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Copyright 2008 JazzPianoLessons.com
877-742-6618
Autumn Leaves
(with improv analysis)
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G^7
What is interesting about these two measures is not the notes, but the rhythm and motif. Notice I am
starting with a simple 1-2-3-5 pattern on A-7, but then I just raised the top note. The last note, 'A' I chose
because it falls nicely down to the 'G' in measure 11. Also notice the rhythmic groupings. By grouping the
notes like this, the first note accents (shown with X's) fall on 1 - 4 - 2 (of the next measure).
Group 2 is also an example of over-the-barline phrasing because it goes over the barline.
A-7
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Copyright 2008 JazzPianoLessons.com
877-742-6618
11
2
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Do not be afraid of rest! I purposfully ended the melodic line and added a lot of space. Granted,
I could add a few more notes here, but I like the dramatic effect of a lot of space. Only the LH keeps
the pulse of the song going. This loss of momentum in the solo gives you the opportunity to "ramp up"
the solo in the measures to come. Too often, students play everything they know within the first 12 measures!
Remember to keep some "tricks" up your sleeve for later in the solo.
E-7
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Copyright 2008 JazzPianoLessons.com
877-742-6618
17
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This measure uses -only- the B7 chord. The first
phrase is a B7 chord in 3rd inversion. Next, I
go to a B7 chord in 2nd inversion. By apreggiating
block chords and their inversions, many interesting
melodic lines can be created.
B7
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The LH is pedalling the fifth of the E-7 ii-V-i. By hitting on 2+4, there is a natural tension that is created
by avoiding the downbeats. The downbeat is now 'implied' and the 2+4 pushes the solo forward. After a
point of melodic and rhythmic rest in measures 15-16, this pedal point now "ramps up" the solo
and sparks some interest.
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The dramatic shift in the melodic line by jumping down
to the 'F#', then jumping up the octave to a 'F' natural
creates an immediate attention grabber. The first F#
established the D7 sound, but the 'F' is the #9 on a
D7 chord which creates a lot of tension. However, it is
quickly resolved by moving down the D mixolydian
scale.
D7
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You can think of this scale as B mixolydian
with a flat 13 (the G). Or, I like to just think of
it as a B altered scale. Remember, the altered scale
is a melodic minor ascending scale a 1/2 step higher.
So, it is a C melodic minor scale starting on B.
The notes are: B-C-D-Eb-F-G-A-B.
B7#9
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27
G7#9b13
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Copyright 2008 JazzPianoLessons.com
877-742-6618
31
Here we see the same descending minor 3rd motif found in measure 27. Now, the last two measures
of the song are written only as E-7, but you can see that I added on some chords. I started by adding the Bb7#11
chord because it is a Sub-V7 resolution to the A-7 chord. I preceded the Bb7 with its related V7 chord which is
F7. Measure 32 uses the Bb Lydian b7 scale which is: Bb-C-D-E-F-G-Ab-Bb. The F-F#-G is a chromatic approach.
E-7
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F7
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Bb7#11
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33
We're back to the beginning. I added this measure to show you where the line that started in measure 31 ended.
At this point, you could solo another chorus. If you wanted to go back to the melody, simply play -only- the
E-7 in measure 31. Leave off the F7 and Bb7#11 chords because you will pick up the melody on beat 2
of measure 32. Watch the DVD to see me do this.
A-7
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Practicing Tips:
1. Learn the solo and commit it to memory. It is very difficult for these concepts to work into your
playing if you are always reading the music.
2. Practice slowly and in sections with a metronome on 2+4.
3. Visit JazzPianoLessons.com for more articles and tips on how to use this and other lessons.
I've laid out many concepts that you can use in other solos. However, if you feel like you need more help
with these concepts, I encourage you to check out JazzPianoLessons.com DVD801 - Advanced Improvisation Techniques.