter-note rest
bVi>chord - quarter-note rest
IVm chord - dotted eighth-note rest
III chord - eighth-note rest
bIU chord - dotted sixteenth-note rest
II chord - sixteenth-note rest

-.

"'. Ii,..

]I

1+6

53

LESSON

35.
_,'-'-'-

Eighth-note Arpeggios
Fig. 1 is a bassline for
Could Write a Book," in the key of Db.
The sheet music appears in the key of C, so the melody must be transposed. Transfer the melody to manuscript paper using three staves - one
for melody, one for an improvised line and the third for the chord symbols.
Ai; a starting point for improvisation. abandon the melody and play the
arpeggios of the chords in eighth notes. Try to keep an uninterrupted
quarter-note beat with the foot - no pedal.
Do not "set" the improvised ligures. Use the arpeggios both ascendmg and descending as well as from the various inversion points (third,
fifth and seventh). Respect the fingering shown on page 50 at alI times.

t
A I

thumb.

"

III
II
IV
III

ill bIUx I II bili / I II /

VI / II III / IV IVo / VI' billo I II V I bV. IV,X/

#VIo / ill' bVIla / VI bVIx I V IV / III U I I VI I

IVo I III billx I II bIIx / I II I III VI / U ill /

IVo / VI' bIIIo I II V I Vm bV / IV IVm /

bIIrx I U bili I 1+' I 1+' 1/

I..

I..

l'

54

".

--

-..L...J

it!

AI

...

Fig. 2 illustratesa drill using the arpeggios of the chords in eighth notes.

AI

IVa /

I COULD WRITE A BOOK-by Richard Rodgers and Lorenz Hart

1940 by Chappell & Co., Inc. renewed.
International copyright secured. All rights reserved.
Used by permission.

Fig. 2.

- ......,...,-,

,.....,..1
I

A.

plck -e p

III

",..-r

--

!oj

Fig. 1.

bIIx 1/ I VI I II

,-

--

"""-l.

The following rules will be helpful in Bngering problems:

2. AlI inversion arpeggios beginning on a black note begin with the

index finger (except Ebminor which begins with the thumb) and
go to the thumb on the first white note.

"""""1 !"""'l-

A I ,

1. All inversion arpeggios beginning on a white note begin with the

r--,I

- -

A I

"
"

.....,.....,
r""T'-T-, -

...........

-......I 'I'

....,...,

.."..

...55

",

..

...1:..

11

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

.,

triplets.

"

"

-.J

.-.

I--

- I I

,........,.-

--

........

,......,.."

.,-

..--""I

-- ..

lei

L..J.

Ell

.....

.....

r'

",,-

.-..............

.,..-..

"

LESSON 36.

eI

Ell

Green Dolphin Street

,-

DRILL: Study Fig. 2 and explorevarious eighth-note arpeggio lines on

the chords of Fig. 1. In the beginning, the student may write
out a line as a starting point.
I

It_

r -\

-.r- .....

"

Gb

M'"M-

"

....

..........

Ell

Fig. I is a bass line for "Green Dolphin Street" in Eb. Transfer the
melody to manuscript paper using three staves as in the previous lesson.
Note the modulation to Gb major and the return to Eb,

(Eb) 1+6 I I 11m 11m I

,....
L

Ell

Rhythmic Combinatioos-on

"I

"

"I

Ell

I bIIM2 II I #10 I II I bIIx II I VI II

Eb

(Cb) II I bIIx I I #IV II (Eb) II bIIx I 1+6 I I 11m 11m I

(Eb) bIIM2

I / #10 / II II2

VII bVIlx / VI VIz I bV<bIVx I

(Eb) III bIIIx I II blIx I I I 1+6 /I

ON GREEN DOLPHIN STREET-Words by Ned Washington. Musk by

56

Bronislau Kaper

C 1947 Metro-Goldwyn-Mayer Inc. C renewed 1975. All rights controlled and administered by Leo Feist. Inc. a catalogue of CBS Songs. a Division of CBS, Inc.
Used by permission.

57

f'1

li

.-

E"

'"

- v_

Ell

1\

E"

--

.J..

r "-.

"

... .

!"""l

'"

-fL

G"

..1.

,.

VI

.....

4_

l!=_j,.

_tl

Ell

Ell

Ell

,.

-.v

Ii'"

h.

-.fL._

...-

Eb

.L

-'-

'"

\'.

, ."

. E"

11

'j

.M... h.lI.b

.,

. .....

:J

"f//!:..
.
I

...

Ell

58

59

t'i

,.

.......-h.

....

t'i

-......

[eJ

Eb

fII

,...

Eb

"a=

il

"""
-;-

;I

Eb

,..iIl

:1:
.

Gb

. 1'-

t'i

--

leJ

Gb

--- .f'-

Po

--

Eb

I'

.. .

'""'

ill

I..

-.

Gb

._--

---

tl . "--

II

.L

Eb

Eb

::j!: .fL -

111)

.il

::j!:. .J!::.b

..

t'i

Eb

.*

7/"'77

.:

.....-

& .....

-.A.

Eb

.1

.il4U_

L!J

,.,

r::lCHORUS

'''''''

11)

:1!iI.f!:.

t'i

t'i

-Jltl

..........

..J. ,L

leJ

,.,

- ..,...---

Gb

... --.1

.L

._L
Eb

"'"""-

,.

'1

61

--

shake

II

I-.J

... b_

..L

_. to....
II

I.

N
Eb

f""'I

11

CD

Eb

1\

.11. ...

I-.J

Eb

..l..

ltJ

Eb

62

,.

_ M""T"'I

JJ

I 'I

_"_h,...

...

Eb

Cb

...

i4V

"'iT

- -

II

,..,...,..,

"

-I

.,

II

,""

Eb

..h.a__

,J.

. .
"

.
I

..

-.

...L..

- ,...,.3

'v'#

r:;::f-.;,r

lti*'

11

or...

ItT

_--::0.

.....

r """-,

Eb

"

1\

[t

"'_

...--... h_

.. -e:.-e:.

-e:.

.i!>

...

Eb

\..

II

I'"

-..jll:.

... ...

.- .... -

...

Eb

DRILL: Stud)' Fig. 2 and explore the various eighth-note triplet arpeggio
lines OIl the chords of Fig. 1. Write out the lines if necessary.

63

LESSON

.. ....

37.

Sixteenth-noteArpeggios
Nowthat we have investigateda line employingthe eighth note (two
notes to a foot beat) and the eighth-note triplet (three notes to a foot
beat), we wiD.explore.in this chapter, the sixteenth-noteline (four notes
to a foot beat).

--

Fig. 1 is a bassline for "At LongLast Love. in C. Transfer the

melody to manuscript paper using three staves.
OJ

....

Fig. 1.
pick-up

II 1+' I VII I VI I m- I IV I III bIlli I U I U I

VII' / bU'"I U. I vn I U I V" I 1+' I bIh:I 1+' I

vn / VI I ill' I h Vm I JUo ill</>/ IV+' I IV /
bUx

bW / U.'

m /

hUh I U /

bIh: /

1+'

/ 1+'

. ..

.r

/I

AT LONG LAST LOVE-by Cole Porter

C 1937 by Chappell & Co" Inc, 0 renewed Assigned to John F. Wharton, Trustee of
the Cole Porter Musical and Literary Property Trusts.
International copyright secured, All rights reserved.
Used by permission.

..

Fig. 2 illustratesa sixteenth-notedrill employingthe arpeggiosof the

chordsin Fig. 1.
Fig. 2.

-.

64

..

..

...

..

A.

..

......

...

65

.,

"

,-

......

tI

...

."fIo

.". ..........

-4tJ

DRILL; Write out or play a sixteenth-note arpeggio line on Fig. 1.

LESSON

38.
Rhythmic Combinations

Since the problem of shifting from one rhythm to another is of the

utmost importance in playing a jazz line. we will now consider combining
the rhythms in Lessons 35, 36 and 37. Under no circumstances can the
shift from one rhythm to another be allowed to disturb the quarter-note

foot beat.
Fig. 1 is a bass line for "'Sophisticated Lady," in Ab. Transfer the
melody to manuscript paper using three staves. Note key changes.
Fig. 1.

- -

(Ab)

IIllP

lIP

VIIx I

(Ab)

(Ab) I1u,

lIl'

II

II

bVIIxI
II

66

- I

(G)

I VI/II

(G)

bV (Ab)

(Ab)

bVIIx

(Ab)

IIx

VIx
II

I
I

bVIIx

Vb:

bVIx V I

I IIx I II blIx I
bV1Ix VIx bVIx V

IVx I

#10 /
IVx I

+ 0 I (G) II</>bIIx
V / III bIIIx / II bIIx I I VI I II V
/I
I
I
II
III I II VII Ill</> b1IIx I lIlli'
lIl'
II
bVIx V / I IVx I Ix VIh bVIIx VIx
bIIx / 1+ 0 I 1+- II

(Ab) Ix VIIx bVIIx VIx

..

IIx / II bIIx / I

SOPHISTICATED LADY-by Ellington, Mills, and Parish

o 1933 by Mills Music. Q renewed. All rights reserved,
Used by permission.

I
I
I
I

67

Fig. .2 illustrates a drill employing eighth note, eighth-note triplets

and sixteenth-note rhythms in various combinations.

"

.........

_..3
8 -

Fig. 2.

..

,.-,

Itl.

.........

... I....
-

--.,

68

..... _ ...

:I

.....

11

... ./1.

...

,......,

1,.

...

14tl

II

I,...\.

.(I..

All

...........

.-1._.

I.

.(1.

b...1
-

it

39.

Rhythmic Composites(ballad)
/

"'.1

LESSON

Now that we have some facility with abandoning the melody and
using the arpeggios of the chords. we may consider combining the note
and rest values studied in Lesson 34 into four-bar compositeswhich allow
us to shift suddenly from one rhythm to another or introduce a rest value
without disturbing the foot beat Fig. 1 is a possible four-bar composite
for a slow tune:

Fig. 1.

II

\rt

nJrJ In

This compositereads as follows:

Thefirst line will apply to the first bar of a tune;
Thesecond line to the second bar;
The third line to the third bar;
The fourth line to the fourth bar.

Then we start over again:

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

70

DRILL: Write or play a line on the chords of Fig. 1 using eighth note.
eighth-note triplets and sixteenth note rhythms. Keepan uninterrupted quarter-note foot beat when playing.

71

Fig. 2 is a bassline or Got It Bad." in G.

Fig. 2-

"

I II I III VI IIIx

VI

__

I bVIIx VIx bVIx V I

1+6 tIo I II bIh II

bVlIx vIx bVIx

n,

VP I IVo #IV4> III

II / III VI I I1x VI3 IIVo

#IV4> I II

n,

II

'-

--..

.,<111,_ l::!'""I

;;--

IIIi

c::ii-'

F6 VI bVi I Vm bV / IV+6 I IV+6 I IVm+6 I

4

bVIIx I I IV I III bIIIx / II I VSl3I I II / III VI I I1x VP /

IVo tIV4> I II

n, I bVIIxVix

bvlx

V /1+

I 1+6 /I

I GOT IT BAD AND THAT AlNT GOOD-by Paul Francis Webster and
Duke Ellington
e" 1941, renewed 1960 Robbins Music Corporanon. All rights administered by CBS
Songll\ a Division, of CBS, Inc. All rights reserved.
Used oy penmssron,

H we apply our composite to the arpeggios of Fig. 2, we derive the

IoDowing
drill
1\

.......

II

--

1\ II

....

l"-!!l

1\ Il

.. ...

tI

.fl. ..

..

.fL........

"

jI

....

.. -

iiiilIoIl

--

.tI

_.fI'./t-

liiiiIiiiiiIiil

;;;iIiiI

.v

of'!-.....

11

---

LJ....

.ft.

.......

-._-

;::;::;Iii

......,a,.

:
1\ II

{
72

- - --liiiiiiiiIi;..

1'*

CiiiiiiiIiiiiii

,
73

1\ u

.v

Iiiil-

.-..-. -

=-

Fig. 1.

-l:l.J

1..-=-

I tIa / II V / III bIlla I II V I Vm Ix I IV bVIIx I Illx VIx Ilx V I

1+11 #1 I I #10 I II V / III bIlla / II V / Vm Ix I IV "Vllx I
IIIx VIx I1x V / 1+6 bVIlx / YI+6 bY</>Vilx / I1Ix Vix / IIx V I

DRILL: Transfer the melody to manuscript paper using three staves: one
for melody; one for the student's improvisation; one for the bass
line. Using Fig. 3 as a model, the student should write out, if
necessary. an improvisation using the composite and the arpeggios of the bass line in Fig. 2.

I bVIlx / Vj+6 bY</>vtr,

IIIx VIx /IIx

V / III blIIx II Hix /

I #10/ II V I III bIlla III V I Vm Ix / IV "VIIx / Illx Vlx I1x V I

1+6 1/
YOU TOOK ADVANTAGE OF ME-Lyrics by Lorenz Hart, Music by Richard Rodgers
1928 (renewed) Warner Bros. Inc. All rights reserved.
Used by permission.

LESSON

If we apply the compositeto the arpeggiosof Fig. 1. we derive the

followingdrill.

Fag.2.

40.

RhythmicComposite(up-tempo)

The fonowing is a possible up-tempo composite:

1\

J....L

rri-.

rrn
74

1\

j>,

Fig.! is a bassline for "You Took Advantage of Me," in

l.v

Eb.

In the quickertempos in jazz. the composite usually becomes more

simple in order to avoid a cluttered sound and to insure a strong pulse.

. .....

.....

"

75

"

-tJ

'"

11

.,

. -

...

'"'--I

"

IlJ

_11

....

IlJ

"

,
f

76

....-

..-

_ .fL

"

I
.

""""

.
"
.,

"

.
I

....,

...... - -

.....

As in Lesson39.the student shouldthoroughlyanalyzethe useof rest

values and arpeggiosin Fig. 2. Simplyto play over these specimensis of
little value. When playing these examples,try to keep a steady quarternote foot beat. Aboveall, do not use any pedal

...

DRILL: Transfer themelodyto manuscriptpaper using threestaves:one

for melody;one for the student's improvisation;and one for the
bassline. Using Fig.2 as a model,the student should write out
if necessary.an improvisationon the bass line in Fig. L

--

_.

77

SECTION
LESSON

VI

41.

Modes
If we play the scale-tone chords in C and play the C major scale from
root to root of each chord (Fig. 1), we are playing the various modes of
the scale of C. A mode is a displtu:edscaleplayedfrom root to Tootof

the chorcL

These modes built on the twelve major scales represent one of the
most important elements of jazz improvisation. They are highly effective
in building a hortsontal "blowing" line so long as the harmonic line moves
in the normal scale-tone chords without alteration or chromatic adjustmenl Since the previous lessons have made it evident that even the
simplest tune utilizes altered and chromatic chords. this simple modal
system must be expanded to meet the requirements of a sixty chord system.
The next six lessons will deal with this problem. In preparation for these
chapters, the student is strongly advised to play the scale-tone chords in
twelve keys with accompanying modes in the right hand as in Figs. S
and 4.

LESSON

Fig. 5 is a bass line for "SpeaklDw," in F. Transfer the melody to

manuscript paper noting key changes. On the lettered scale-tone chords,
abandon the melody and play the required mode of the prevailing key
scale. Letters over each chord indicate the mode to be played with
each chord.

The Major Scale

The major chord in any key appears on I and IV.

Thefollowingchart illustrates the symbolkey for each mode:

Ionian -10
Dorian - D

CHOBD

Mixolydian - M
Aeolian - A
Locrian - LO

Phrygian- P
Lydian-LY

DorF

DofAb

MofF

DofF

MorF

DofF

MorAl>

MorAD

DofAb

PofF

AofF

(Ab) II I V I II I V II (F) III

(F)

#10
DofAb

Don'

II

MofA.

DofAb

MorF

DofF

V I II
MofAb

D of Eb 0 of Eit

see "ote

(Eb) II / II / bVIIx /
DofF

MorF

see note

DorF

MorF

DorF

AofF

MofF

AorF

DofF

(F) III / VI I II I

1I7

DofFMofF

VI I II

V I

100fF

)+6
see note

loofF

)+6

II

V1I5

I 1+

1'6

II

SPEAK LOW-bv Kurt Weill and Ogden Nash

Q 1943 by Chappell & Co., Inc. Q renewed, assigned to Chappell & Co., Inc. and
Hampshire House Publishing Corp,
International copyright secured. All rights reserved.
Used by permission.

80

Fig. 1.

...

NOTE:

Chords such as II, V or I are considered primary furu:tions,since they

belongto the key; chords such as Vm or Ix are considered 8eC0nd4ry
junctWm,since the root remains in the original key but the third, fifth
or seventh have beenaltered; finally, chords such as bVIIxor bVIxare
considered tertiary junctions, since not only has the chord been altered but alsochromatically raised or lowered from the original key.

NOTE:

y;:s is !ctually a major-augmented seventh chord; the symbol would

read VM.

LydJan

10ofF

Lydian

M of F

MofF

10 ofF

Ionian

4 4

I V I Vm / Ix II

10 ofEb 10of Eb

"""noll!

1 1

IV

10ofF

II I V f II I V I II I V I Vm I Ix / IVm I bVIIx I

PofF

V I 1+6 I

bVIIx I I f I 1/ (F) bVIx I V /

DofF

MODE

MofF

V I II

PofF

DofF

VI I II

MofF

(Ab) II I V I II I V II (F) III

(F)

MofF

II I V I II I V I II I V I Vm I Ix II

II

DISPLACEMENT

In determining which of these two modes to choose, the deciding

factor must be the relative strength of these two major positions in diatonic
harmony. On the basis of this, there can be no doubt of the overwhelming
feeling of I when hearing a major chord. For this reason, themajor chord
takes theIonian mode (1 1) except in cases where the bassline gives a
strong feeling of IV, e.g. I n / III IV / V I I (seeFig, 1).

