Jamey Abersold Jazz Handbook

Transcription

ϭͲϴϬϬͲϰϱϲͲϭϯϴϴͻǁǁǁ͘ũĂǌǌďŽŽŬƐ͘ĐŽŵ
Cover Photo is Jamey Aebersold
CONTENTS
GENERAL INFORMATION ........................................2
Valuable Jazz Information........................................3
SOLOING by Jamey Aebersold ...............................4
Jazz: The Natural Music ...........................................5
Suggested Listening–Jazz Artists ..........................7
+LVWRULFDOO\6LJQL¿FDQW5HFRUGLQJV ........................8
Tips For Learning A New Tune ................................9
Practice Procedures For Memorizing Scales
and Chords To Any Song ....................................9
Practice Procedures–Musical Examples ..............10
SONG LIST for Beginners ......................................11
SCALES ...................................................................12
Introduction to the SCALE SYLLABUS ................13
SCALE SYLLABUS .................................................14
NOMENCLATURE ...................................................15
The Dominant 7th Tree of Scale Choices .............16
Ten Basic Exercises–TREBLE CLEF ....................17
Ten Basic Exercises–BASS CLEF.........................18
TREBLE CLEF SCALES .........................................19
BASS CLEF SCALES..............................................20
Ear Training .............................................................21
Interval Chart ..........................................................22
Basic Keyboard and the Chromatic Scale ...........23
The Circle of Cycle of Fourths ..............................24
Scales/Modes Based on the Major Scale .............24
HOW TO PRACTICE by Jerry Coker .....................25
HOW TO PRACTICE by David Liebman................25
Things That Create Interest When Soloing ..........26
Starting A Phrase or Melody..................................26
Jazz ARTICULATIONS ............................................27
Jazz RHYTHMS .......................................................29
The BLUES SCALE and Its Use.............................30
F BLUES & Bb BLUES PROGRESSIONS:
For TREBLE CLEF C Instruments ....................31
For Bb Instruments ............................................31
For Eb Instruments ............................................32
For BASS CLEF C Instruments .........................32
PLAYING THE BLUES ............................................33
What Does “To Hear” Really Mean? .....................34
VARIATIONS ON BLUES ........................................35
Values–Plato Quote–Bill Evans Quote .................36
BEBOP CHARACTERISTICS by David Baker ......37
Short List of Bebop Players ..................................38
BEBOP SCALES .....................................................38
Transposition Chart................................................39
Two Interesting Short Stories................................39
Jamey’s JAZZ THEORY ASSIGNMENTS ..............41
II/V7/I Progression With Emphasis On The
7th Resolving To The 3rd ..................................46
PIANO VOICINGS:
Blues Voicings....................................................47
Major and Dominant 7th Voicings ....................48
II/V7/I Voicings ....................................................49
Jamey’s POINTS TO REMEMBER .........................52
This booklet is provided FREE OF CHARGE by Jamey Aebersold Jazz.
If you would like a complete catalog of the thousands of jazz educational materials available,
please call 1-800-456-1388 or visit www.jazzbooks.com
SUMMER JAZZ WORKSHOPS
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Published by
JAMEY AEBERSOLD JAZZ
P.O. Box 1244
New Albany, IN 47151-1244
www.jazzbooks.com
Copyright © 2000, 2010 by Jamey Aebersold Jazz®. All Rights Reserved. Printed in U.S.A.
International Copyright secured. All copyrights used by permission
No portion of this book may be reproduced in any way w/o express written permission.
1
GENERAL INFORMATION
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- Jamey Aebersold
2
VALUABLE JAZZ INFORMATION
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3
SOLOING
by Jamey Aebersold
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Some of Jamey’s Recommended Play-A-Long Volumes are:
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8
TIPS FOR LEARNING A NEW TUNE
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DQGPHDQLQJIXO´-- tenor saxophonist Joe Henderson
(Taken from Jamey’s volume 1 book: “How to Play and Improvise”)
PRACTICE PROCEDURES FOR MEMORIZING
SCALES AND CHORDS TO ANY SONG
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9
10
PRACTICE PROCEDURE FOR MEMORIZING SCALES AND CHORDS TO ANY SONG
Think of the blues progression as being three four-bar sections. It has a beginning (4-bars), a
middle section (4-bars), and an ending (4-bars). After you become familiar with various scales
and chords, you won’t need to go through ths practice procedure when working on a new tune.
You’ll already have the needed scales and chords memorized. This is what the professional jazz
musician has done. Commit to memory and enjoy making music. Remember, the purpose of
any exercise is to help you truly MAKE MUSIC. Your OWN music.
As you play, memorize the chord/scale progression as well as the chord and scale tones. After
playing through these eight choruses, I think you’ll be surprised how easy it is to memorize.
Concentrate on the SOUND of each note.
The eight exercises listed below represent the typical jazz approach to learning the basic harmony for the blues in Bb. You’ll want to vary the rhythms to add variety and make them sound
more improvised. You can use this approach for learning ANY scale or chord to ANY song. The
Bb blues progression is taken from the Volume 42 “Blues In All Keys.”
SONG LIST FOR BEGINNERS
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Memorize the various scales/chords
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11
SCALES
= ¼ = 1 2 3 4 5 6 7 8
= 7 = 1 2 3 4 5 6 °7 8
= Ç= 1 2 °3 4 5 6 °7 8
Major
Dom. 7th
Minor
(Dorian)
These are the three most-used scales and chords.
Half-dim. = Ø = 1 °2 °3 4 °5 °6 °7 8
BØ = C¼ = B C D E F G A B
Half-diminished scales are the same as a major scale 1/2 step above.
BØ2 = B C D E F G A B
Blues scale
= 1 °3 4 4 5 °7 8
2 =“Half-dim.2”, like:
Major pentatonic = 1 2 3
°3
Minor pentatonic = 1
Minor pent. (J. Coltrane) = 1 2 °3
5 6
8
°7 8
4 5
5 6
8
Scales are your best friends—get to know them inside out.
They’ll do whatever you ask them to do. Make sure you know them well.
CHORDS
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or it can mean a major 7th note (C¼)
2) 7 = Lowered 7th
3) – = Minor (usually Dorian Minor)
4) O = Diminished scale or chord
5) Ø = Half-diminished scale or chord
6) + or = Raise the note 1/2 step
7) or ° = Lower the note 1/2 step
8) 3 = Minor third interval (= 3 half-steps)
9) °9 after a letter (dom.7th chord) means there
are 3 altered tones:
b 9, 9 & 4
10) 9 after a letter (dom.7th chord) means there
are 4 altered tones: °9, 9, 4 & 5
12
INTRODUCTION TO THE SCALE SYLLABUS
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Cycles & II/V7’s.<RXPLJKWDOVRFKHFNRXWWKH3OD\$/RQJVZKLFKKDYHWXQHVLQDOONH\VVol. 42 Blues In All
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13
THE SCALE SYLLABUS
LEGEND:+ +DOI6WHS: :KROH6WHS¼ 0DMRUWKRU UDLVH+°RU ORZHU+ Ø +DOIGLPLQLVKHGÇ +0LQRU7KLUG
CHORD/SCALE SYMBOL
SCALE NAME
C
C7
FIVE BASIC
CÇ
CATEGORIES
CØ
C
1. MAJOR SCALE
CHOICES
C¼ (Can be written C)
C
C¼+4
C¼
C¼°6
C¼+5, +4
C
C
C
C
2. DOMINANT 7th
SCALE CHOICES
C7
C7
C7
C7°9
C7+4
C7°6
C7+ (has 4 & 5)
C7°9 (also has 9 & 4)
C7+9 (also has °9, 4, 5)
C7
DOMINANT 7th
SUSPENDED 4th
MAY BE
C7 sus 4
WRITTEN
C7 sus 4
G-/C
C7 sus 4
3. MINOR SCALE
CHOICES*
CÇ or CÇ7
CÇ or CÇ7
CÇ or CÇ7
CÇ¼ (maj. 7th)
CÇ or CÇ6 or CÇ
CÇ or CÇ7
CÇ¼ (°6 & maj. 7th)
CÇ or CÇ7
CÇ or CÇ°9°6
CÇ or CÇ°6
4. HALF DIMINISHED
SCALE CHOICES
CØ
CØ2 (CØ9)
CØ (with or without 2)
5. DIMINISHED SCALE