Fig. 5.

(F)

42.

IV

7 !
V

...
1

Here the use of the Ionian mode of the scale of F on the IV chord
would destroy the feeling of C major running through the entire bass line
and the Lydian mode (4 4) should be used. Except in cases of this
sort, the Ionian mode is employed on all major chords.

=7

81

Fig. 2 illustrates the twelve major chords with accompanying Ionian

modes, to be played both ascending and descending.

Fig. 3.

1+' VI I II b1Ix I 1+' VI I hVllx I II val

1+' #1 I 1+' VI I II bUx I 1+' VI I bVlli
(Eb) II VII / 1+- I (G) II IVo I ill bIlli / II pili / I
bIlIx I II blIx I I bVIx
(Au) II IVo I ill
1+'
VI
I
II
hili
/ 1+' VI I bVIh I II V"
(Eb)

(Eb)
(Eb)

Fig. 2.

1+'

(Eb)

eM

DM

VI I

II

bV+ ili

hili

I
/

I
I
I

I /I

MOONLIGHT IN
John Blackburn and Karl Suessdorf
C>1944-1945 Michael H. Coldsen, Inc. C>renewed 1972.
Used.by perrnission.

LESSON

l'

43.
The Dominant Scale

Thedominantchordin anykeyappearsonV only.

EM

MODE

CHORD

Mixolydian

5 5

Since the dominant chord only occurs at the positionof V, there can
be no doubt concerningthe accompanyingmode. The dominant always
takes the Mixolydianmode.
Dominant chordson other than V (II&, bVh, etc.) are considereda
temIJOraryV of some other key. Thus. in the key of c:
CHORD

'II
BM

RULE: The ma/Of"chord is a I or the temporary1 of a new key and

takes the 8C6kof that keyfrom root to root.

82

Fig. 3 is a bass line for "Moonlightin Vermont." Transfer the melody

to manuscriptpaper fonowingthe key signaturesindicated by the letters.
Abandonthe melody and play the appropriate mode on each majorchord.
Major+-chords follow the same rule as normal major chords.

Ix
ili
IIIx
IVx
V
VIx
Vili
bIh

SPELUNG

Temporary V
TemporaI)' V
Temporary V
TemporaI)' V
Natural V
TemporaI)' V
Temporary V
TemporaryV

SeALSOR KEY

F
G

Bb
C

D
E

Cb

DISPLACEMENT

Cc
D-D
E-E

F-F
GG

A-A

B-B
Db - Db

In jazz harmony, these temporary dominants seldom resolve to their

natural majors [i.e., in the key of C-I1I bIlIx II bIIx I is a normal
pattern; the bUIx (Ebx) does not go to AbM, the bIlx (Dbx) does not go
to GbMJ. However, at the moment they are played, they imply the V of
a new key.

83

Fig. 1 illustrates the twelve dominant chords with accompanying

Mixolydian modes, to be played both ascending and descending.

Fig. 1.

Fig. 2 is a bass line for "It Could Happen to You" in G major.

Transfer the melody to manuscript paper; abandon the melody and play
dominant scales on all dominant chords as indicated in Symbolkey. (X 1l3
also employs the normal dominant scale.)
Fig. 2.
MofA

M ofB

1<1"fE.

(G) I I 1114>VIx / II / bV4>/ VIIx IlII

M ofB,

M of A

bfllx

M ,!f8b

(G) bVIIx / VIx / II I II 2 I VIIm / bVIIx I

Cx (Vol F)

Dx{VofG)

Dh(VofG')

VI bIllo

(G)

MofB

II

(G) bV4,l VIIK / III

MofBb

(G)

III

M nfC

bllIx / II II2
MofF

I I III4,l Vix I II
MofBI>

VIlt7 I

,!fA

IV V I

MofEb

Vp1l7

112 I

MolA

bVIIx I Vix I II III I

MorA

MofG

bVIIK I I IVx I III4,l VIx I II III I IVm V I

IVb3

(G) 1+6

I II

1+6 1/

IT COULD RAPPENTO YOU- by Johnny Burkeand Jimmy Van Heusen

1944FamousMusicCorp.. New York,N. Y.

Ebx(VolA')

Fx (Vomp)

Ex (VolA)

LESSON

44.
The Minor Scale

The minor chordin any key appearson II. III andVI.

Ox (VofC)

F#x(vom)

Abx (VoIDP)

ill

(,++

VI

-.,..

."

Ax (VoID)

84

CHOJID
II

Bx (VolE)

RULE: The dominantchordis a V or the temporaryV of a new keyand

takes the scaleof that key from root to root.

1>IsPLAmmNT
2 2
3 3

6 6

MODE

Dorian

Phrygian
Aeolian

In a chord series with a strong key feeling.

I VI - II V - I (Fig. 1)
or
II - ill. IV - V - VI - II- V -I
(Fig. 2)
the three modes are used in their respective positions. There is never a
question concerning the II chord since it belongs to a primary function
of any key - II - V - lorn - bIIx L Therefore.n always takes the
Dorian mode (2 - 2).

85

III and VI on the other hand, can easily be dislodged from a key
center and therefore must be treated with more care. In such cases, III
or VI become temporary II's of a new key and take the Dorian mode of
that key.
Fig. 3 illustrates examples of III or VI becoming the temporary II of
a new key.

--

"" Aeolian of C

Fig.3.
VJ

"

..

Mixolydian of C

:a:

.....
Ionian of C

...

..

Lydian ofC

Mixolydian of E

#:

(temporary II)

.a.

rVIIx

,Dorian of D

IV

- .. +

Dorian ofEb

Mixolydian of Eb

Dorian of D

Mixolydian of D

(temporary II)

IVm

Lydian of C

#:
I

Aeolian

Dorian of

86

..
Mixolydian of

Mixolydian of

it

"
I
I

Vb:

VI

All other minor chords (IVm. VIIm, hlII) are also treated as a tem-

poraryII of a new key. Thus, in the key of C:

CHoRD

Im

'it:
IVI

IV

.. ole

VlIx

Dorian of G
(temporary II)

II
III
III-when keycenter
is weakened
IVm
Vm
VI
VI-when key center
is weakened
VUm

bIll
bII

SCALE
SPELLING

Temporary II
Natural II
Natural III
Temporary II

KEY DISPLACEMENT
Bb
e-c
C
D-D
C
E-E
D
E-E

OR

Temporary II
Temporary II
Natural VI
Temporary II

Eb

F-F

G-G
A-A
A-A

Temporary II
Temporary II
Temporary II

A
Db
B

C
G

B-B

Eb Eb

C#- C#

87

Except III and VI which usually take the Phrygian and Aeolianmodes.
respectively, all minor chords take the Dorian mode(2 - .2).
Where there is a strong diatonic feeling of the prevailing key, as in
Fig. I and Fig. 2, the III chord takes the Phrygian mode and the VI
chord takes the Aeolian mode.
When the prevailing key feeling is dislodged, as in Fig. 3, the III
becomes a II of a new key and so also with the VI chord.
In jazz harmony, temporary U chords of other keys sometimes resolve to their natural dominants (V), but regardless of their resolution, at
the moment they are played, they imply the II of a new key.
Actually the responsibility should rest with the student in deciding
the particular status" of the III or VI chord. The following rule, however, is a general guide to the use of the minor scale:

RULE: The minor chord is a II or the temporary II of a new key and

takes the scale of that key from root to root. The exceptionsare
III and VI, which nornudly take the Phrygian and Aeolian
modes, respectively, when preceded by primary functions. If
preceded by secondaru or tertiary functions, both the III and
VI c1wrdsbecame temporary II chords of another key.

Fig. 4 illustrates the twelve minor chords with their accompanying

Dorian modes, to be played ascending and descending,

G#m (Dorfi$>

Gm (DofF)

F#m (lIofE)

Bbm(Dof.M)

Am (fiofG)

Bm (DotA)

Fig. 5 is a bass line for Little Girl Blue" in the key of F. Transfer
the melody to manuscript paper; abandon the melody and play minor
scales on all minor chords. The letters appearing over these chords indicate the signature to be played from root to root of the chord. For example: in bar I, the F over VI means play the F scale from D to D; in bar4,
the Bb over Vm means play the Bb scale from C to C.

Fig. 5
F

1+6 VI/II
c

VI/I!

IIIX1l5

Ab

bIIx / 1+6 VI / Vm bV / IV IV+6 / IVm bVIIx /

F

F.

IJI

IY :aY4>/ V sv /

Fe
lIS

III II bIll( / 1+

IlIo

F
F
F
F
Bo
IV+6 /
II bUM I 1+6 VI I II bIIx / JTe VI / Vm bY / IV

bVIIx / IIIx 1l5 -SI /

Fe

Cm (DotBD)

C#m (DotS)

Dm (DotC)

II

IIr
F

IV+6 i:+IVI/>/ V bV I
F

i:;I /-f+6 V! bV!" / V I II bIIx / I II /

c
D
D
IV / VUm IIIx / VUm bVIIx / VI VI/> I bVq, IVo I

lIS III II bIb / p6

F

III

Poi

6
bIllo I II blIx I 1+

VP

1+6 II

GIRL BLUE-by Richard Rodgers and Lorenz Hart

1935 T.S. Hanns Co. C;. renewed % The Welk MUSIC Group.
International oopyright secured. All rights reserved.
Used by permission.

UTILE

*NOTE:

Ebm (UoIDb)

88

Em (fiofO)

Fm (fiofEb)

The prevailing key (F) has been reinstated despite the preceding secondaryfunction in order to prepare for the final closing.

89

LESSON

45.

chord is 4 VII or the t6mporaty va

RULE: TM Iuilf-diminkhed
new lcegtmd takBa,he .aUeof that key from rootto root.

of 1&

The Half-diminisbedScale
ThehaIf-diminishedchord in any key appears On VII only.
QroM

DISPLACEMENT
7 - 7

VII

MODE

Locrian

DfS
(VUofEb)
Since the half-diminished
chord occurs only at the position of VII,
there can be no doubt concerning the accompanying mode. The halfdiminished chord alwaystakes the Locrian mode (7 - 7).
Half-diminishedchords On other than VII (III</>.bV</>,
etc.) are COnsidered a temporary
VU of someother key. Thus, in the key of C:

CHoM
14>
II.p
III4>

IV4>
V4>
VI</>
VII
bIlI.p

ScALE:
SPELLING

ORK'EY

Temporary VII
Temporary VII
Temporary VII
Temporary VII
Temporary VII
Temporary VII
Natural VII
Temporary VII

Db
Eb

Gb

DISPLACEMENT

Ell (WofF)

D-D

E-E

Ab

F-F
G-G

Bb
C

B-B

c-c

A-A

D#- D#

Ff,s(VUofG)
A

In jazz harmony, the temporary half-diminished chord seldom, if

ever, reaches its natural resolution, but at the moment it is played it
implies the VII of a new key. Fig. I illustrates the twelve half-diminished chords with accompanying Locrian modes, to be played ascending
and descending.

90

(VUofAP)
I

All (VUofBP)

Gf,s (VnofA)

.#

....

,._B.

......

(VUofB)

a,s(VDofC)

91

Fig. 2 is a bass line for "Don't Blame Me." Transfer the melody to
manuscript paper. Abandon the melody and play appropriate half-diminished scales for each half-diminished chord.

This is an artificial scalesince the same letter, In any form (Ab A),
C3Jlllolappear twice In an authentic scale,

Fig. 2. "Don't Blame Me."

F ig. 2 illustrates the twe lve dimin ished chords with accompanying
",. l<s, to he p layed ascending and desce nding. The fingerin gs are a
for the stude nt

I IVm I III bIII, I II bU, I I VI I

bU, I

bIll, I

bW IW I III bIll, II bIb I I IVm I III bUb I II bIb I

I VI I
bIb I
bIll, I II V" I 1+ ' bV I IV II I
vu III, I vu bVII, I VI" VI I Ib #Vo I VI II, I II bIII I
U bU, I I IVm I III bUb I II bII, I I VI I
bUb I II V" I }+ ' II

bII, I

DON'T BLAMEME - Words by Dorothy Fields, Music by Jimmy McHugh

. Copyright 1933 Metro-Coldwyn Mayer Ccrp., New York
Copyright assigned 1933 to ROBBINS MUSIC CORP" 799 Seventh Ave., New York, N. Y.
for United States and Canada

Used by permission.

1 2

1 2

31

2 3

Co

31

31

3 41

cjj o

2 31

46,

2 1

1 2 I 2

31

Do

1 2
L ESSON

I 2

3 I

2 3 4 5

3 4

The Diminished Scale

eo
The diminished chord has no "natural" positiou in any key, We have
learned to employ the diminished chord at any point in a key, but at no
point does .it infer any tonality.
An arbitrary scale is employed for the diminished chord which utilizes
all the tones of the chord in addition to a series of chromatic or auxiliary
tones. Fig. 1 iIluslrates the C diminished chord with its diminished scale.

Eo
2 3 1 2 3 1 2

12

34

1 2

Fo
3 1 2

2 3

2 3

2 3 1 2 3

Fig. 1.

Co

Co scale

Since this scale has no relation to any tonality, we spell it by indicating the intervals as follows:
Minor second - 1
Major second - 2
Thus, in Fig. I, the semitone combination is:

92

D
2

Eb
1

F
2

Gb
1

Ab
2

A
1

B
2

12

312

2 123

2 1 2 3 1 23

12123

or 02 12 12 121

AD

B'o

Bo

93

Fig. 1.

Fig. 3 is a bass line for "Birth of the Blues." Transfer the melody to
manuscript paper. Abandon the melody and play diminished scaleson
aUdiminishedchords.

Fig. 8.

....

... .,

-..!.no

bo

no

pl<:l<-

bUx II I #10 I II #IIo I III IIIx# I IV #lVo I V IV III bIll I

II bIIx I I +. VI I n bIIx I I #10 I n #flO
I III IIIx" I
IV #IVo I V IV III bIll I II bIIx I 1+' #1 I 1+' IVx I
fiJI: VII I UIx VII I nIx IVx I llIx I III Vh I III Vh I

Cm

tI.

.......

lei

VI IIx I II bIIx I I #10 I n #IIo I III IIIx#1 I IV #lVol

V IV III bIII I II b1Ix I I +. I I + I /I
TIlE BIRTH OF THE BLUES-Lyrics by B.G. DeSylva and Lew Brown, Music by
Ray Henderson
Q 1926 (renewed) Warner Bros. Inc. All lights reserved,
Used by permission.
Reproduced by permission (in the U.K.) of Redwood Music LtdJChappell Music.

ex

CM

1";

L-eObM

Co

"

v-

.... n-

."

Dbx

C#m

..

TI

2 3 1

I.n

2 3 4

C#o

The SixtyScales

ft

94

-e-

"

..

.tat-

..hft.

OM

Ox
I

I,

2 3

I.

2 3

1 2

..n

O.p
I

..

ldl-

Om

,.

jl

eI

We have now completed the scales for the sixty chords. The importance of these scales cannot be overstated in building the material for
jazz improvisation. Fig. 1 illustrates a highly recommended drill based
on the five qualities of each tone. These scales or modes should be practiced ascendingand descendinguntil they are completelyautomatic.
The student is alsoadvised to return to the previous chapters and
explore these scales in the varioustunes abandoning the melody.
The student is advised to follow the general fingering rules for the
major scales when playing the M, x, m and 4>modes. Suggested fingerings have been added to the diminished seales since they represent an
unfamiliar series of whole and half steps.

,.

lI*'''
A

lei

47.

ft

LESSON

2 3 1 2 3

V"

00
I

I.

I, I

eI

I.A-

EbM

1hbAEbx

hlbaEbm

95

..
I

Tl

II

r 11

kA-

"1

l,_b.-

l..-b.I

Abx

Fx

1 .2 3 4

f\

.2 3 4 5

LIf.

Abm

23123123

JJ

M.-_

I\,t.li"

ILl?eo-

F4>

Fo

II

Fm

112

Go

...b-

AbM

. LIi"

3 1 .2,3,1

FM

1#

1Jzft:

1..&

..,
T T

II

1 .2 3 1 .2 3 4 I

Eo

fJ.
I -, -,

Ilta

"
..,

Gm

Em

iT'.2

.a-

Ex

GM

Gbx
EM

-p

. dt:
I

1ft:

Ebo

I'

)1

.2

'I

h_

ff G #

fJ.
.

..,

--

Abo
11

__

.-

Am

121231234

"

11

TIl

11-

It....

_lJ.a.

l.....
I

11

h.1dl:

:D:
F#o

96

.2 3 1 .2

t
TIl

.2 3 1

Ao

BbM

Bbx

GbM

97

.b.ba.

Bbm

LI

.t

1.1

L1

.....

+-f'-

41

IJ.

Bx
121231234

BM
_ ... .fI-

1\

11

3
2b i1.j11.

Fig. 3.

...

Bbo

Af+o

LI

123121

..

Fig. 4.

u , 1+
..,...fIL

Bm

11 ...

DOMINANT CHORD:
Xl"

--it-

xl.

x bl

t)

I.

Fig. 5.

dominant scale
whole tone scale
whole tone scale

(Fig. 5)
(Fig. 6)
(Fig. 7)

Fig. 6.

Fig. 7.