CHOICES
C
°
°
Major
Dominant 7th (Mixolydian)
Minor (Dorian)
Half Diminished (Locrian)
Diminished (8 tone scale)
SCALE NAME
WHOLE & HALF STEP
CONSTRUCTION
WWHWWWH
WWHWWHW
WHWWWHW
HWWHWWW
WHWHWHWH
W & H CONSTRUCTION
CDEFGABC
C D E F G A B° C
C D E° F G A B° C
C D° E° F G° A° B° C
C D E° F G° A° A B C
SCALE IN KEY OF C
Major (don’t emphasize the 4th)
Major Pentatonic
Lydian (major scale with +4)
Bebop (Major)
Harmonic Major
Lydian Augmented
Augmented
6th Mode of Harmonic Minor
Diminished (begin with H step)
Blues Scale
SCALE NAME
WWHWWWH
W W Ç3 W Ç3
WWWHWWH
WWHWHHWH
W W H W H Ç3 H
WWWWHWH
Ç3 H Ç3 H Ç3 H
Ç3 H W H W W H
HWHWHWHW
Ç3 W H H Ç3 W
W & H CONSTRUCTION
CDEFGABC
CDEGAC
C D E F G A B C
C D E F G G A B C
C D E F G A° B C
C D E F G A B C
C D E G A° B C
C D E F G A B C
C D° D E F G A B° C
C E° F F G B° C
SCALE IN KEY OF C
Dominant 7th
Major Pentatonic
Bebop (Dominant)
Spanish or Jewish scale
Lydian Dominant
Hindu
Whole Tone (6 tone scale)
Diminished (begin with H step)
Diminished Whole Tone
Blues Scale
WWHWWHW
W W Ç3 W Ç3
WWHWWHHH
H Ç3 H W H W W
WWWHWHW
WWHWHWW
WWWWWW
HWHWHWHW
HWHWWWW
Ç3 W H H Ç3 W
C D E F G A B° C
CDEGAC
C D E F G A B° B C
C D° E F G A° B° C
C D E F G A B° C
C D E F G A° B° C
C D E F G B° C
C D° D E F G A B° C
C D° D E F G B° C
C E° F F G B° C
Dom. 7th scale but don’t emphasize the third
Major Pentatonic built on °7
Bebop Scale
SCALE NAME
WWHWWHW
W W Ç3 W Ç3
WWHWWHHH
W & H CONSTRUCTION
C D E F G A B° C
B° C D F G B°
C D E F G A B° B C
SCALE IN KEY OF C
Minor (Dorian)
Pentatonic (Minor Pentatonic)
Bebop (Minor)
Melodic Minor (ascending)
Bebop Minor No. 2
Blues Scale
Harmonic Minor
Diminished (begin with W step)
Phrygian
Pure or Natural Minor, Aeolian
SCALE NAME
WHWWWHW
WHHHWWHW
WHWWWWH
WHWWHHWH
Ç3 W H H Ç3 W
W H W W H Ç3 H
WHWHWHWH
HWWWHWW
WHWWHWW
W & H CONSTRUCTION
Half Diminished (Locrian)
Half Diminished #2 (Locrian #2)
Bebop Scale
SCALE NAME
HWWHWWW
WHWHWWW
HWWHHHWW
W & H CONSTRUCTION
Diminished (8 tone scale)
WHWHWHWH
Ç3 W W Ç3 W
SCALE IN KEY OF C
BASIC CHORD
IN KEY OF C
CEGBD
C E G B° D
C E° G B° D
C E° G° B°
C E° G° A (B°°)
BASIC CHORD
IN KEY OF C
CEGBD
CEGB
CEGBD
CEGBD
CEGBD
C E G B D
CEGBD
CEGBD
CEGBD
CEGBD
BASIC CHORD
IN KEY OF C
C E G B° D
C E G B° D
C E G B° D
C E G B° (D°)
C E G B° D
C E G B° D
C E G B° D
C E G B° D° (D)
C E G B° D (D°)
C E G B° D (D)
C F G B° D
C F G B° D
C F G B° D
BASIC CHORD
IN KEY Of C
C D E° F G A B° C
C E° G B° D
C E° F G B° C
C E° G B° D
C D E° E F G A B° C
C E° G B° D
C D E° F G A B C
C E° G B D
C D E° F G G A B C
C E° G B D
C E° F F G B° C
C E° G B° D
C D E° F G A° B C
C E° G B D
C D E° F F G A B C
C E° G B D
C D° E° F G A° B° C
C E° G B°
C D E° F G A° B° C
C E° G B° D
SCALE IN KEY OF C BASIC CHORD
IN KEY OF C
C D° E° F G° A° B° C C E° G° B°
C D E° F G° A° B° C
C E° G° B° D
C D° E° F G° G A° B° C C E° G° B°
SCALE IN KEY OF C BASIC CHORD
IN KEY OF C
C D E° F G° A° A B C C E° G° A
NOTES: 1) The above chord symbol guide is my system of notation. I feel it best represents the sounds I hear in jazz.