Bo

LESSON

48.
Scale and Arpeggio Alteration

MINOR CHORD:
mU T

The arpeggio of an altered chord simply follows the alteration.

...

Fig. 1.

.it. ..

mlf

minor scale
minor scale with

m+'

minor scale

#7

(Fig. 8)
(Fig. 9)
(Fig. 10)

The following rule describes the use of scales in altered chords:

MAIOR CHORD:

MSl
MbS
lIS

MS"

major scale with

major scale with

#5

b5

major scale with #5

(Fig. 2)
(Fig. 3)

Fig. 9.

Fig. 10.

Fig. 11.

(Fig. 4)

Fig. 2.

98

RULE: In inversions. the scale is the same as in root position except

that it is played from the bottom note of the inversion (Fig. 11).

99

To avoid this, in Fig. 2, the fourth step is removedand the tone row
1235 Is used (12 S 5 is alwayscounted from the root of the chord).

Fig. 12 is a bass line for "Like Someone in Love" in the key of C.

Transfer the melody to manuscript paper. Abandon the melody and play
appropriate scales for the inversions. Letters over Roman numerals indicate the signature to be played from root to root (root position) or bass

Fig. 2.

c
note to bass note (inversion). Thus in bar I, 12 indicates the scale of C
C4

from B to B; in bar 3, VIP indicates the scale of C from F to F.

Fig. 12. "Like Someone in Love."
(C)

c
I I. I

c
VI VIz /

c,

ne-

c.
VII"

I III blIIx I II

(C) V bIIx I I VI I Vm bV I IV+'

A.

(A) I I.

A.

(C)

bIIx I

(C)

II

Ell-

lI<I.a

G:f

VI VI. I (C) VI VP1.

c
c
c.
I I. / VI VI. I IIx"

V bIIx I

IV. I (A) II.

G

c_

VIP

III

VIla I I bV I (C) IIx #lIo / III bIIIx / II

(A) II.

(C) 1+'

I 1+'

Fig. S.

VIIo I
II I

bIIIx I
F

I VI / Vm bV / IV+

Fig. 3 illustratesthe scale fragmentson 5 4 31 (reverse of 1 2 S 5).

E.II</> I

bIll o I

I VI.

II

VI

IV.

b1Ix

Fig. .( illustratesthe scale fragmentson 3 4 5 7.

Fig. 4.

II

1m

UKE SOMEONE IN LOVE-by Burke and Van Heusen

1944 by Burke & Van Heusen, Inc, renewed and assigned to Bourne Co. &
Dorsev Bros. Music, Inc.
Used by permission.

IIx

Fig. 5 illustrates the scale fragmentson 7 6 5 S.

Fig. 50

LESSON

49.
Eighth-noleSca1es-ScaleFragments
Fig. 6 illustratesthe scale fragmentson 5 6 7 2.

In Lesson33, we movedto the primary step in improvisingby abandoning the melody and playing eighth-note arpeggioson the chords. We
will now repeat this primarystep with eighth-notescales.

Fig. 1 illustrates the use of an eighth-notescale line. In playing Fig.

I, the student will notice the harshsound (particularly on the M and x)
of the scale fragment ending on the fourthnote of the scale or the mode.

no

mgmeut

ligures for the diminished scale are not the same since the diminlshed
scale consists of eight tones rather than the usual seven. The fragment ligures fca:the

Fig. 1.

100

Fig. 6.

diminisbed scaleare

lllI

follows:

1 JIll 5 -

S 4 II 1

( ..... ne)

8457
S071

'1653
18'13

11.--<1

(t.,,,,,,.)

101

Fig. 9 illustrates a drill on Fig. 8 using the various fragments.

Fig. 7 illustrates the scale fragments on 2 1 7 5; and 1 8 7 5 (diminished).

FRAGMENTCHART
RE\'ERSE

FRAGMENT

543
1
765
3
2 1 1 5

1 235
3 457

Fig. 1.
Fig. 9.

5 6 7 2

-1

.It

lIS

V1o( 18'15)

no(18'15)

.,

All of these fragments are of the utmost importance in using scale

lines; the ability to pick up any scale fragment for any chord is an absolute
prerequisite for improvising facility.

ii\O
Dorian
fAY

L ditan

of A

Aeolian

of A

"",,,JJ#
J

VIlm2
Ionian

of A

VIlm
Dorian of A

Fig. 8 is a bass line for "Blue Moon," in the key of E. Transfer the
melody to manuscript paper noting key changes, using three staves as in
previous lessons. Playor write out a line using eighth-note scale fragments

e}

Fig.8.

I VI/II

bIIx I I VI I II IIp I III VI

1+ 8 bIlla / II bIIx / I VI/II
bIIx
8
(E) I VI / II II.p / III VI / II VII / 1+ #1 I I VI
(E) II bIIx / 1+' VI/II
bIIx / 1+' VI I (G) II bIb

(G) I VI / (E) VIIm III VI I1x:/ II

(E) I VI / II I1.p I III VI/II

102

hili /
VI I

I VI / II hili I
I H / I +" /1

BLUE MOON-by Lorenz Hart and Richard Rodgers

10 1934, renewed 1962 Metro-Coldwyn-Mayer Inc. All rights administered and controlled by Robbins Music, a catalogue of CBS Songs, a Division of CBS, Inc. All
rights reserved.
Used by permission.

II.

1.... 1.

...-

.1

..

/
/

Aeolian

Phrygian

.,

""",,It

of the chords.

II V S I

--.....
:

Ie

(E)

" .. ,It

(E)"bili //

Inversions take the scale of the root position chord from bass note to
bass note of the inversion. See below.

VIlm

"" Ii

e}

--

- -

Phrygian

103

A ..

tI

II .. il-

.,

r-

- -

LESSON

50.
Eighth-note Triplet Scale Fragments

"1

..

.<

Fig. 1 is a bassline for fiCabin in the Sky," in the key of G. The

eighth-note triplet line should be considered here. This means three notes
to a heat or six notes to each half-note chord. Transfer the melody to
manuscript paper using three staves. Note key change. Write out or play
a line using eighth-note triplet scale fragments on the bass line in Fig. 1
with a quarter-note footbeat.
Fig. L

..

A ..

.1

I"""""

eJ

- I

.. It

r--r

-- -

Aeolian

(G)

I #I</>I

(G)

II

IVo /

(G) III</>I

..
.

- -

---

....

it

..

"JJ

..
-

..

II

#IIo I

II

U ,

Us' / II

-.

IIuf

IIs'

/ I #1+ I II #110
bili / 1+ #1/ I +. IV

/
/
/

I VI+' bV",/ (E) II bIlx I I I (G) VIIS1 VIs 1 I

(G ) VI Ih

I V IV I III II I I #1+ I II #llo I III</> /

(G) bUh I

UUf

n I

II bIlx I 1+' / 1+' /1

Fig. 2 illustrates a drill using scale fragments in eighth-note triplets.

-.

Phrygian

hIIh

hUh I II hIh

III</> I

CABIN IN THE SKY-by John Latouche and Vernon Duke

C 1940, renewed 1968 Miller Music Corp. All rights administered by CBS Songs, a
Division of CBS, Inc. All rights reserved .
Used by permission,

- ....

104

Itt-

III

bIIIxI

(G) VItm bVIh

1tJJ. it

II

DRILL: Explore the various scale fragments on the bass line in Fig. 8.
Keep a steady quarter-note foot beat.

105

..
4V

....-

..

.............

---....

.f/L ....

Pbrygian

.f/L....

Lydian

......

Phrygian

I.

-I

b...-

1._ I

..

..

--

-iJ

..

....

--

......
Lydian

106

107

...

..

Aeolian

..

Dorian

LESSONSl.

Sixteenth-noteScaleFragments

Fig. 1 is a bass line lor "Dancingon the Ceiling." in the key of F.

Transferthemelodyto manuscriptpaper using three staves.

.Ii

.1.

Phryglan

..

l. .f

--

Fig. 1.

I U I
III
IV+'

IIIx"

VI'

bIIIx I

I IV+'
I +.

II blIx /

VIIx J III pUI I

VlIx I III bIU I II IVo I

#1 /

II lVo /

bVlIx /

I +- VI I II III I IV+'

IV + - IVm I III bIIIx / U bIIx / I II /

UI bIIIx /

DU'

II='

II /

III

VI'

VI' IIIx I- I

II bUx I 1+'

IIIx I

bIIx I

VI I

bW,I

IV +. VIIx /

l J".

.b.

- - -

I 1+0 /I

DAl'\CING ON THE CEILH\'G-Lyrics by Lorenz Hart, Music by Richard Rodgers

() 1930 (renewed) Warner Bros. Inc. All rights reserved.
Used by permissicn,

Fig. 2 illustratesa drill using scale fragmentsin sixteenthnotes. Since

a hall-notechord permits the use of eight sixteenthnotes in the right hand,
it is possible to play the entire scale.

108

..

II

b1IIxI

I II /- III

"

DRILL: Write or playa sixteenth-notescaleline on the chords in Fig. 1.

keepinga steady quarter-noteloot beat

1\

......

Dorian

....

LydIan

.1

--

..

109

Phrygian

\'.

..

h.

--

,.,
I

__

......

....

.....

ltI

..

,.,

....

Lydian

Dorian

,.

.. .fl.....

Lydian

..

II

110

. ......
,....
...

, t!J

Phrygian

Aeolian

Ionian

LESSON

52.
Rhythmic Combinations

- -

As in Lesson 38, when treating arpeggios, we will now proceed to

combine the rhythm values using the scales as a framework.
Fig. I is a bass line for "Round Midnight," in the key of E p minor.
Transfer the melody to manuscript paper using three staves and noting
key changes.

1Il

Fig. I

(Cb) VI Viz / bVo ViI bVIIx / VI Ilx / IVm bVllx IiI Vix /
(Cb) II V / I Ilx' s / bV VIIx /
(Cb) bVo

vn bvIIx

(Eb) VI</>lix
(Cb) II

Vll 3

112 vn

(Cb) bvilm
(Cb) IVm

bVIIx / VI VIz /

-;,

/ VI IIx / rVm bVIIx III vIx / II V / I IIxb5 II

blIx /1+

6 /

VI; IIx / V bflx / VI; IIx / V Ix II

IiIx / bV; VIIx

bIlIx VII bVIIx I vi

svn, III

IIIx

IiI vix

Ii V

1m

IVx I
II

vii! / bVa vII bvIlx I VI I1x I

vi

VIx I II V I I IIxb5 II (Eb)

Iix

V::3 bIrx

...

(Eb) 1+6 II
"ROUND MIDNIGHT-Lyrics
Thelonious Monk

by Bernie Hanighen, Music by Cootie Williams and

C 1944 (renewed) Warner Bros. Inc. All rights reserved

Used by permisslon.

Fig. 2 illustrates a drill employing eighth-note, eighth-note triplet and

sixteenth-note values.
Fig. 2-

AI

IlV

II

IllV

A I

AI

l.

I.

I..

...

112

.....

...

.......

...

...

..
/

.... -IL

'.

...

l.

A ,

...

1-....

---z-/

/
113

h ..

-.r

"

.fI- .... ...

101.

1...
..

-.

-:I

DRILL: Write out or playa scale line On Fig. 1 using eighth-note, eighthnote triplet and sixteenth-note values.

4J

1:- .fL

il

AI

II

Itl

-..

LESSON

53.

"

"

----

-.

,.

.,.

Rhythmic Composite (ballad)

"' .,.,.

Justas we abandoned the melodyin Lessons 30 and 40 and applied

the arpeggios to a rhythmic composite, we will now apply the scales of
the chords using the same process.
Fig. 1 is a rhythmic composite ora ballad.

AI

tI

114

---

Fig. 1.

115

Fig. 2 is a bass line for "Have You Met Miss Jones?" in the key of
F. Transfer the melody to manuscript paper using three staves. Note
key changes.

.... .

Fig. 2.
(F) I / #10 / II / IVa / III VI / IIx"a
(F) II / IVa

(Cb) II

II

bUx / I

.#10/

I W VI / IIx'" I II V I (Bb) II bili I I VI I

blIx I

I VI / (D) II

bIIxI I

VI

(Cb)

n bIu I

(F) IT bUx / 1/ .#10I II / V / bVmbWo / II bIu /1+

1/1+'

11

11

/I

HAVE YOU MET MISS JONES-by Richard Rodgers and Lorenz Hart
Ii:) 1937 by Chappell & Co. Inc. (') renewed.
International copyright secured. All rights reserved.
Used by permission,

Fig. 3 is a drill applying the scaIes

of the bass line in Fig. 2 to the composite in Fig. 1. In each case the required mode has been followed,although
the starting point of each phrase has not necessarily beenthe root of the
a possible starting or ending point.
chord. Each note of the mode becomes

.......11-.....

..

11

..,

...
-v-

116

"

..

J.l

-J

Using Fig. 3 as a model, play or write out an improvisationusing the

composite and the scales of the bass line m Fig. 2.

"

e!!I'"""I

..,

Fig. S.

'f'

eI

!"""!""'I'

.
-..;:;

j",.o,,;;;I

.....

...

117

"

..-

..

.,

itJ

_3

#.

:I

-.r

-.r::::i-

....

,,t

...

"
_

AJ!

....

I.

.. ...... 1e:

-itJ

LESSON

54.
Rhythmic Composite (up-tempo)

"

As in the arpeggio study, the composite is simplified in up-tempo

tunes to insure a strongerfeeling of swing. Fig. 1 is a possiblecomposite
for an up-tempo tune.

-I'- .....

;::::-.-

tI

3-

Fig. 1.

..
"

-itJ

L.l-

..

rnri , j)

:(!;. ........
3

Fig. 2.is a bass line for "Lullaby of Birdland,"in the key of B. Transfer the melodyto manuscriptpaper using three staves.
Fig. 2VI+8 bV", I VIIx. nIx. I VIS' VI I u lVo / ill VI I II V /
I IV / vn llb: I VI+8 bV</>
I VIIx llb: I VI S r VI / II IVo I

UI VI/II
V / I bIIx I 1+ 8 / III.,. bll h I II / II</>bIIx. I
8
I / IIIop bIIIx I II 11141blli I I IV VII Illi I VI+ bV</> I
8
VIIx IIIx I VP' VI I II IVo I ill VI / II V I 1 hlIx / 1+ /1
1I8

LULLABY OF BIRDLAND-by George David Weiss and George Shearing

1944-1945 Michael H. Coldsen, Inc. renewed lIJ72.
Used by pennission.

119

Fig. 3 is a drill based on Figs. 1 and 2. The student will notice the extensive use of rest values in Fig. 1. Silence also swings.The beginner will
tend to play too many notes but should strive for the "punctuation" that
characterizes a good line.

Fig. 8.

lot.

'0

,.

..

,.

120

"

121

--

SECTION

..

LESSON

VII

55.

-,...

The Chromatic Tones

In the previous chapters we have studied the following elementsof
the twelve tones in the octave:

..
1._

...

*k.
;J

CI

1. Arpeggio- four tones of the octave

2. Scale - seven tones of the octave except diminished

_.
I

Now we must consider the remaining five tones of the

r

M.Som and

4>scalesand the remaining four tones of the diminished scale.

I"

..

Fig. 1 illustratesthe fivequalities on C with the accompanyingscales.

T'

Fig. 1.

T'

i\

..

iJo

CI

Cm

ex

CM.

:
I

l'

.......

.r

...

V ..

.......

Co

122

123

Fig. 2.

The following table indicates the omitted tones in each scale:

CM: Db- Eb- Gb - Ab - Bb
Cx: Db- Eb - Cb - Ab B
Cm: Db- E - Cb - Ab- B
C+: D - E C A B
Co: Db- E - G - Bb

(G) VI

/ II bIIx

(G) I VIIx

bVlIx VIx

I I II I
I VI

bIDo I II VP I II bIh I
bIIxII II I m bIllo I

(G) II VII / II bllx: /1+'

#1 / 1+- VI I II IVo I III bUh /
4
(C) II bIIx I I 1+ I (A) II IVo / III VI I II bIIx I
(G) II II. VII bVlIx
VI IIxb ' I II blli:/ I II / III bIDo /

It is a good rule in jazz improvisation to avoid more than four consecutive chromatic tones. The chromatic scale involves all twelve tones
and therefore cannot infer any specific chord.

(G) II

VI* I

II bIlx /

1+-

1+-

II

J COVER THE WATERFRONT-Lynes

by Edward Heyman, Music by Johnny Green

It 1933 (renewed) Warner Bros. Inc. All rights reserved,
Used by permisston.

One of the most effective ways of utilizing the chromatic tones is as

follows.

1. Treat the root, third, fifth, seventh and ninth as principal tones.
2. In approaching a chord, choose one of the principal tones as a "target"
note.

Fig. 3 illustrates the use of chromatic tones in a scale-arpeggiodnll

with no particular rhythmic pattern. Using this figure as a model, write or
play an improvised line on the chords of Fig. 2 using chromatic elements.

3. Pass through the chromatic tones a minor second each side of the
"target" note, then into the "target" note.

Fig. SCHORD

PRINCIPAL

TONES
II

AIJ

CHROMATIC
TONES

D
F
A
C
E

C#-Eb
E -Gb
G#-Bb
B -Db
D#-F

G
B
D
F
A

F#-Ab
A#-C
C#-Eb
E -Gb
G#-Bb

124

into D
into F
into A

ii""

tI

II ..

Eb-C#
Cb-E
Bb-C#

AIJ

tI

-I

,.

_, ...,

tI

Db- B into C
F -D#
into E

Fig. 2 is a bass line for "I Cover the Waterfront," in the key of G.
Transfer the melody to manuscript paper using three staves and noting
key changes.

l.