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14
NOMENCLATURE
LEGEND: " or = raise 1/2 step; Ç or ° = lower 1/2 step; H = Half Step; W = Whole Step
%HFDXVHMD]]SOD\HUVFRPSRVHUVHGXFDWRUVDQGDXWKRUVKDYHQ¶WDJUHHGRQDFRPPRQQRPHQFODWXUHIRUZULWLQJFKRUGDQGVFDOH
V\PEROVWKHQRYLFHZLOOKDYHWREHFRPHIDPLOLDUZLWKVHYHUDOGLIIHUHQWZD\VRIZULWLQJWKHVDPHVFDOHVRXQG
/LVWHGEHORZDUHWKHPRVWFRPPRQV\PEROVLQRUGHURIXVDJHPRVWXVHGWROHDVWXVHG7KHV\PEROWKDWLVEROGIDFHLVWKHRQH
,XVHPRVWRIWHQ1RWLFHWKDWWKURXJKRXWWKLVERRN\RXZLOOVHH&¼DQG&WRGHVLJQDWHDPDMRUFKRUGVFDOHVRXQG,DPGRLQJ
WKLVVR\RXFDQEHJLQWRJHWEHWWHUDFTXDLQWHGZLWKYDULRXVQRPHQFODWXUH
¼ 0DMRUVFDOHFKRUGRUPDMRUVHYHQWK&¼$DIWHUDOHWWHUPHDQVWRORZHUWKHWKQRWHRIWKHVFDOHPDNLQJLWD'RPLQDQW
WKTXDOLW\&$GDVKÇZKHQORFDWHGEHVLGHDOHWWHUPHDQVWRORZHUWKHWKLUGDQGVHYHQWKRIWKHVFDOHVWHSWKXVPDNLQJ
LWDPLQRUWRQDOLW\'RULDQPLQRU&ÇØPHDQVKDOIGLPLQLVKHG&Ø&Ç¼PHDQVDPLQRUVFDOHFKRUGZLWKDPDMRUWK Ç
PHDQVKDOIVWHSVDPLQRUUG$ EHVLGHDOHWWHUPHDQVGLPLQLVKHG& GLPLQLVKHGVFDOHFKRUG
°
°
CHORD/SCALE TYPE
*
*
*
*
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'20,1$176(9(17+0L[RO\GLDQ::+::+:
WK0RGHRI0DMRU&'()*$%° C
0,1256(9(17+'RULDQ:+:::+:
QG0RGHRI0DMRU&'(°)*$%° C
C C¼&PDM&PD&PD&PDM&0&0&PDM&PDM
C7&&&
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WK0RGHRI0DMRU&'°(° F G° A°%° C
+$/)',0,1,6+('/RFULDQ:+:+:::
WK0RGHRI0HORGLF0LQRU&'(° F G° A°%° C
CØ&PL°&Ç°
',0,1,6+(':+:+:+:+&'(° F G° A°$%&
C° &GLP&°&GLP&°
/<',$1'20,1$17'RPWKZLWK:::+:+:
WK0RGHRI0HORGLF0LQRU&'()*$%° C
*
ABBREVIATED CHORD/SCALE SYMBOL
C¼"4&PDM"&0"&¼"&¼°&PDM°
CØ2
CØ"&Ø
C7"4&"&°&"&"11
:+2/(721(:::::::&'()*%E&
"
C7"&DXJ&"&"
'20,1$176(9(17+8VLQJD'LP6FDOH+:+:+:+:
&'°(°()*$%° C
""
C7°9&°"&°"11
',0,1,6+(':+2/(721($OWHUHG6FDOH+:+::::
WK0RGHRI0HORGLF0LQRU&'°(°() G%° C
"""°
C7"9&DOW&°"&°"11
/<',$1$8*0(17('0DMRUZLWK::::+:+
UG0RGHRI0HORGLF0LQRU&'() G$%&
0(/2',&0,125$VFHQGLQJ2QO\:+::::+
&'(°)*$%&
"5
C¼"4
+$5021,&0,125:+::+Ç+&'(° F G A°%&
CÇ¼
6863(1'('WK:Ç::+:RU::+::+:
&')*$%°&RU&'()*$%° C
%/8(66&$/(8VHDWSOD\HU¶VGLVFUHWLRQ
Ç:++Ç:°°&(° F F*%° C
GÇ GÇ&VXV&VXV&&
C
C
7KHUHLVQRFKRUGV\PEROIRUWKH%OXHV6FDOH
8VHGPRVWO\ZLWKGRPLQDQWDQGPLQRUFKRUGV
C¼"
CÇ¼&PLQPDM&PL¼&Ç¼0HORGLF&P
Cmi¼&Ç¼+DU&Ç¼°
* These are the most common chord/scales in Western Music.
,EHOLHYHLQDUHGXFHGFKRUGVFDOHQRWDWLRQWKDWDOORZVRXUFUHDWLYHVLGHRXUQDWXUDOVLGHULJKWEUDLQIXQFWLRQWRKDYHGLUHFWLRQ