B -Db
D#-F
G
F#-Ab
B
A#-C
D
q;-Eb
tones may move in either direction before resolving to the
pnnctpal tone although modern idioms prefer the descending form:

tI

--

.1.

..

l.

-125

ALl.

11Moft
CJ

--...

---.. .......

II

ALl.

., &...-.1.

.-

CI

3-

-"4

IIJ)

CJ

a...

..

.fl..

LESSON

56.

..

.,
The Sensitive Tones
We have now studied sufficientjazz material to understand the basic
tonal principles of the art form.
Jazz employs a sixty chord harmonic system over which is played a
twelve-tone melodic line. Fig. 1 illustrates the vertical movement of jazz
harmony referred to in Lesson 1, Fig. 2.
Fig. 1.

...
1

11

13

..

As part of a weD conceived line, these tones can bring a tonal interest lacking in the root, third, fifth and seventh. By themselves,these
tones are of little value; they are to be consideredoccasionaltensionpoints
of a twelve-tone line.

Fig. 3 is a bass line for "'Nightand Day," in the key of EO'Fig. 4 is a

drill illustratingthe use of the sensitivetones.

Transfer the melody to manuscriptpaper using three staves and noting

key changes.

We have given careful study to the root, third.fifth and seventh; we

will now consider the ninth, eleventh and thirteenth in relation to the five
basic qualities (major. dominant, minor, half-diminishedand diminished).
CHORDQuALITY
Major

SENSITIVE
TONES
9 - IU

Dominant

9 - "9 - =9

Minor

11 ('S) '11
IS "13
9 - 11
9 - 11

Half-diminished
Diminished

Fig. 3. "Night and Day,"

pick.....

(Eb)
(Eb)
(Eb)
(Eb)

I //

bVIM

/ V / I / I +- /

bVIM

/ V / I / VI /

bW /

hili /

I / I / bVIM / V / I /
VIM
1+- I b
I V / I / VI I bV4>I IVm I III I bIIIo / II I
IVm / III / bIIIo / II /

bUx / I / 1+- / (Cb) I II I III I / (Eb) I II / III I I

(GD)I II I III I I (Eb) I II I III VI I bW I IVm I III I
(Eb) bIII o I II I bIIM I 1+- / 1+- /1

9 - 11

NIGfIT AND DAY-Words and Music by Cole Porter

1932 (renewed) Warner Bros. Inc. All rights reserved.
Used by permission.

See Fig, 2.

Play an improvised line on these chords emplOyingthe sensitivetones

using the following Fig. 4 as a model
Fig. 4.

Fig. 2.
CI

..

eMS

128

II I

"

CI

CM#l1

Cx9

Cx bs cx#9

Clt l1 (# 3)Cx# 1l

1Y.
I

.....

.......

:
129

......"'..

1....

AI

"

.........-

&I

AI

AI

&I

.......

1
.....,

-:0-

......

AI
r

III

.......

Al

""""

--

..

'P

.fL

..

AI

1t.

&I

"-""

&I

.....

.....

-4/"

.....

"I'

.411

AI

..

... h.. .fL

-........

&I

130

,....,

41.1..
...

"

rw

.....

......

...

.........

:
131

......

AI

er

Fig. 2-

Fig. 1.

."..1"
.-

1,

.....

WJ

Foot beat

I.

WJ

h.

---

do

1.1

>-

>-

:>

:>

:>

Foot beat

:>

-,

1""""'\

."

Fig. S is a bass line for ''Easy To Love," in AbThe sheet music appears in G and must be transposedto Ab.Transfermelody to manuscript
paper using three staves. Write or playa line on Fig. a applying syncopation using Fig. 4, which illustrates this process, as a model

Fig. 3.

bIIh / II / bIIx / I I II I III / hUh I II I

I /
/ II</>I IVI/>I III I bIlla I II VII I Ill</>bUh I
II I bIIx / I I II I III I VIx I II III / IVm bVIIx / III I

II VII/III'/>

v,. I
I. ,

bIIIo I II !

,eJ

EASY TO LO\ 'E-by Cole Perter

1936 by Chappell &: Co., Inc. renewed. Assrznedto John F. Wharton, Trustee of
the Cole Porter Musical and Literary Property Trusts.
International copyright secured. All rights reserved,
Used by permtsslon.

Fig. 4..
/I

57.

WJ

Basic Syncopation

A thorough study of jazz syncopation is beyond the scopeof this book.

Jazz syncopation appears on many levels. Our concern is with syncopa-

AI

tion in the improvised line. Fig. 1 illustrates a series of even eighth notes
played against a quarter-note beat. Notes 1, 3, 5 and 7 are the "strong"
points in Fig. 1. Notes 2. 4, 6 and 8 are the "weak" points. By tying the
tones in Fig, 1 together, the "strong" points of the series are disrupted
(Fig. 2). This is basic syncopation.

132

I 1+' I 1+- /1

"

LESSON

bIIx

--. --- .....

,;-

I....

....

..

\,

--

-.

...

133

I ,

eJ

.'
J\

s:-.

... ./IL !: it./IL

...-

"I . ...n

--

---

1 ....

..

.......".;; 1"",..=

..
--...:;

t:=:=

..-.

-eJ

- .....

....

=:1-1

rooo-

-...ol

t:=i-'

.
" ,.

-..

CJ

-....;;;

_...

_.
q

!.."''''-

\:.
'

I
!34

..

DRILL: Practice the sixty arpeggios in syncopated eighth notes as in

Fig. 5.

<1-

Fig. 5.
CJ

...

Foot beat
I

etc.

135

The use of accent in an eighth-noteseries,as in Fig. 2, is of theutmost

importancein creating rhythmic interest in a jazz line and should be carefully studied by the pupil

Practicethe sixtyscales in syncopatedeighth notes (Fig. 6).

Fig. 6.

Fig. 3 is a bass line for "Makin' Whoopee," in the key of A! Fig. 4

illustrates a drill on Fig. 3 employing the use of accent. Wedges over the
tones indicate the accent points of the line.
I

Transferthe melody to manuscript paper using three staves. Write or

play a line on.Fig. 3 usingFig. 4 as a model,

etc.

Fig. 3.

pIdc-

blIxII I #10/ II V / Vm Ix I IVm bV1Ix/ III vr z jm

I
VI' billa I II pili I I jIo I II V / Vm Ix I IVm bVIh I
DI VI I bIll bVIx I 1+" II I ;tllo VI I Vm Ix I IV +. I
IVm bVDxI I II #fio III I Vm Ix I IV+' I IVm bVIb: I
III bIIIx II bIlx I I #10 / n V I Vm Ix I IVm pVIIx / III VI I
<I

The study of both Figs. 5 and 6 should be accompanied by an uninterrupted quarter-note foot beat.

<I

LESSON 58.

pIll pVh I 1+'

Accent
In addition to syncopation,the device of accent is valuable in creating
rhythmic interest in a jazz line.
Fig. 1 illustrates the scale of C in eighth notes played with a quarternote foot beat. Here, the accented tones fall on I, 3, 5 and 7 which are
also the accent points of the foot beat.

II

1+'

MAKIN'WHOOPEE-Lyrics by Gus Kahn, Musk by Walter Donaldson

U.S.C 1940(renewed) Warner Bros. Music Com.All rights reserved.
U.K.C 1928Bregman,Voceo,and Conn Inc. Sub-published by Keith Prowse Music
PublishingCo. Ud
Used by permission.

Fig. 4.
>

:>

1li#1f

.,

Fig. 1.

>

>

:>

I"

f"

:
.,

>
Foot beat

:>

:>

:>

I'"

:>
:>
.(1..,

'.fLk...

...
:>

.. k..

...
In Fig. 2, the accented tonesfall on 2, 4,6 and 8 which are struck while
the foot is in the air. 'Thestudent will find Fig. 1 easy to play. Fig. 2 will
be troublesomein the beginningsince the hand and the foot are in opposition to each other.

:
It a

:>

Jf.. .fL ..

.. \

:-

I. .. ".

:>

:>

:>

:>

1/#- 11- .. .,.. .. ..

:>

1f-k.

>L

tJ

Fig. 2.
lI!J ..;,

:>

:>

Foot beat

136

137

..

...

:>

:>

.,. Ii... f=...

....

:>

:>

.h.

>.-...

-4t/

....

C1

..

JJ,

-4tJ

Ada

;:- L

11

ii-

-i=t._ d

I.

JJ,

.;.,

JJ,_

__

::1.

..

11

>

.
>
..

Ad"

:>

:>

:>

I.:>

>.

'j

>

::0-

:....;""r

L>

"if. ....

;:

:>

1>101-

>

..

::>

::>

4L 't:. ji.

::>.

... ..

>

>

:>

.. :> -

> I'""'r'T"""

"'"

>

>

>

-===-

Fig. 5.

>

:>
I. ....

M..

DRILL: Practice thesixty arpeggios in accented eighth notes as in Fig. &.

11

it'

ft

- ....

::>

tJ

...

.... :>

:>

:>-

Foot beat
I

:>
I

Practice the sixty scales in accented eighth notes as in Fig. 6.

--

..
Ad
CI

138

>

..

..
-

>

_:>

::- :>

::>

:>

..

Fig. 6.

:>
tJ

'*;'
Foot beat

:>

:>

:>
:>

:>

;.

BothFigs.5 and 6 shouldbe accompaniedby an uninterrupted quarternote foot beat

139

LESSON

59,
Coleman Hawkins' "Sweet Lorraine" in G

In the course of some fifty years of jazz, there are many recorded
masterpieces of the improvised line: Book II will deal thoroughly with
this aspect of jazz. Since the reproduction of one of these masterpieces
can do much to reveal to the student all of the elements studied in this
volume, Coleman Hawkins' "Sweet Lorraine" (originally recorded on Signature 90,001.reissued on Brunswick, LP BL54016) has been included

here.
This recording involves two improvised choruses by Hawkins. These
two chorusesare undoubtedly one of the great moments in the history of
jazz improvisation; they also employ every device described in this text.
The student is strongly advised to make a thorough study of these two
choruses using the following outline as a course of study.

1. Scale and arpeggio analysis.

2. Rhythmicvalues.
3. Rest values.
4. Syncopation.
5. Phrasing:
(a) starting points.
(b) the bar line.
(c) contrast.
(d) punctuation.
6. Chromaticistn.
7. Accent.
8. Over-all architecture.

AI!
lei

It ....

--

-.' -

..-..k!.

-r

"

3
,.;,...,

I::::Po..

,'-'

,,'-"

-.

..!-

='

3-

SWEET WRRAINE-bv Parrish. Burwell

Q 1928 by Mills Music. Inc. Cl renewed. All rights reserved.
Used by permission.

140

141

Ali.

tJ

"I'

"

",

......

..........

AlJ,

'"

CI

gtisS.1 gliss.

--...

..

tJ

Au

""'"

l. "

gliss. glis s . gliS s. gIiSS'glist.glissl

5
A1

IIiii

-5

III"!!!

--

"I"

tJ
3

---=

.....,- .....

=::t:1

I. .

Au

, ........,

If)

.,

gliss .

tJ

.,-

Au.

.,.

...

gZlsS.

<D

"Uss.

.. I-

.,

"1

:@1.

A"

r:=-'I

'" ,

:
3

..5-

'r

"

Au.
tJ

.s,

........r!il

-r

"'"3

Au
CI

.. -

iiiiilooooI

iiiiiiiiiiiiiii

3
Jl .

-1..1

AlJo
tJ

_..

..
c::=::;iiiiil

-.
lo.....t;;l

'"

stus .

:
142

143

3_

Al.I

10

III

IV OVIIM III
HI

II

..
3

.,

tI

.,'

10

10

10

10

10

10

10

10

III

10

Vlx I
7

10

V I

bVlx II
10

10

III

IH

IVm bVlIx III VIx I bIlI bVlx II V / I bVIIx VIx #10 I

.....-ol!!!S -

10

V 1m IVx / Ivm bVlIx III VIx / bIlI

10

Aa

10

VIx / II V 1m IVx / IV bVIIM III

10

===

.,

l"'""l'-"l
3

II

10

III

10

III

10

III

10

III VII bVIIx / VI Ilx Vm Ix I 1m IVx VII lUx /

W

Vlx bIlI
1(1

III

II I

10

bVIx / II

HI

III

III

10

10

10

IV V / I Iil" bV IVm I

II

The following is a left hand stride solution to "Sweet Lorraine"

with a new chord appearing on every beat of the tune. This is a paraphrase of a stride treatment of this tune by Art Tatum (originally recorded 2/22/40 on Decca Label 8715).
The following table explains the code used in this treatment:
100Root, 7th, 10th (5-2-1 fingering)
7-Root, 3rd. 7th (4-2-1 fingering)
3rd, 5th, Root (5-3-2-1 fingering)
3rd Inversion
2nd Inversion 3-Sth, Root 3rd. 7th (5-3-2-1 fingering)
This treatment employs all three spans (see Volume 3, page 18), and
quick "rolling" may be essential for smaller hands.
Each tenth is individually pedaled.
On a first reading, the student will notice several tension points in
relation to the melody and harmony, but as the forward motion begins to
take place, these tension points will disappear.
pick-up

10

10

10

10

10

10

10

10

10

10

bIlx I I bVIlx VIx #10 / II II2 VII bVIIx I VI I1x Vm Ix I

10

10

10

10

1m IVx VII IIIx I III VIx bIII

10

10

bVIx I II III

10

10

IV IVo I

to
10
10
10
w
7
1<I
7
7
III
7
10
III bVIIx VIx bUh I II bVIx V blIx I I bVIIx VIx #10 I
lO

10

10

10

10

10

10

II IJ2 VII bVIIx I VI I1x Vm Ix I 1m IVx VII lib

lU

III

VIx bIII

Vm bib
144

10

10

bVIx I II

io

III

10

IV V I

10

F" VI

bVI I

Ix bV I
145

SECTION

LESSON

VIII

LESSON

60.

To a jazz musician, the blues means a fairly fixed set of chords or

"changes." These chords have evolved from the archaic folk music of
America and can be heard in the recordings of Blind Lemon Jefferson,
Big Bill Broonzy and LeadbeDy (Huddie Ledbetter). All jazz blues involve the 1, IV and V chords in a 12bar form.
From this prehistory of the archaic blues hasslowly evolved a conventional set of chords which most musicians accept as representative.
These chords are as follows:
Fig. 1.

Ix I IVx I Ix I Vm Ix I IVx I IVx I I II I III bIIIx I II V / II V 1/

(2)1+ 6

IJ rv

:+1\10/ VIi! bIIx Ix

The Blues (melodic)

The melodic aspect of the blues is of much greater signiflcance than

The Blues (harmonic)

6
(1)1+
bIIIo / II V t

61.

1/

the isolated chord charts studied in Lesson 60. A strong feeling of the
blues has characterized all great melodic improvisation. In this sense
the blues represent, along with ragtime. the basic substrata of anjazz.
The basic idea of melodic blues lies in the "twang" of the sliding
and crushedtones present in all archaic guitar. These inHected tones have
been simulated on all jazz instruments including the piano. Of all the
instruments, the piano is in many ways the least effective in creating a
blues feeling since once a tone is struck it cannot be changed or even
sustained for any length of time.
On the piano, "blue" tones are usually achieved by crushing one
tone into another (Fig. I). Because of the physical structure of the keyboard, the most effective positions are those in which a black note can
be crushed into a white note [ (b) and (c) in Fig. 1 }. The reason for
this is that the same finger can be used for both tones by applying an
arm stroke to the tones. This is called falsefingering. This is impossible
in (a) of Fig. 1 which requires two Bngers to execute.

Fig. 1.

(2) represents the final close ending the blues and is traditionally called
a seoen-beater(seven beats to the end - the last beat is not played).
Otherwise the first ending (1) is taken and the twelve bars are repeated
over and over. In the second ending the rhythmic pattern of the nal bars

isasfoDows:
J J J/JnJIII
A more modern fonn of the blues
evolved by Charlie Parker in
the forties and. while respecting the main "pivot" chords, this new form
contains many harmonic sequences not found in the traditional form:

was

,@
(a)

(b)

(c)

This principle can be extended to two or more tones played simultaneously.

Fig. 2.

Fig. 2.

1+ IV I VIIm nIx b' I VI IIx II' J Vm Ix b' I 1m IVx I IVm bVIIx /

VIx;' I n V / IT v II (1) 1+' bIllM I bVIM V.I/
(I)
1+. bIIx I Ix II' II

m I

There is no "melody" for the blues. Many tunes using the term or

title of blues are not "blues" in the sense referred to in this chapter; these
tunes evoke a mood sometimes referred to as "blue" - this is a poetic

46

reference, not a musicological one.

Transfer Figs. 1 and 2 to manuscript paper and write or play an improvisation on the chord changes. Explore Figs. 1 and 2 in twelve keys.

In any interval.one tone (usually the lower) can be crushed while

the second is held (Fig. 3).
Fig. S.

147

The most familiar sound associated with these crushed tones is that
of the augmented ninth crushed into the major third when playing a
dominant chord.
Fig. 4.

Fig. 6.

..

b..

.... -

...

Itl

--

These devices can become tiresome if not supported by an otherwise

interesting line; used occasionally they can be effective in bringing a blues
feeling to a jazz. improvisation.

Fig. 5.
jl!Jl

1+'

IVx /1+'

IVx / I II / III VI Vm

bVI

IVx bVbl / IVx IVm /

IVx bVP/IVx

Vb

WILLOW WEEP FOR ME-by Ann Honel!