DQGJXLGDQFHZLWKRXWIHHOLQJLQKLELWHGRUOLPLWHG When we speak of “quality” we mean whether it is Major, Minor, Dim., or
whatever. ,KDYHWULHGWRVWDQGDUGL]HWKHFKRUGVFDOHV\PEROQRWDWLRQLQP\ERRNV6LQFHVRPHKDYHEHHQRXWPDQ\\HDUVWKHUH
DUHLQVWDQFHVZKHUH,PD\KDYHXVHGDGLIIHUHQWFKRUGV\PEROLQRQHERRNWKDQ,XVHGLQWKLVRQH
,IHHOWKHLPSURYLVRUQHHGVDVOLWWOHQRWDWLRQDVSRVVLEOHLQRUGHUWRWUDQVFHQGWKHDFWXDOQRPHQFODWXUHRQWKHSDJH7KHPRUH
QXPEHUVOHWWHUVDQGDOWHUDWLRQVWKDWDSSHDURQWKHSDJHWKHOHVVFKDQFHWKH\ZLOOKDYHWRUHPRYHWKHLUWKRXJKWVIURPWKH
ZULWWHQSDJHDQGH[SUHVVZKDWLVEHLQJKHDUGLQWKHLUPLQG7KDWLVZK\,SUHIHUC, C7, CÇ, CØ, C7"9, C7°9.5HPHPEHUZHDUH
SOD\LQJDPXVLFFDOOHGMD]]DQGLWFRQWDLQVPDQ\DOWHUHGWRQHV2QFHZHOHDUQWKHYDULRXVDOWHUDWLRQVDQGWKHLUFRUUHVSRQGLQJ
DEEUHYLDWHGFKRUGV\PEROZK\NHHSZULWLQJDOOWKHDOWHUDWLRQVEHVLGHWKHFKRUGV\PERO"&KHFNRXWFDUHIXOO\WKH6FDOH6\OODEXV
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5HPHPEHUQG¶VDUHWKHVDPHDVWK¶VWK¶VDUHWKHVDPHDVWK¶VWK¶VDUHWKHVDPHDVWK¶V([DPSOH.H\RI&WKH
QG'LVWKHVDPHDVWKHWK'2IWHQDFRPSRVHUZLOOVLPSO\ZULWHWKHLUSUHIHUUHGQDPHRIWKHVFDOHEHVLGHWKHFKRUGV\PERO
VXFKDV(°Ç¼PHORGLFPLQRU)ÇSKU\JLDQ)ÇSKU\
15
THE DOMINANT 7th TREE of SCALE CHOICES
7KHWZRPRVWLPSRUWDQWQRWHVLQDQ\VFDOHDUHWKHUGDQGWK7KH\WHOOWKHOLVWHQHUZKDWWKHTXDOLW\LVDQGLQGLFDWH
WKHKDUPRQLFPRWLRQ7KH3rdWHOOVXVLILW¶VPDMRURUPLQRU7KH7thWHOOVZKHWKHUWKHVRXQGLVVWDEOHGRHVQ¶WZDQW
WRPRYHWRDQRWKHUFKRUGRULILWZDQWVWRPRYHRQWRDFKRUGRIUHVROXWLRQ'RPLQDQWVW\SLFDOO\ZDQWWRUHVROYHWR
DFKRUGXSDSHUIHFWWK&ZDQWVWRUHVROYHWR)))HWF7KHrootRUWRQLFLVWDNHQIRUJUDQWHG,ILWZDVQ¶W
WKHUHZHZRXOGQ¶WEHDEOHWRLGHQWLI\WKHVRXQG
$Q\RIWKHVHVFDOHVTXDOLWLHVVRXQGVVRQRULWLHVPD\EHSOD\HGZKHQDGRPLQDQWWKFKRUGVFDOH5(62/9(6WR
DFKRUGVFDOHZKRVH5227OLHVDSHUIHFWWKKDOIVWHSVDERYHWKHURRWRIWKHGRPLQDQWWKFKRUG
EXAMPLE: ||&|&| F | F |$E|$E|'E|'E||
(PEHOOLVKWKHPHDVXUHVZLWKWKHVHFKRUGV&DQG$E
The altered tones are in bold type7KRVHWRQHVXVXDOO\UHVROYHE\half-stepWRDVFDOHRUFKRUGWRQH7KLVDPRXQWV
to tension then release,W¶VDQDWXUDORFFXUUHQFHLQPXVLF7KHUG¶VDQGWK¶VDUHXQGHUOLQHG
SCALES
1. DOM.7th & &'( F G A %E&
7KLV LV WKH EDVLF GRPLQDQW WK VRXQG %H
FDUHIXOKRZ\RXWUHDWWKHWKWRQH8VHLWDV
DSDVVLQJWRQH
2. BEBOP & &'( F G A %E B&
3OD\ % QDWXUDO DV D SDVVLQJ WRQH ,W VKRXOG
DOZD\V DSSHDU RQ DQ XSEHDW never on the
GRZQEHDW
3. LYDIAN DOM. & &'( F# G A %E&
7KHZDVLVDIDYRULWHQRWH,WXVHGWREH
FDOOHGDE
4. WHOLE-TONE & &'( F# G# %E&
7KLVVFDOHRQO\KDVWRQHV,WLVDV\PPHWULFDO