.....

til

.
JI.

fI-_
:'..

...
. .---........
.

..

..

......

=-....'"-00...1
."'.1.
v

--

_.

..---:. ..-.

ilJI

1932 by Bourne Co. 10renewed.

Used by permisslon.

148

... .-...

i.

1+" bVIx: / Vm bV / IVm lIt/>/ 1m h bs /

Im IVx: bVIIm bIIb / bVI hili Vm Ix / IVm II<fl/ 1m Ixb S /

Im IVx bVUIll bII h / bVI blIx: IT blIx: / 1+' IVx / I + I IVx / I II /
III VI Vm bV / IVx bVb s I IVx Vb S / 1+' / I+s /I

..

Fig. S.is a bass line for "'WiDow Weep for Me." Fig. 6 illustrates an
improvised line on Fig. 5 employing "blues" devices. Transfer the melody
to manuseript paper using three staves. Write or play an improvised line
using Fig. 6 as a model.

III hIIh / II bIIx: / 1+' IVx / 1+' IVx / I II / III VI Vm bV /

J......I

.ft. ".

."..101.

"

..-.

.f:r. *'

.,.

-a
/

"

iJf
149

..

...

el

.......

..
/

rr:

...

1.-

"I'

.........../

II

.. k..bA..

,.

"'-I

. . .. .. ..
.,

-.,

,;---.1, '-+-J

.-

"

l""o.ol I

................ 1....... - 1,..1._b&.r

til

oJ

IT

,..

liiiiiiiC:::::::

.. ,-

-I

....

iiIiiii

WI

"II'"

." .

.1..

AI&

(I

lI.I

150

-----

#0 ....

....1-.

(I

..

#0 ....

,
T'

eI

#Oil

-,

..

do

...

tIl

#0

A ....

"",. .J:""':l.

151

SECTION

LESSON

If we place a number over each letter relating to the key of C. we

derive the following:

IX

Fig. 2. Jazz circle.

62.

Patterns-Circle of Fifths

It is apparent to the student from even a casual examination of the

bass lines in the previouslessonsthat each tune uses patterns which are
commonto all other tunes. These patterns occur in several designs:

1. Circle of Fifths.
2. Diatonic.
3. Chromatic.
Fig. 1 illustrates the twelve keys in the natural order of their signatures (C - no 1:; no b ; G - 1 S ; D - 2 J; etc.).

Fig. 1. Jm circle.

F""'-

B(

(
\

Ep

--"""G

Circle of Fifths

Ab

<,

"\

In practical terms, this means:

V normally moves to I;

F#
""'"'--Gb--"

The circle can move clockwise through the sharps into the flats or
counterclockwise through the flats into the sharps.
The jazz circle moves counterclockwise.

152

II normallymoves to V;
VI normallymoves to II;
III normally moves to VI; etc.

The followingpatterns employ the circle of .fifths:

Il- V-I
I1I-VI-n-V-I

III41-VIx- II</>
V I
VIIm - IIIx- VI - IIx V - I
I-IV VIIm-III- VI- II- V-I
bW VIIx-IIIq;- VIx- IIt/l- V-I

These patterns should be practiced in twelve keys with both hands.

153

Fig. 3 is a bass line for "Pick Yourself Up," in the key of F. Note
the key changes. This is an example of a tune employing the circle of
fifths in a key series. Using the transposition method described in Lesson
32, transpose Fig. 3 into twelve keys. The key series in Fig. 3 is as follows: I - II - III - I. Improvise on Fig. 3.
Fig. 3.

(F) II V / I IV / VII IIIx / VI IIx I V IV / III hIlh /

(F) II hili / 1+" / (G) II V I I IV / VII II1x I VI ili /
(G) V IV I III bUb: / II bili / 1+- I (Ab) I II / III VI I

(Ab) bVIx V / I I (F) III. bVcp' I lIP VI / V IV I

(F) III bIIh I II V I I IV / VII IIIx I VI lIlt / V IV /
(F) III bIIh / II bili / 1+ /I
PICK YOURSELF UP-hy Jerome Kern and Dorothy Fields
(;) 1936 T.B. Harms Co. e renewed % The Welk Musk Croup.
International copyright secured. All rights reserved.
Used by permission.

Fig. 2.

(Ab) II III / IV V It / I II / UI bIlIo / II III / IV Vb"

(Ab) I II / III IV / (C) II III / IV Vb" / I II / III bIlIo
(C) II III / IV Vb. / I IlIo / (Ab) V IV III bIlb: / II III
(Ab) IV Vb o / I II / III bIllo / II III / IV Vito I III;.
(Ab) bUb: / II III", I bVIb: VIx / #10 II / III IVm+

I
/

I
/

(Ab) VI- bIll o / II bili / 1+ / 1+" /1

TEA FOR TWO-Lyrics by Irving Caesar. Music by Vincent Youmans
(;) 1924 (renewed) Warner Bros. Inc. All rights reserved.
Used by permission.

LESSON

64.

Patterns-ebromatic
Chromatic patterns also appear in short fragments. Common chromatic patterns are:

n - blli- I
III - bUIx-II - bIIx- I
I - #10- II - #IIo -III
m- bIIlo -II - bIIM - I
bW-IVo-III. bIIIo-II- hlli-I

LESSON6S.

Patterns-Diatonic
The term diatonic refers to the normal major scale. Diatonic patterns
move through the steps of the scale both ascending and descending.
Diatonic patterns usually appear in short fragments and are often
combined with chromatic or circle patterns (see Fig. 1).
Fig. 1.

I - n - III - bIIl- II
I- VII - VI- bVI- Vm
Il - III- IV - #IVx- V
IV - III - II - bili - I
IV - V VI- bVh- V
VI- V-IV -II1-II- V I

Practice these patterns in twelve keys using both hands.

Fig. 1 is a bass line for '"Jeepers Creepers,"in the key of Bb. Transfer the melody to manuscript paper noting key changes. Transpose to
twelve keys using the foUowingkey series chart: I - IV - V - L Improvise
on Fig. 1.
Fig. 1.

bV</> IVo

/ III bIIIo I II bIIx / 1+

bIb: I 1+1l VI I bV;.
(Bb) II blIx I 1+" VI / bV</>lVo.j III
(Bb) I+1l #IVo / (Eb) II IVo / III bIIIxI
(Bb)

(Bb) III

bIIIo I n

Practice these patterns in twelve keys using both hands.

Fig. .2is a bass line for "Tea for Two," in the key of Ab. As in the previous lesson, transpose Fig. .2into twelve keys; the key series is I III I.

VI I bVcjlIVo I
IVo I III billa I
hIIIo j II blIx j
II blIx / I VI I

(F) II IVo I nr bIIIx / II bIIx I (Bb) v'* V I bV</llVo I

(Bb) III bill o / II bIb: I 1+' VI I bV</>IVo I III.; bIIIxI
(Bb) II IVo / VI- bIIIx /

.54

bIb: / 1+1l /I

JEEPERS CREEPERS-by Johnny Mercer and Harold Warren

Cl 1938 M. Witmark & Sons (renewed) Warner Bros. Inc. All rights reserved.
Used by permission.

155

SECTION

To avoid this, minor jazz harmony has evolved as follows:

Bass line - ascendingmelodic;

Inner voices- harmonicminor.

LESSON65.

Combining these two elements. we derive the following minor scaletone chords in C minor (see Fig. 4).

Fig. 4.

Minor Scale-toneChords

t)

Jazz is almost exclusively a major scale music. There are probably

only five or six "authentic" (begin and end in minor) minor tunes in all
jazz repertoire. However, the minor scale-tone chords are used a great
deal in smallfragments and are, for this reason, very important.
The jazzmusician approaches the minor tonality in the same practical manner he approaches all musical problems.

lIt)

r+

II

IV

VI

VII

....

inner-voice scale

e;

...

Bass-line scale

The following minor scales are the frame for most "classical"music:
1. Harmonic minor - combination: 02 122 1 3 1 (Fig. 1).
2. Natural minor - combination: 0 2 1 2 2 1 2 2 (Fig. 2).
3. Melodic minor - ascending combination: 0 2 1 2 2 2 2 1 (Fig.
S); descending combination: 0 2 2 1 2 2 1 2
(Fig. 3).

The minor scale-tone quality values are as follows.

Posrnos
I

CBOBD
minor large
haIf-diminished

In

SYMBOL

mL
t/I
M+

major augmented

IV
Fig.l.

Fig. 2.

t
t

..-

II

vn
Fig. 5 illustrates

.....

I,.

&.

,.

Fig. 5.

rl:

t)

...

b. :i

... I

n - v.

156

..'. IV

.. .... ...
"

...

..

...

VI

t1

TO

VII

...

Inner-voice scale

"-

Of course, the most effective "vertical" sounds are derived from the
harmonic minor. However. the use of the b6in the bass line destroys
familiar patterns such as I VI

t/I

theminor scale-tone chords in G minor.

Fig. 3.

4.

dominant
hal-diminished
diminished

V
VI

....

Vr

Bass-tine scale

157

Fig. 6 illustrates the minor scale-tone chords in D minor.

II

Fig.6.
tl

..
I

Ii
tl

IV

...

VI

A minor scale-tone chords.

Ii

..,
VII

Inner-voice scale

..

... ... .. -

E minor scale-tone chords.

It

..,

,.

Ii

Bass-line scale

141.1

....

.>HP-

"

Fig. 7 illustrates the minor scale-tone chords in the remaining keys.

Fig.7.

Eb minor scale-tone chords.

#.

..,

II,.

B minor scale-tone chords.

Ii

..,

Bbminor scale-tone chords.

"

.... ,..

.. -

vw

F minor scale-tone chords.

"

ill

ADminor scale-tone chords.

Ii

.....

158

"

...

,.

...

F# minor seale-tcne chords.

159

C# minor scale-tone chords.

Fig. 9.
(d ) I + I VI

II b1Ix

I + I VI

II

hili I

I +.

I.

11m. I

I mx I VIx I IIx' II pIIx I I VI ,

(d) II I bIIx I 1+' VI I II bIIx I I + I VI , II bIb: ,
(d) VI I IIx / (Bb) VIIxt

(d) 1+

I.

11m. I

(Bb) II bIb: II
The minor scale-tonechords can be inverted in the same manner as
the major chords. Fig. 8 illustrates the inversions of the scale-tonechords
in D minor.

Fig. 8.
Ii

...

tI

..

'C-

(Bb) VlIxl1 ,IIIx

I (d) II , b1Ix I 1+" I 1+"

I
II

VIx

IIIx I

DRILL: Practice the minor scale-tonechords in twelve keys using both

hands.

66.

Minor Scale-toneArpeggios

-..:

VI , IIx

YESTERDAYS-hv Otto Harbach and Jerome Kern

1933 T'B, Harms Co. (J renewed % The Welk Music Group.
International copyright secured. All rights reserved.
Used by permission.

LESSON

VI

The minor scale-tone chords involve two new qualities: I which is

mL and m which is M+. The minor large chord has appeared before as
a suspended minor. The major augmented hasappeared as a suspended
major.

Arpeggiosfor these chords follow the tones as they appear in the

chords.
Fig. 1 is a bass line for "My Funny Valentine," in C minor. This is
not an authentic minor tune since its final resolution occurs in major.
This is characteristic of many tunes in the jazz repertoire. Transfer the
melody to manuscript paper and play the appropriate arpeggiosof the
chord changes. Note the key change.
NOTE:

The diminishedchord is always in root position.

Fig.l.
I

Fig. 9 is a bass line for "Yesterdays,in D minor. Transfer the melody

to manuscript paper noting key change to Bbmajor and the return to D
minor. Since "Yesterdays"is written in half-time, the time values of each
melodic tone must be doubled in order to create the necessaryrhythmic
framework for a jazz improvisation. Thus:

160

J. becomes J.
J becomes J

J becomes D
J becomes J

(c) 1+ 1 / I. / Im , I VI I 1V" Vm I IV IV. I II , hIIx /

(c) I + I I I I / 1m I I VI I (Eb) IV I m blIIx I IT I bIb: I

I IV IV</>I m bV1Ix I VI bVIx Vm bV I

(Eb) IV II / (c) II bIb: / 1+" / I. / 1m. I VI / IV: , IT: V I
(c) Im VIlx I (Eb) Vm bV , IV m , II bIb: I 1+" / 1+ 1 /1
(Eb) I / IT I ill

MY FUNNY VALENTINE-bv Richard Rodgers and Lorenz Hart

() 1937 by Chappell & Co:, Inc. @ renewed.
International copyright secured. All rights reserved.
Used by permission.

161

LESSON

67.

SECTION

MinorScale-toneScales

LESSON

The minor scale-tone scales follow the rules described for the major
chords. Scales
for the mL and M+ chords appear in Lesson48.

XI

68.
Open Position-Axis of the Seventh

The following is a bass line for "Just One of Those Things." in the
key of D minor. This alsois not an authentic minor tune. Many "minor"

The problems of style are beyond the scopeof this book. However,
some primary studies in tonal organizationare necessaryas a preparation
for future work in keyboard conception. These primarystudies are derived from the major scale-tonechords and involve a Simplerearrangement of the tones.
Fig. 1 illustratesthe normal scale-tonechords in the key of C in what
is called closedposition.

tunes such as this and "My Funny Valentine"start on the VI of the final
major key which is often referred to as the relative minor. It is more
practical to think of it as VL

Transferthe melody to manuscriptpaper noting keychanges.Abandon

the melody and play appropriatesca1eswith the chord changes. Improvise on the bass lines in Lessons 65, 66 and

rn.

Fig. 1.

(trbIh 1/ 1+ 1 I VI I II I V I (F) Vm I Ix I bW I
(F) III I blIb:/ II I bIIx/ 1+- / #10/ II II. / (d) II

IVo I
pIIx /
(d) 1+ 1 / VI / II I V I (F) Vm I Ix / bV4>/ IVo I III / bIIIx I
(F) II / bIh / 1+ 1 I #JoI (Eb) II I V / I I #10 I II I V /
(Eb) 1+ 1 I Im IVx I (C) II / bIh I 1+' / VI I bW I IVo /
(C) III / billo/ (d) IV IV I / II bIIx/ I+t / VI I II I V /
(F) Vm / Ix / IV I
(F) 1+' / I+t

bVIIx/ III

blIb:I

II I

bIIx/

/I

1+' / I+t I

I
I

IV

VI VII

Fig. 2 illustrates the same chords in open position: root and Iifth in
the left hand, third and seventh in the right hand. This position of the
tones is calledthe axisof the seventh (seventh is top voice).

JUST ONE OF THOSE THINGS-Words and music by Cole Porter

C 1935 (renewed) Warner Bros. Inc. All rights reserved,
Used by permission.

Fig. 2.

...

In

162

...

IVV

Vlvnl

163

Fig. 3 illustrates the scale-tone chords of C in open position of the seventh.

axis

Inversions, being rearranged scale-tone chords, have no third, 6fth

and seventh as such. However, they are treated in the same manner as
normal or altered scale-tone chords. The Brst and third notes of the .inversion are played with the left hand and the second and fourth notes of
the inversion are played with the right hand. The student should remember that diminished chords cannot be inverted. Fig. 7 illustrates the inversions on the nve qualities, derived from the axis of the seventh. in the
key of Eb.

Fig. 3.
tJ

....

. ....
n

IV

VI

vn

....

Fig.7.

",

C1

Fig. 4 illustrates the scale-tone chords of F in open position of the seventh.

Fig. 4.

tl

..

..

.
V

VI

vn

Fig. 5 illustrates the five qualitieson C, open position seventh.

Fig.5-

:;:

....
,

ij

...
EbM

EbMi

,
I

E"M!

EPM2

"it

"'..

....
Eh

Ehg

Ebx:a

Eb4

.1

....
I

axis of the

E"o

G"o

Ao

Co

Fig. 6.

"

..- ..
I

CM

Cx

Cm

Cp

DRILL: Play the scale-tone seventh chords, open position, axis of the
seventh in twelve keys. All five qualities on twelve tones with
their inversions.

Co

GM Ox

Om op

Fig. 6 illustrates the five qualities on G, open position -

seventh.
164

,,

IV

axis

Go

axis of the

Fig. 8 is a bass line for "When YourLover Has Cone," in the key of
G. Transfer the melody to manuscript paper. In ad lib style, play the
chords in open position integrating the melody in octaves. (See Fig. 9.
Copyright laws prohibit exact reproduction of the melody.)
165

Fig. 8.

IIxb I bVlIx / bVIIx I I / I VI I

IIx/ #IIo I II I IVI/>I III blIIxI II bIIxI I I I / IVx I IV" I
IIx bl I IIxb ' I bVIIx I bVIIx I I I I IVm / ill / blI Ix /

I / I I IVx / IVx I IIx b 5

II I

bUM I

I I

..

"Ji
...

Fig. 9.

tJ

.J

..,

-flo

-e-

J J

IV,!

::u:

JJ"

--

bmx n

-u-

-Q-_-eI

IVx

-e-

".

-e-:

:A:.

,.,. . -

"U"

'1-I

I.

m_

-9-

--e-

etc.

IVx

IVx

II

Fig. 10 is a bass line for "'When Your Lover Has Gone." Play Fig. 10
integrating melody as in Fig. 9.

IVx
I

U""

"U""-

"U:

1/

1+'

"'HEN YOUR LOVER HAS

and Music by E.A. Swan
U.S. (') 1964 Warner Bros. Inc. All fights reserved.
U.K. 1931 Remick Musk Corp. Sub-published by Francis Day and Hunter Ltd.
Used by permission.

,.,

..-

tJ

....