scale used often in cartoon music and by
'H%XVV\DQG5DYHO[Has a #4 and #5]
5. DIMINISHED = &E &Db D# ( F# G A %E&
7KLVVFDOHKDVGLIIHUHQWWRQHV,WLVV\PPHWULFDO
DQG LV DOVR XVHG LQ FDUWRRQ PXVLF 0LFKDHO
%UHFNHULVDPDVWHURIWKLVVFDOHVRXQG[Has
a b9, #9 and #4]
6. DIM. WHOLE-TONE & &Db D# ( F# G# %E&
7KLVVFDOHKDVIRXUDOWHUHGWRQHVZKLFKKHOS
FUHDWHWHQVLRQ [Has a b9, #9, #4 and #5]
7. SPANISH or JEWISH SCALE &E &Db ( F G Ab %E& 7KLV VFDOH LV XVHG RIWHQ ZKHQ SOD\LQJ LQ D
PLQRUNH\,W¶VWKHVDPHDV)KDUPRQLFPLQRU
[Has a b9 and b6]
8. CHROMATIC SCALE & &C#'D# ( F F# G G# A A#%&
WKH0XVLFDO$OSKDEHW
&Db'Eb ( F Gb G Ab A Bb%&
$Q\WLPHWKHUHLVDGRPLQDQWWK\RXPD\ZDQWWRH[SHULPHQWZLWKWKHVHVFDOHV7KHSURSHUXVHRIWKHVHYDULRXV
VFDOHVLVSDUWRIZKDWPDNHVMD]]VRDSSHDOLQJ(QGOHVVYDULHW\LQWKHKDQGVRIDPDVWHUPDNHVEHDXWLIXOPXVLF
'RQ¶WEHDIUDLGWRWU\WKHVHVRXQGV,WPD\WDNHVRPHWLPHIRU\RXUHDUVWREHFRPHDFFXVWRPHGWRWKHVRXQGDQG
WKH¿QJHULQJV7KHERRNFDOOHGPatterns For Jazz$HEHUVROGSURGXFWFRGH³P-TÍRUWUHEOHFOHILQVWUXPHQWV³P-B´
IRUEDVVFOHIOLVWVMD]]SKUDVHVEDVHGRQPDQ\RIWKHVFDOHVDERYH
16
PREPARATORY EXERCISES - TREBLE CLEF
TEN BASIC EXERCISES
TREBLE CLEF
17
³$GXOWVRIWHQKDYHWR¿JKWWKHLUZD\EDFNWRLQWXLWLRQ´*HRUJH%RXFKDUG
Author of “Intermediate Jazz Improvisation”
Below are several exercises every musician should memorize and be able to play in all MAJOR, MINOR (Dorian Minor),
and DOMINANT 7th keys. These are basic exercises which will help you gain speed and dexterity. Begin by practicing
slowly, then gradually increase speed. Strive for smoothness and slur each exercise. Keyboard and string players should
play legato. After you get the feel of several, consult the ARTICULATIONS chapter. These exercises are great for warming
up each day. You can apply these to ANY scale or chord, regardless of quality. Due to space considerations, I have only
listed three qualities.
Below are several exercises every musician should memorize and be able to play in all MAJOR, MINOR (Dorian Minor), and
DOMINANT 7th keys. These are basic exercises which will help you gain speed and dexterity. Begin by practicing slowly,
then gradually increase speed. Strive for smoothness and slur each exercise. Keyboard and string players should play legato. After you get the feel of several, consult the ARTICULATIONS chapter. These exercises are great for warming up each