-e-

-e-

IVm

"'U"

"U""

bmx

Fig. 10.

"1&
J

LESSON

.........

'1l::J';

"'"3:1:

69.

-e-

Open Position-Axis of the Third

JtJ'

:
I

Fig. 1 illustrates the scale-tone chords in Bh in open position, axis

of the third (third is top voice). The root and fifth are played with the
left hand. The seventh and the third are played with the right hand.

-e-

IVx

IVx

110

-e.:,

-eo

-u

:;:

---

"

tJ

.:;:

... ..

:
I'I'U'_-

bvnx
166

"U""

Fig.l.

VI

IV

..............
....
V

VI

vn

167

Fig, 2 illustratesthe scale-tonechords of

of the third.
II

Ab,open position -

pick""P

II II I bUx ' " I I I #10 I II I bIh:." I I / VI /

(Eb) II I IVo I nr I bIIIoI II I bUx"1 I I #10 I II I bIIx I
(Eb) I I #10 I
I bIIx " I I I 1+- I (C) II I pIlx I
(e) I I VI 1/ (Eb) II / brIx/ I I VI/II
I IVo z m / bIlIx I
(Eb) II I IVo / m blIIx I II V I bY. I IVo / III / bIlla /

axis

(Eb) #10

Fig. 2.

(Eb) II I bIIxbl / I VI / Vm
I

rv

VI

VB

Fig. 5.

Fig. 3 illustratesthe five qualitieson Db, open position- axis of the

(Eb) m</J
bIIIx /

VI /

1\ I

.....

#*
Fig. So

:
I

#10
1\

DPMDPxe#me#1i e#o
Fig. 4 illustrates the inversionsof the five qualities on
from the axis of the third.

IV / IVo / In

III blli I 1+" / I+t II

third.

bV I

-eD

......

....

-e-

#10

Abderived

-0-

....

......

-e-

..0..

..0..

VI

IVo

....
....

.....

J-&

....

......

0--

Fig. 4.
1

'--

1\ I

--

tJ

-e-

-&

bmo

-eD

1\ I

......

.
Gj&s

168

G#pl

G#,s:

0#.6
2

G#O

50

Do

Fig. 5 is a bassline for "I've Got YouUnder My Skin,"in Eb. Transfer

the melody to manuscriptpaper noting key changes. As in the previous
lesson,play the chords in ad lib style in open position,axis of the third.
integrating the melody in octaves.

Fo

......

......

bIIxPS

......

..-

.....
......

-Q-

.....

I'VE GOT YOU UNDER MY SKIN-by Cole Porter

CJ 1936 by Chappell & Co., Inc. 0 renewed, assigned to John F. Wharton. Trustee of
the Cole Porter Musk,t1 & Literary Property Trusts.
International copyright secured. All rights reserved.
Used by permission.

169

"

pe-

-9-

Cl

.......

-9"U'"

"U'"

-e--

-.
"

.......

DRILL: Play the scale-tone chords in open position, axis of the third, in
twel ve keys; all JIve qualities and their inversions on twelve
tones

.....

NOTE:

Inlx

101
.....

Both these chords and those illustrated in Lesson 68 are among the
basic devices used by jazz pianists when "camping" (accompanying
another instrument within a group).

Cl

'1D'"

-e-

VI

.0..

0-

IVa

LESSON

IVa

Open Position-Mixed Axis

.0..

-9-

ImIx

70.

By combining the two axis positions, it is possible to achieve a

smoother VOice-leadingthan is possible when only a Single axis is used.
Fig. 1 illustrates the circle of fifths described in Lesson 62.

Cl

.p...

m
A

l:!!:

-e-

bDh

.....

-e-

,-9-

iT

bmo

n
I

e
IVo

I
Vm

.......

m;

GV",
Dll

(
\

Eb

Ab

bv

IV

..

-e-

,e-

\
)

A VI

E III

'"

Db

-e.
VI

f.t
o

-eI

VI

v,#

n
I

170

IVo

/F

<if

Cl

0-

Cl

..0..

B VII

F#

......
If we playa descending chromatic scale beginning on the major third with
the circle described above, we derive Fig. 2 (the jazz circle, like the circle
in all tonal music. moves counterclockwise).

171

Fig. 2.
It

I .,

.,

.,

.,

Fig. 5.
3

.,

..

,.

.,

lli b1h I

(F) VI 11K/ VI IIx / II V / II V / Ix / IVK /

(F) I IV VIlm IIIx / VI Ilx / VI IlK / II V / II V / Ix I IVx /

(F)

""

bVIx

(F) II It'

IIx

blIxI

I / (G) IIa,

II" / II

bIlx11

WI' / II bIlK I I IV / VII II1K I VI Ilx I VI IIx /

"

(F) IT V / II V / Ix I IVx I bVIx 11K bili

'I

'I

..
Fig.4.

"

.,

.,

'I

"

-u

.,

'I

-u

..

:
L

I /I

Fig. 5.

H we play the circle a secondtime with a descendingchromaticscale

beginning on the minor seventh, we derive the following (Fig. 3):

Fig. S.

III III II /

7}

"1

'i:r

.e-

-u
:!l

-u

'7

.,

....

'I

H we combine Figs. 2 and 3, we derive the following (Fig. 4):

I

..

it.
l

.,,...

,..

Vir"

.,

'I

'7

.,

'I

II

172

'Ihe major third and the minor seventh have been chosenbecause the
dominantcircle formed by these intervals is the primary circle in jazz harmony.
Fig. 4 above illustrates a basic principle of antonal harmony which
is evident in any Bach Invention: In a circle of fifths,the third becomesthe
seventh and the seventh becomes the third.
Fig. 5 is a bass line for "Lover Man," in the key of F. Transfer the
melody to manuscript paper noting key changes. As in Lessons 68 and
69, play the chords in ad lib style in open position integrating the melody
in octaves.
Numbersover the Romannumeralsindicate axis to be played on each
chord to insure smooth VOice-leading.

'U

V-

-eo

V6"

t,

I
:

"1

....
'I

qv
I

'I

L?
....

-e-

....

'I

'1

LOVER,MAN (Oh Where Can You Be?l-by Jimmy Davis, Roger "Ram" Ramirez, and
Jtmmy Sherman
1941, 1942 by MeA Music, A Division of MeA Inc., New York, N.Y. renewed.
All rights reserved.
Used by permisslon.

173

LESSON

16-

-6-

t.I

7J
I

'1

.,

'1

'1

'1

<,;

'1

'1

'1

-tr

'1

'';'

7T
I

'1

BasicProfessionalPiano (melodic)

We now have in our grasp sufficient material to play what might be

called basic professional piano. III other words, most professional players
seem able to reproduce a simple but effective sound which fulfills minimal requirements. This sound does not demand a Horid technique and,
above all, doesnot sound like sheet music. It is based on one primary
factor that is usedin whole or in part by every professional pianist playing
today. This basicidea is open position - axis of the third and axis of
the seventh. However. the use of the octave melody in Lessons 68, 69
and 70 is awkward in that the phrasing of the melodic line must be constantly interrupted in order that the chords be played at their appointed
positions. This device was used only to introduce the mechanics of this
type of keyboard orchestration.

'1

'1

71.

The professional usesthe axis technique but, instead of playing the

melody in octaves. he simply adds the melody to the right hand in a
single voice above the third or the seventh (see Fig. 1).

Fig. L

"

.,

7J

-it

P<r

'7

'"
'1

IfF

p'"

'1

'1

"'eo

-&

.....

.,
The Simple rule for this procedure is as follows: Play the root and
fifth in the left hand. Play the melody in the right hand, adding the
nearest third andseventh immediately below the melody.

174

175

preferable

For example, in Fig. 2, the melody note is D, the chord is I in the

key of C. The root (C) and fifth (G) are played in the left hand; the
melody (D) is playedin the right hand; the two nearest axis points below
the melodyare the seventh (B) and the third (E).

Fig.2.

Fig. 6.

Fig. 7.

WID.

Wm

Fig. S.

ex

cp

em.

Co

em.

Fig. 3 illustratesthe D melody note with the Cx,

Ct/>and Co
chords. In each case, the axis formed by the D with the C chords is that
of the seventh.

Generally,the axis of the seventh is the stronger and should be used

whenever it is pnysicallypossible. In Fig. 7, the second voicing is prefer.
able to the first for harmonic depth. However, this is a corollary of the
basic rule of the third and the seventh immediatelybelow.

Fig. 8 illustrates the application of this technique to the melody in

Lesson7, Fig. 1.
Fig. 8.

In Fig. 4, the melodynote is G, the chord is I in the key of F. Here,

the two nearest axis points below the melody are E (seventh) and A
(third).

"1

Ii

4ItI

.
Fig. 5.

Fig.4.

.,

'1

Ii

Fx

Fm.

Fp

Fo
4t)

Fig. 5 illustrates the G melody note with the Fx, Fm, FcfIand Fo
chords. Here the axis (top voice) is the seventh.

.76

-t9-

..--

..

"

'1

'1

When the melody note faDs on the third or the seventh (seeFig. 6),
double the voice an octave below in order to maintain three voWel
in the right hand.

Ii

j:

'\"

f:

;:

'I

'1

...
'1

V'"
'1

rr
I

'1

r--,

.,

r-,

I<'j

p'

- -If
-

NOTE:

!"""'-I

'V-

'I'

'1

p..

."6-

177

,....,

"

..

j:I

"8-

,.....,r--,

"
"

"

"I

If

I
'1

'7

r pf,

'I"

::

.,

v.

.. .. ...
'7

"I

v-

'1

'1

,.....,,....,

It

s-

1.1

"

178

.
:

r
V

PV

'7

'1

..

"

r"""l

I
I

rt

;: Vf

...

.,

'I

'I

J J. J

.-fi-

'I

'7

"

'7

J.

..e-

.Ai

'I

r r

.J ,J.

C1

f
3

"

...".

- ..

.......

7"

C1

'1

'7

..

r--,

,..., -

'1

..

...

It

'1

a:

'7

'1

;:

11'*

11IF

P'-r

rI

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.I

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"

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V'7

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179

...

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"

'"
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Fig. 9.

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"

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tt

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Ti"

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=l==3

becomes

"

'1

'l

bVllx

/ I I VI I II</>I V I

IIof>/ Vilm bV1Ix / VI I IIx I II III I IV V"

bVIIxI

IIx #110 I III bIIIx I II

I I I IVx I
1 I VI I II</>I VI1m bVIIx I VI I

/+

bIIx I

I +- I 1+'

/1

1be numbers over the symbolsin Fig. 10 indicate the axis in each
case which is determined by the melody Dote position.

180

""

""

"

"

:I

:I

I
:I

:I

.
f.iI

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tI

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"U"

All

1m / IVx I II I

:;
-.

--

'\T-

"U"

/ / I / IYx / 1m / IVx I II I

.,

,..........
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r.,

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'7

1I

:0=

"0'"

.,

.,

pia-lip

"U"

-e-

..........
:t):

'0"

Fig. 10 is a bass line for "Tenderly," in D. Transfer the melody to

manuscript paper. "Tenderly" appears as a waltz in the sheet music
version and must be converted to 4/4 time by the simple device of adding
one beat to the first note of each bar, as in Fig. 9.

V"

I7-J::r

"U"'

'1

-\

"

.....

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-r
"

Fig. 10.

"

'fl

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t' ...

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.(J..

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:0::

P.

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.,

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_ "8-

II

lIi

TENDERLY-Lyrics
by Jack Lawrence, Music by Walter Gross
1946, 1947 Edwin H. Morris & Company, a Division of MPL Communications
Inc. renewed, 1974, 1975 Edwin H. Morris & Company, a Division of MPL
Communications, Inc.
International copyright secured. All rights reserved.
Used by permission,

181

LESSON

72.
Basic Professional Piano (improvised)

Jazz piano until 1940 was dominated by the concept of sWing bass
which was evolved from the early ragtime period. The four masters of
swing bass piano were Earl Hines, Fats Waller, Teddy Wilson and Art
Tatum.
One of Tatum's most spectacular devices in the left hand was a circle

of .fifthspattern of alternating full tenths and sevenths (see Fig. 1).

Fig. 1.

' ..

I ilL

I,
I

'1

:,.

This was not a swing-bass design as such although it did give the
feeling of the quarter-note pulse basic to swing-bass piano.
The student will notice that Fig. 1 is almost identical with Fig. 4,
Lesson 70, except that the bass design has been inverted. The student
will also notice that he probably is unable to play many of the tenths
(Db involves the widest stretch).
After 1940 the problem facing the jazz pianist was to evolve a left
hand style that would no longer contain the rigid synunetry of swing bass,
but at the same time would fulBUbasic harmonic requirements. In other
words, the rhythmic responsibility of jazz piano was taken from the left
hand and placed in the right.
Although many pianists were involved in this revolutionary step. the
master figure is Earl "Bud" Powell. Powell's solution to this problem was
magnificently simple (Fig. 2). This is Fig. 2 of Lesson 70 reduced. to
one

hand.

These thirds (fingering 2-1) and sevenths (fingering 5-1) are usually
referred to as "shells't-s-the term refers to the more common seventh
shell employment of the outer elements of the chord.

182

-e-

H we compare the first two steps of the series in Figs. 1 and 2, we

nnd the fonowing (Fig. 3):

These left hand shells are indicated by a point system as follows:

(Key of F)

III -

vlx- Ii

I which reads:

III - point of seven

VIx - point of three
II - point of seven

Fig. 3.

V -

point of three

I - point of seven
(See Fig. 5.)
In the top stave of Fig. 3, both chords are dominant since both contain a major third and a minor seventh (whether the omitted fifth were
perfect, diminished or augmented, the chord would remain dominant).
In the bottom stave of Fig. 3, the shell C-E could represent the fullowing chord fragments:
SHELL

Fig. 5.
3rd 5th .JJ.

"

CI

QUALITY FRACMEl\'T

C-E

CM (C - E G - B)
Cx (C E G Bb)

C E

SHELL

QUALITY FRAGMENT

F - Eo
F - Eo
F - Eb

Fx (F - A - C - Eo)
Fm (F - Ab - C - Eb)
Fo (F . Ab - Cb - Eb)

Fig. 4I

Fm

184

--..;;;

..."

:I
V

'1

I'"

....

.........

'1

..

VI

.-

.. -It- ..

"1

___

it"

'I
I

..........

'&I

CI

'1

_I

...

:I
VIx

"

--

L-

Fig. 6.

...

5tb

Inversions are indicated by playing the outside voicesof the particular inversion and are always played at the point of six (in all inversions
the distance between the top voice is either a major or minor sixth - so
too with +6) (Fig. 6).

This means that the series in Fig. 2 only "implies" certain

qualities-the missing tones (3rd, 5th or 7th) must appear in the right
hand improvisation (Fig. 4).
A

:lrd

5th

I
I

'1

Again, in the bottom stave of Fig. 3, the interval F-Eb could represent the following chord fragments:

-J

1.0-

7th

:lrd 5th

7th 5th

4
6

,
06'1

v
6

.... -r
n

'1
m

=if
I

185

Fig. 7 is a bass line for "Gone with the Wind." in Eb Transfer the
melody to manuscript paper noting key changes. Numbers over Roman
numerals indicate interval point of chord in left hand.

Cl

1'1

t.

f.

1'.

f'f

,r

,.

(G) II V I I 1+" / (Eb) III I pIIIo I

r

T.

Ill;. VIx

(Eb)

I I, I (G)

(Eb)

II

'f"

f.

bV+IVo I

"

II.

VII

t'

nil'

bUIx I

III

1'''

II

Sf

lIP

II bIIx

b1Ix

pili I

'1

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..

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Cl

..
186

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It

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-...,.......

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,.....-;;--'l

'1

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1/

1+"

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Fig. 8 illustrates an improvised line of Fig. 7 employing all the elements studied in this book. The over-all sound of Fig. 8 represents in
microcosm mainstream jazz piano as it is played today.

1\

_I

looo..J-.,

"1tJ

GONE WITH THE WlND-by Magtdson and Wrubel

(:) 1007 by Bourne Co. 0 renewed.
Used by permission.

Fig. 8.

_.,

1tJ

S"'.'
I
I VI#f VI I II V I III VIx I

bVIIx
=Sf

(Eb)

V / I VlIx I

f'"

1ft

.1iiiiI:i:I:::j

=====

11

n /

I II I V I bV'" IVa I III bII Ix I II

(Eb)

"

f.

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1.

I (G) bV4>
IVa I III VIx I

V I I II

-,

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Fig. 7. "Cone with theWind"

T'

...,

(Eb) II IVa I III VIx I

- ...

Ii

'1

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'7

187

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188

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189

DRILL: Write or play an improvisation on Fig. 7. Apply this style technique

to previous assignments in the book using the following simple
rules:
1. In diatonic progressions (Fig. 9). use sevenths only.

Fig. 9

"
"1

'1

'1

'7

"

"

"'"
'1

2. In chromatic progressions (Fig. 10). use sevenths only.

Fig. 10.

3. In circles of fifths progressions (Fig. Ll ], use point of seven on all

major, minor. half-diminished and diminished chords; on aU dominant
chords. use point of three. Dominants in Rules 1 and 2 always take point
of seven. Alternate consecutive dominants with three and seven when in
circle of fths.

Fig. 11 illustrates the basic circle of fifths series from the twelve
positions. All thirds to be fingered 2-1; all sevenths 5-1.
In a schematic such as Fig. 11, all accidentals terminate where they
originally appeared.
The student is strongly advised to study and memorize Fig. 11 in
order to create the automatic facility necessary to jazz performing.

190

Fig. 12 illustratesa stylizedbass line on Fig. 2 in Lesson60.

Fig. 12.
.fl.

hI>

.;;;.

'f9-

'I

I
'1

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,
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3

'1

'1

'1

In general.the fifthfingerof the left hand shouldappear in the second

octave below middle C, which means that the hand is shifted down one
octave from the scale-tonechord position (see Fig. 13).

XII

73.
Standard .Procedure

....

'6-

LESSON

if

"

za:

I.

l.

SECTION

'l"""
'1

The fonowingrules can be helpful in tracing the necessary

stepstoward
a professionaljazzperformance.
1. Explore melody and chords in several keys.
(The fonowingstepsrefer to written key.)
2. Explorearpeggiosfor each chord.
S. Explorescalesfor each chord.
4. Memorizemelodyand chords.
5. Memorizechordsalone- no melody.
In the beginning the student may not be able to accomplishsteps 4
and 5; if 50, they should be skipped. However, at SDIDe later time. these
stepsshouldbe learnedin their natural order.
The following rules should be accompanied by a quarter-note foot
beat - abandonthe melody:
6. Play chordsin the left hand, eighth-note arpeggiosin theright hand.
1. Play chords in the left hand, eighth-notescalesin the right hand.
8. Play chords in the left hand, eighth-note triplet arpeggios in the
right hand.
9. Play chords in the left hand, eighth-note triplet scalesin the right

hand.

Fig. 13.

192

10. Play chords in theleft hand, sixteenth-notearpeggiosin the right

hand.
11. Play chordsin the left hand, sixteenth-notescalesin the right hand.
12. Play chords in the left hand, apply rhythm combinations to
arpeggios. (Lesson 38)
13. Play chords in the left hand, apply rhythm combinationsto scales.
{Lesson 52}
14. Play chordsin the left hand, apply rhythmiccompositeto arpeggios.
(Lessons 39, 40)
15, Play chords in the left hand, apply rhythmic compositeto scales.
(Lessons 53, 54)
16. Play chords in the left hand, combine previous elements into an
improvisation.
17. Stylizeleft hand as in Lesson72.
18. Do not use the sostenutoor "loud" pedalwhen improvising.

193

LESSON

LESSON74.

75.
Memorization

Ear Training
The problemof developing the ear for what is called prehearing is of
major importance in performing jazz. It goeswithout saying that the hearing demands in jazz are extremely high and no effort should be spared in
the development of the ear. The following outline indicates the hearing
levelswhich occur simultaneously in the performance of a mature jazz
musician:

Improvisation
Melody
Lyric
Chord progression
pulseor beat
To hear these five levels simultaneously is a basic prerequisite for
superior jazz playing.
The followingroles can be of great value in building a secure relation-

shipbetweenthe ear, the eye and the hand.

L Flay any scale.Sing any tone of the scale and check at the keyboard.
2. Strike any tone on the keyboard and sing any of the remaining
eleventones.
S. Flay any tone and sing the third, fifth and seventh of the five
qualities.
4. Flay and singthe scale-tonechordsin twelve keys.
5, Play any scale and sing the various altered chords on each tone.
6. Flay anyscale and sing the various chromatic chords on each tone.
1. Flay any scale and sing the various altered chromatic chords on
each tone.
8. Repeat the previoussteps with inversions.
9. Play the bass Dotes(omit the SId, 5th and 7th) in a two-part fonn
and sing the melody.
10. Repeatstep 9 and sing the bass line.
H. Repeatstep 9 and sing the qualitiesof the bass line.
12. Use tenor saxophone (closest instrument to human voice) recordings to sing the saxophone"line" simultaneouslywith the recording.
13. Identify bass lines on recordings. Indicate bass lines in Roman
numerals.
14. Flay the fifteen two-part Inventions of J. S. Bach - nrst singing
the right hand voice. then the left hand voice.

194

To say that memorizationis important to the playing of jazz is equivalent to saying that a' knowledge of hannony and rhythm is important to
the playing of jazz.
Memorizing the elements that go to make up an improvisation is
concentrated in one factor - the processionof the chords in their rhythmic
frame.
This chord procession includes aD the elements described in the
previous chapter on Ear Training. Of course, the problems of memory
and hearing are closely related. although memory can operate on three
levels: (l) Mental; (.2) Muscular; (3) Auditory.
Method 1 (mental) is the least preferred and involves thinking of the
Romannumeralscomprisinga bassline (I. VI. IIi>.V, etc. ),
Method 2 (muscular) involves automatic playing (memorized hand
positions) which can be found in aDprofessional playing. particularly in
the classical field. In topflightjazz piano. automatic playing should be at a
minimum in order to give the perfonner the highest degree of spontaneous
rhythmic and tonal freedom. However, the muscular method can be helpful as a starting point for the student. This involves learning the various
hand positions of the chords until they can be played without hesitation.
When applying the outline of procedure in Lesson 73. the student will find
that mastering step 4 will not necessarilymean the same for step 5. The
hands will not be able to function independently in the beginning.although
hand independencemust eventually be achieved for good jazz playing.
Method 3 (prehearing) means a memorized hearing - heard in anticipation of the moment of playing. This is the ideal we anseek and is the
reason why fine jazz playing is a eballenge both to play and appreciate.
Apply the rules of procedure to aD the bass lines in this bookstarting
on whateverpractical levelnecessaryfor the student.

LESSON

76.
Sheet Music Conversion

The problem in converting sheet music is one of simplification;sheet

music is much too complicated to provide a simple harmonic structure for
improvisation.However, sheet music is the only practical means of determining the intention of a composer. Unfortunately the aspect of most
195

importance to the improviser - the bass line - is of comparatively minor

importance to the composer.
The following steps are suggested as a means of isolating the fabric of
a tune from the melody and orchestration of the sheet music.
1. Convert guitar symbols to Roman numerals. Guitar symbolsappear
in letters; these letters must be given a numerical position in the key. The
followingtable on C indicates the values of the letters and their conversion.
All letters will function in the same manner.

C
C Maj.
C Maj. 9

C Major:

C
C'
C

C Dominant:

cn

C+
C Dominant

P:

C Dominant

bl

C' susp.4
:

Cm'

C Minor:

em"
C min.'

C Half-diminished:

em -

emb l

E!>m'
C Diminished:

Cdim.
Co

RULE; On aU m' symbols, build a half-diminished chord a minor third

below.
2. Convert notation in bass and treble clefs to Roman numerals. In
many cases this step can be extremely difficult; however. if the student
starts with the lowest note in the bass and searches out the third, Bfth and
seventh, the quality of the chord should emerge. If one or more of these
tones cannot be found there is a fairly clear indication of the presence of

3. Compare the two results (letters and notation) for the best solution.
This step involves the problem of removing many of the faults common
to most sheet music:
( a) Unprepared dominant chords;
(b) incomplete patterns;
( c) interrupted patterns;
(d) key changes not indicated;
( e) additional chords for melodic adjustment;
(f) misspelled inversions.
Thesolutions are as follows:
1. When a dominant chord appears on the nrst beat of a bar and is
held through four beats. prepare the dominant by playing a minor or halfdiminished chord a perfect fifth above for the first two beats.
2. If a chord series such as I / II V / appears in sheet music. this is
an incomplete pattern. It should be I VI/II V /. If III VI I V I appears.
this too is an incomplete pattern. It should read III VI I II V /.
3. Interrupted patterns:
Sheet music:

Pattern:

nr

/ II V I I
I1IVI/IPlIx! I
VI VI +- I VII lUx / VI

III bIIIx / II bIIx / I

III VI III V / I
VI bV+ I VII IIIx! VI
4. Key changes: The presence of a major chord on other than I or IV
is a clear indication of a new key. If, in converting to Roman numerals. the
student Bods. for example. VM. II Maj. '. VIM, an immediateadjustment
should be made in the signature no matter how fragmentaty.
5. Many sheet music bars contain three or more chords: one or two lor
he basic harmony and the remaining chord or chords to cover isolated
melody tones which clutter the frame for an improvisation. Omit this
"cover" chord.
6. Often, an inversion will appear in the notation but is spelled in the
guitar symbol as a root position chord. In cases of this sort. the notation
should be followed indicating the inversion position.

In concluding this lesson, the fonowing rules are wen to keep in mind:
The major chord can move anywhere.
The dominant. minor and half-diminished chords usually move
down a P5 or down a m2.
The diminished chord moves up a m2 or moves down a m2.
The conversion of 3/4 time to 4/4 time is discussed in Lesson 71.

an inversion.
IS

196

the

lirstInversion of a e;. chordwhich shouldbe played in root po$ition.

197

LESSON

77.

Touch-Technique
The technical demands of modern jazz playing are in many ways comparable to those required by serious music. On some jazz instruments
(notably the trumpet). levels of virtuosity have often exceeded those obtaining m the concert field.
In jazz piano. Teddy Wilson and Art Tatum established the modern
levels of virtuosity although their styles utilized a great deal of legato playing which hasin recent yearsundergone vital changes.
The major figure after Wilson and Tatum is Bud Powell who, despite
his revolutionary contribution to modern jazz piano (abandonment of
swing bass, etc.), retained much of the finger legato playing of the earlier
period. George Shearing in general continued the legato sound with an
emphasis on block chords skillfully pedalled to resemble the sound of a
saxophone section. Shearing's "single line" was classicaIly conceived along
the lines of a Mozart rondo.
Along with the virtuoso Powell school. there appeared the beginnings
of a primitive school of pianism led by Thelonius Monk. This styIe remained
in a relatively undeveloped stage until 1951 and the appearance of Horace
Silver, who founded the modern articulation approach to jazz piano. This
was a revolutionary movement away from the flnger legato and toward what
might be described as a "wrist" legato. This means the use of a quick
wrist stroke on practically every note which is cushioned and connected by
the finger clinging to the key. On fast sixteenth- and thirty-second note
passages, this wrist stroke is abandoned in favor of the finger. but the essential eighth.note strokes nearly all start at the wrist. This is an attempt
of the pianist to simulate the hard, sharp attack of the various jazz horns.
In the last seven years this style of articulation has become the vernacular sound of modern jazz piano. Oscar Peterson has furthered the articulation style by enhancing it with a virtuoso technique reminiscent of Art
Tatum's. There is little of the classical legato in Peterson, who is undoubtedly the outstanding jazz pianist today.
Hampton Hawes has effected a fusion of the Powell architecture and
Silver's touch. Hawes has brought the Charlie Parker "line" concept to the
keyboard with a definite emphasis upon the articulated stroke.
This wrist stroke is not a staccato or half-staccato. Classically trained
pianists immediately apply a staccato technique to jazz playing with disastrous results. In classical terms, the stroke is more related to a marcato
attack, but never a staccato.

198

General knowledge and playing experience with the literature of the

keyboard are essential to jazz performing, although some composers are of
more value than others.
Bach, Mozart, Chopin, Brahms and Debussy are the major inBuences
prevalent in jazz piano. although familiarity with all composers of all
periods can nourish the student in his work.
Jazz hommen are an important inlluence on all jazz pianists. with
emphasis on the tenor and alto saxophone.
Hanon studies in twelve keys are valuable in building key facility
and the diatonic feeling of jazz harmony.
In conclusion, a jazz musician can be only as good as his degree of
exposure to alI music regardless of the instrument or the period and. of
course, as his degree of mastery of his instrument.

Recordings
Unlike the literature of classical music, jazz literature does not and
cannot by its very nature appear as written or notated music. Recordings
are the only permanent document of jazz literature and the responsibility
of becoming familiar with this literature rests heavily upon the student.
It is important for the serious jazz student to study the basic diseography of jazz from 1925 to the present day. This study should be approached on two levels - general, and spedfic instrument
Study in the first category should be sufficient to identify general stylistic features of each period with a knowledge of the major figures (regardless
of instrument) of each period.
Study in the second category should have reference to the specific
instrument chosen by the student. Here, the research should be more
intense, with serious study of each period, its stylistiC patterns, the compositions played, the techniques employed, etc.
The follOWingoutline indicates some of the major figures on each of
the important jazz instruments:
Arranger:
Fletcher Henderson
Duke Ellington
Don Redman
Sy Oliver
Gerry Mulligan
Bill Holman
Nelson Riddle

Bands:
Fletcher Henderson
Benny Goodman
Duke Ellington
Jimmie Lunceford
Count Basie
Woody Herman
Gerry Mulligan Tentet
Stan Kenton

199

Bass:

Pops Foster
Jimmy Blanton
Oscar Pettiford
Ray Brown
Charles Mingus
Clarinet:
Johnny Dodds
Pee Wee Russell
Artie Shaw
Benny Goodman
Stan Hasselgard
Drums:
Baby Dodds
Chick Webb
Gene Krupa
Kenny Clarke
Jo Jones
Max Roach
Guitar:
Eddie Lang
George van Epps
Charlie Christian
Django Reinhardt
Tal Farlow
Joe Pass

Piano:
Jelly Roll Morton
Earl "Fatha" Hines
Fats Waller
Teddy Wilson
Art Tatum
Earl "Bud" Powell
George Shearing
Horace Silver
Oscar Peterson
Hampton Hawes
Wynton Kelly
Herbie Hancock
McCoy Tyner
Bill Evans
Alto Saxophone:

Benny Carter
Johnny Hodges
Charlie Parker
Lee Kanitz
Tenor Saxophone:

Bud Freeman
Coleman Hawkins
Lester Young
Stan Getz
John Coltrane
Miscellaneous Instruments:
Milt Jackson-vibraphone
Jean (Toots) Thielemans-harmonica
Serge Chaloff-baritone saxophone
Jimmy Smith-organ
Red Norvo-xylophone

Trumpet:
Buddy Bolden
Louis Armstrong
Bix Beiderbecke
Roy Eldridge
Bunny Berigan
Dizzy Gillespie
Miles Davis
Chet Baker
Clifford Brown
Trombone:
Kid Dry
Jack Teagarden
Tommy Dorsey
J.J.Johnson
Vocalists:
Louis Armstrong
Bessie Smith
Jack Teagarden
Bing Crosby
Joe Turner
Billie Holiday
Eddie Jefferson
Frank Sinatra
Ella Fitzgerald
Anita O'Day
Four Freshmen
Hi-Lo's
Lambert-Hendricks-Ross

The following is a brief chronology of the history of jazz piano.

Barrelhouse
Morton

1900
Fusion

]
1925
Waller

Hagtime
Joplin

::
Hines

Tatum
Fusion

Wilson

1940

I
Earl "Bud" Powell
Dissidents

Thelonious Monk
Lennie Tristano
Errol] Garner
Dave Brubeck
Cy Walter

I
Hhythrnlc

Horace Silver
Hampton Hawes

Harmonic

George Shearing
Wynton Kelly
Oscar Peterson
Herbie Hancock
Bill Evans
McCoy Tyner

This list is by no means exhaustive. It is a general guide to the vast

jazz literature.
It is important to remember that many of the most important advances have occurred on the trumpet and saxophone and were later
transposed to other instruments; i.e., Armstrong to Hines, Parker to
Powell. The point is that the "lines of influence" in serious music are
fairly direct; in jazz, these lines crisscross in many ways from instrument
to instrument and from period to period. Full knowledge of these transitions is essential to the development of a thorough background.

200

201

SECTION

XIII

For Further Study

In this section, a number of additional figured bass lines are provided to enable the student to expand his knowledge of the preceding
lessons. Follow the previously suggested procedure of writing the tune
out on two or three staves, depending on which lesson is being expanded.
The song "Carolina Shout" is included here as a lesson in the style
of Thomas "Fats" Waller. It is, in the opinion of the author, an ideal
example of Waller's stylistic contributions.

Dolphin Dance
The following is a bass line for "Dolphin Dance" in
changes.

(Eb) I I
(G)

Ixll3

Eo.Note key

I I I VIIx WIIx I VI VI2 I IV's I VI VI2 II

II bflx I I II (Eb) IVm IVm2 II I V #Vo I VI I VI2 II

omit 5

omit 5

(G) II I bIIx I I I IX1l3 I Ix ll 1l3 I IX1l3 Ix I WIIX1l3 I bVIlxllll 3 I

(G)

bVIlxll3 I VI I1x I bVlx I V I III I Vlx V4J I DVm I VIIx I

6

(G) VIx1l3I IV5 I VIx1l3I IV5 II

DOLPHIN DANCE-by Heroic Hancock
Courtesy of Hancock Music Co.
Used by permission.

203

Invitation

The Summer Knows

The following is a bass line for "Invitation." This tune presents a

unique problem due to the absence of major chords (the normal cadence
chord) with the exception of the final chord. Note key changes.
(C)

Ipll7 / II:<1I II I V I II I V I Vm I Ix II (Eb)

Ulm

n 1l1 I

(Eb) II I V I II I V I Vm I Ix II (Db) II I V II (B) II llIl 7 I IF'1 I

(B)

II I V II (A) II::::I1I Ip7 I II I V II (C) VI I VIz I IVXb5 I

(C)

IVxb5 I IIIx 1l5 I blIIx I IIu7 I II'l7 I II I V I II I V I Vm I Ix II

(Eb) II I II,2 I bvnMb.5 I bVIIMI>5I II I

Vll5

Ilm

The following is a bass line for 'The Summer Knows" in (f) minor.
Note key changes.

(F)

VII3V I I I

I I I Vm Ixll3 I IV II (A) lIef>V I I V I I II

(Ab) V I I V I I II (G) V / 112 I II (F) lIef>bIIx I I I IIef>2I I I

(F)

IItJl2 II (f) 1m I IV 11+ 6 I 1+6 II

SUMMER OF '42-THE SUMMER KNOWS-by Michel Legrand and Alan and

Marilyn Bergman
Cl ]97] Warner Bros. Music Corp. All rights reserved.
Used by permission.

I ImL II

INVITATION-by Paul Francis Weber and Bronislau Kaper

l!:) 1952, 1956 Metro-Goldwyn-Mayer Inc. l!:) renewed 1980. All rights controlled by
Robbins Music, a catalogue of CBS Songs, a Division of CBS Inc.
International copyright secured. All rights reserved.
Used by permission.

Time After Time

The following is a bass line for "Time After Time" in Bb.

I VI / II V1l3I III VI I II Vll3 I I I IV I VIIm I IIIx I VI VI2

bVef>VIIx / IIIu1 IIIll7 / III VIx IIIlf#1 n ll7 / II bVIx I V1l3I V I

West Coast Blues

The following are a head chart and a blowing chart for "West Coast
Blues" in Bb. Note 3/4 time signature.

I VI I II
I

Illil

v I III
..

VI I II V1l3IT

vt bVlo I Vm bY I IV I bVIIx I

..

IIcf>3I VIz bV IIVm bVIIx I III bIllo I II blIx 11+ 6 I

1+6 1/

HEAD CHART

TIME AFfER TIME-Lyrics by Jule Styne, Music by Sammy Cabn

Ix / Yo I bVIIx / v.; / Ix I Yo I blI I bII bVIx I IVx I Yo I :.'-/ Yo I

I Yo I Yo I V / Yo I IVx I Yo I Ix I bUb I bVIM / DIIx II

Ix I

Yo

Ix I

Yo I

bVllx I

Yo I

Ix I

Yo I

bII I

bh

bVix IVx I

Yo I Yo I Yo /

Ix I v. I Yo/ v. I V I Yo / IVx / v. / Ix I bUIx I bVIM I bl lx 1/

BLOWING CHART

For ADWe Know

The following is a bass line for "For All We Know" in the key ofF.
piclc-up

blIx / / I VI /

fub5

V I II bIIx I I II I III bUIx I IIU7 11117 I

II #110 I III / bIIIo I II II 2 I VIIm bVlIx / VI::"#7VI1l3I VI bIllo I

Ix I Yol bVllx 1::.</ Ix /Yo I bII I bVIx IIVx IY; I IVm / bVIIx I

II I V#3 I I VI /I1x b5 I V I II bIIx I I II I IIItJl blIIx I IIllll7 11117

III I VIx I bIll I bVIx I II I III / IV I V I Ix I bIlIx /

II #110 I III VI I bVm VIIx / II1x bVIIxb5/ VIxll3VIx I II bVIxb5I

I bllx 1/

204

1947 (renewed) Sands Music Corp. All rights reserved.

Used by permission.

WEST COAST BLUES-by John L. eWes) Montgomery

Cl ]960 Taggie Music Co., a Division of Gopam Enterprises, Inc.
Used by permission.

V1l3V 11+6 11+6 II

FOR ALL WE KNOW-Words by Robb Wilson and James Griffin, Music by Fred Karlin.
1970 by Music Corporation of America, Ine., New York, N.Y. Rights administered
by MCA Music, a Division of MCA Inc., New York, N.Y. All rights reserved.
Used by permission.

205

The Preacher

Our Love Is Here to Stay

The following is a figured bass for "The Preacher" in F.

The following is a bass line for "Our Love Is Here to Stay" in the
key of F.

VIl3 II I bVIo I Vm OV I IVx OVIlx I 1 V:::aI

plclc."p
piclcup

j IV Vilm IIIx I VP117VI:t7 I VI I1x I II Vl13I I OVlo I Vm Ix /

1m IVx I VIIm II1x I IV+6

1+6 VIl3 III

srve I Viz VI

bVIo / Vm bV I IVx WIIx II

I II v:;a I 1+6 VIl3 /

V:l3 I I IV Vilm Illx I

VP:1l7VJll7 I VI IIx / II VIl3/1 bVlo I Vm Ix I 1m IVx I VIIm IIIx I

I II 112 I bVIIx

vr,

I1x tlIIa I III VIx I II V I I IV I VII IIIx I VP=7 Vp7 I VI

n,

II bVIx I V VI I I1x'S I II Vl13I 1+6 II I III VI I I1x'S I II

n, /

VI II I1x"5 I II V:3 I

p6

bVIIx VIx / Ilx tlIIo I III

II I III VI I

vr,

I II V I Vm Ix /IV+6 tllVo I VIz VI I

II Vl:3 I 1+6 I 1+6 1/

IV+6 tlIVo I Viz VI I II Vila I 1+6 VIl3 I 1+6 II

OUR LOVE IS HERE TO STAY-by Ceorge and Ira Cershwin

ID 1938 by Chappell & Co., Inc. to renewed.
International copyright secured. All rights reserved,
Used by permission.

mE PREACHER-by Horace Silver

C 1956 by Silhouette Music Corp.
Used by permission.

Desifinado

Here's That Rainy Day

The following is a figured bass for "Desifinado." Note key changes.

The following is a bass line for "Here's That Rainy Day" in Bb.
Note key changes.

(F) I / Yo I IIxbS I y. I II I V I III<f>I VIx I II Il,2 II

(D) II<f>V I I I Ix II (F) VI<f>I Ilx / bllM I Yo / I I Yo I I1xb5 I

(Bb) I VlIxl:5 /1 (Cb) III z blIx I I I IV II

(F) y. / II / V I III<f>I VIx I II III I IVm WIIx I I VI II

(Bb) II III I IV V I I VI I Vm

(A) II<f>
bIlK I I I VI I II I V / III / VI/II

(Db) 1I::ll7 II::7 I II bIIx II

(F) VIlm I I1Ix"s / VI/11K

I V I I / VI I II I V II

/ II I bIlIx / 11KI bIlx / I /

Yo

(Bb) 11"=7 11::7

sv II

sv I

IV IV2

II V / bVllx VIx /I:NIx

(F) IIxl>sI Yo I II I V / III<f>/ VIx / II III I IVm bVlIx I I VI I

(Cb) III z bIIx I I I IV II

(F) IIx / bV<f>

I IVm I IIIxll5 I bUIx I I1x I bUM I I 11+6 II

(Bb) II III I IV V / Ix I Vm OV IIV I

DESIFINADO-Woros
by Newton Mendonca, Music by Antonio Carlos Jobim
Q 1959 and 1962 Editora Musical Arapua, Sao Paulo. Brazil. TRO-Hollis Music, Inc.
New York, controls all publication rights tor the USA and Canada.
Ci 1962, Bendig Music Corp. assigned to TRO essex Music Ltd, 85 Gower Street.
London, WCi for the territories of the British Empire and Commonwealth of Nations
(excluding Canada) and the Republics of Ireland and South Africa.
Used by permission.

..

11 112 II

V I I VIIx"5 1/

(Bb) VIP IVo I III VI I IIx I II III I IV V 11+6

p6 /1

HERE'S THAT RAINY DAY-hy Burke and Van Heusen

iO 1953 by Burke & Van Heusen. Inc. iO assigned to Bourne Co. & Dorsey Bros.
Musicblnc. Q renewed
Used y permission.

2f17

The Girl from Ipanema

Just in Time
The following is a bass line for "Just in Time" in Bb.

The following is a bass line for "The Girl from Ipanema" in F. Note
key changes.

I I IV / VUm I IIIx I III I VIx I VI

tv I

(F)

I / I I Ilx b5 I Ilx b5 I II /

(F)

IIxb5 I II I blIx I I II II

(F)

VIx I VIx I II / II I bVIIx I bVIIx I III I VIxh5I II I Vb5 I

(F)

I I I / IIxb5 I Ilxb5 / II / blix I I I bllx I I I bllx I I / I II

III bUb / II bIlx I I / I I UXb5 I

I I I I IVx IIVx

11m 11m II

THE GIRL FROM IPANEMA (CAROTA DE IPANEMA)-Music by Antonio Carlos

Iobun, English words by Norman Gimbel, original WOlds by Vinicius De Moraes
Cl 1963 by Antonio Carlos Jobim and Vinicius De Moraes, Brazil. Sole selling agent
Duchess Music Corp. (MCA) New York, N.Y. for all English speaking countries. All
rights reserved.
USedby permission.

IVx / VII I lUx / VI I

I1x / II I V I I I Ix I Im+6

/ Vl 2 I bV4>IVm+6 I III I VI I

Vo / bVePI IVm+ 6 I III I bUIx I Ilx I II V I

{+6

The following is a figured bass for "Tune-Up" in D major. Note

modulations.

(C)

}+6

/1 (C) II I Vh5 I 1 / 1+6 II (Bb) II I V I

II I Vh5 / I / 1+6 II (Bb) II I V / I I VI/I

(D) I 11+ 6

(B)

(Db) II I V / I I I II

II I V I I 1/ (Bb) lIt/> V I III / bIIIx I II I blIx / III I

I 1+6 II

(D) II I bIIx I

TUNE UP-by Miles Davis

Courtesy of Prestige Music Co., Inc.
Used by permission.

The Shadow of Your Smile

The following is a bass line for "The Shadow of Your Smile" in the
key ofG.
pld.:-up

(Bb) bIIIx / II I bIlx I Vm I bV I IV I bVlIx / blUM I IIx I

bVt/>I VIIm I lIIx I VI1I7VI I IIx / II I V / I / IV I VII / lIIx I

(Bb) bUM 11+ 6 /1

VIU7 VIlI7I VI

I bV4>I VIlx I IVx / IIIx bVt/>I VIlm I lIIx /

VI#7VI /IIx I III

ONE NOTE SAMBA (SAMBA DE UMA NOTA SO}-Music by Antonio Carlos Iobtm,
original words by Newton Mendonca
C 1961, 1962 by Antonio Carlos Jobim and Mrs. N. Mendonca, Brazil. Sole selling
agent Duchess Music Corp. (MCA) New York, N.Y. for all English speaking countries.
All rights reserved.
Usedby permission.

208

v / I

//

(Bb) III / bIIIx / II I blix / III / bIIIx: / II I bib / Vm / bV I

(Bb) IV I bVIlx I III I blIIx I II blIx 11+ 6/1

1'1+6 II

Tune-Up

(Bb) I I VI II (D) II / bIIIM I bVIM I V I II I

The following is a bass line for "One Note Samba" in the key of Bb,
Note key changes in the bridge from Db to B.

JUST IN TIME-by Betty Comden, Adolph Green, and jule Styne

(\ 1956 Betty Comden, Adolph Green, and jule Styne, Stratford Music Corp owner
Chappell & Co., Inc, and G. Schirmer Inc.
,
International copyright secured. All rights reserved.
Used by permission,

(D) II I Vb5 / I I

One Note Samba

VIxl:5

III III<fJI

VIx1l3

Vll3

IVo I III<fJI vr, I II II

blIIx IIIx / II

V::3 11+ 6 I

III / IVm bVIIx /

1+6 1/

THE SHADOWOF YOUR SMILE-by John Mandel and Paul Francis Webster
Courtesy ofR.C. Burkett, Howard-Burkett Music
Used by permission.

209

Quiet Nights and Quiet Stars

Nica's Dream
The following is a bass line for "Nica's Dream" in bb minor. The
key series is as follows:
Bars 1- 6: bb minor
Bars 7-12: Gb major
Bars 13-22: bb minor
Bars 23-28: Gb major
Bars 29-32: bb minor
Bars 33-46: Db major
Bars 47-54: bb minor
Bars 55-60: Gb major
Bars 61-64: bb minor
pHup

(bb) bIlx II 1 I p6 I bVIImL I bVIIm+6 I 1 I }+6 II (Gb) IIU7 I

(Gb)

IIJ;7

I II I blIx 11+ 6

IVx II (bb) II I bIlx 11+ 6 I 1+6 I 1/1+

(hb) bVIlmL / bVIIm+6 I I I

TIle following is a bass line for "Quiet Nights and Quiet Stars" in
the key of C.

IV! I % I bIIx3

% / Vm / Ix,"3 / IV / IV I IVm / bVIIx I IIIx:::>/

4

VIxl:S I VI / I1x / II II. / VII bVIIx /

II",1

I bIIXl I % I Vm I

Ix:::!I IV I IV IIVm I bVIIxl>SI III I VI I II I V,"3I III4>I bIIlx I II /

blIx / I I 1+6 /I
QUIET NIGHTS OF QUIET STARS (CORCOVADOl-Original
words and Music by
Antonio Carlos Jobim. English words by Gene Lees
1962, 1964 by Antonio Carolos jobim, Brazil. Sole selling agent Duchess Music
Corp. (MCA) New Yolk, N.Y. for all Eng/ish speaking countries. All rights reserved.
Used by permission.

II (Gb) II:r:lI7I 1I!:7 I II I bIb I

J+6

(Gb) 1+6 I IVx II (bb) II I bIlx I 1+6 I 1+6 II (Db) II I I14>I

(Db) IiI Ii f bvflM I VIx!:SIIIx I II blIx I 10 / I VI III I I14>I
(Db) IiI If

f bVilM I VIxllS/ I1x I

II II z /1 (bb) IIx I bilK / I 11+ 6

(bb) bVlImL / bVIIm+5 I I / 1+6 II (Gb) I1U7 I I1!:7 I II / bib I

(Gb) 1+6

IVx II (Bb) II / bIlx 11+ 6 I

J+6

What Are You Doing the Rest of Your Life

/1

NICA'S DREAM-by Horace Silver

" 1956 Ecaroh Music, Inc. 1975 Ecaroh Music, Inc.
Used by permission,

Four

The following is a bass line for "What Are You Doing the Rest of
Your Life" in (a) minor. The chord chart is scored in C major, although
the final cadences occur in the relative minor. Note key changes.

WIIx 1/ VP'7

(C)

IIu7 I1ll7 / II 112 I VII / bVIIx I VIlt7 VI2lt7 I II

(C)

WIIx I Vp:7 VI2!:7 I VI2 bV4>I IV IVlISI IV+6 IV2 I II

(A)

II blIx I I II I III VI I II blIx / I VI I II bIIx / I IV /1

The following is a figured bass for "Four" in Eb major.

blIx II I II I #IIo III 11m!

vr,

(C)

I VI2 bVq, / IV IVltS I IV+6 IV2 I

IVx / II I III /IVm /

(Gb) II blIx / I 1+6 II (F) II bilK I I

r, VI Viz 1/ (C)

(>ideup

n,

VIz bV4>/ IV lVI'S I IV+6 IVz I

u, I

(C)

IIIx VI II (a) IV IV:z / II blIx / Irn IIVx III I bIlx 11+6

VIIm IIIx ! III hIII / II bIIx! 1. 6

FOUR-by Miles Davis
Courtesy of Prestige Music Co., Inc.
Used by permission,

1+6 /1

1/

1I1I7 / II II z / VII I

(C)

I II / :l:IIIoIII 11m! IVx ! II I III ! IVm ! bVIIx / III I bIll bVIx III

n,

VI1l1VI/'

bVIIx I III / bIII bVlx I II liz ! VIIm IIIx I III I bIll bVIx I II / bIIx /

IIllll7

I VII I

WHAT ARE YOU DOING THE REST OF YOUR UFE?-by

Alan Bergman,
Marilyn Bergman, and Michel Legrand
1969 United Artists Music Co., Inc. All rights administered by CBS Songs, a
Division of CBS. Inc. All rights reserved,
Used by permission,

J+6 1/

211

Carolina Shout

-1

lJVI1- - - - - - - - - - -

t!....

I!

... lJ .

- ____

... .....-..

11

/IC

"

h..........

.
.......
.

IV

...

../IL..IfI-

t' I
l. I

..

.,

.-

., .,

::

lJ...-.;j

4
lJ

IJ_

..".

.... ..............
.

II

is

..
I

..g.

_11

_,

L._ ....

...

-I

h_

..

...

"lIl

j:J::

.,.- .,

.... ...

ItI2..e:

:ei

11

\,4-

"'II

IV

.."r

.."
:::AROLINASHOUT-by James P. Johnson
CJ1926 by MCA Music, a Division of MCA Inc., New York, N.Y. @ renewed. All
rights reserved.
Used by permisston.

"'-&

I..

II.

212

eJ

b... \,.
,

... ... .-....

..,

Ii. -I'- ...__

r

.. ..._.

.fL

-.
......

&l

1I

... -. f!:. fi..

.. I
fl"

ii

:ei

.,-

11

..
ft1I

....,
"lIl

213

tt.... .fII.Il...fII. 11_b.- _ --

_fl.

.....

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-"

J"

--=ii

""Z:l

1.4-

I'. ....

'11

I T

t..

--,

......

....

..

--=-

T"

I
-.-7'

"I

'If

=it ... p:

m......
-

f1

J1

:t::

......

1l,.C:

ofIIi

.fII.

./L

.-.il.- .... 11

l. -

___

....

14

..
I

L._

I tl:s:

Jl

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L.T-l

T1 -.

:a:

#:
:;;l

iii

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....

II..-.

-.1-

fJ

I. ....

II-

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04-

11

e:

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:;;l

ii-- I.
r Y

11=1:

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b#

---

:s:

U2.!:

I1i

215

.HI

'

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-

11

ft
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1i7C:

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ft

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#:

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-IL

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.-;.
J

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Itt

p:

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hI1<:

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fi:c:.
I

V V I

"llr...

"'.\.HV

,..,J..._

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.....

l.f:

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'111

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w..e

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bb<:

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=-

rtT

......i-.

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4-

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JP4:

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217

...,

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eJ

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.hn

14f!:.

tt-

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l

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iit

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v

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219