day. You can apply these to ANY scale or chord, regardless of quality. Due to space considerations, I have only listed three
qualities.
PREPARATORY EXERCISES - BASS CLEF
TEN BASIC EXERCISES
BASS CLEF
Jazz is creative. Creation involves change. How much are you willing to change?
18
TREBLE CLEF
TREBLE CLEF SCALES
Your voice has been with you much longer than your instrument.
Use it to sing with; then transfer the music to your instrument.
19
BASS CLEF
BASS CLEF SCALES
It doesn’t hurt to think or to use your mind. Of course, your ego will tell you otherwise.
20
EAR TRAINING
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HOW TO PRACTICE IMPROVISATION
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THE BLUES SCALE AND ITS USE
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from Volume 21 “Gettin’ It Together” of the Aebersold Play-a-long Series
Blues Progressions
32
from Volume 21 “Gettin’ It Together” of the Aebersold Play-a-long Series
Blues Progressions
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WHAT DOES “TO HEAR” REALLY MEAN?
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34
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Improvisation / by Jamey Aebersold
ariations on Blues
My last article dealt with the Blues (12 bar blues), so I would like to follow up with variations on the blues progressions that have been in
common use in the jazz idiom. The term “three chord songs” are usually referring to the simplest of blues progressions. If you are in the
key of F, the three chords which form the basis of the blues in that key are F7, Bb7, and C7. F7 is called a roman numeral I (one) chord.
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and V chords.
As blues evolved in the hands of the jazz musicians across the country by way of the radio and home stereos, more and more musicians
played blues and naturally some would take liberties with the chord structure and alter the chords to match what they were hearing in their
mind’s ear. As the various alterations were passed from musician to musician, they became part of the blues structure.
I have listed 17 different blues progressions found in Dan Haerle’s book “Jazz/Rock Voicings for the Contemporary Keyboard Player”, published by Studio P/R, Inc. The progressions read from left to right! The ones at the top are the easier, simpler progressions. As you move
down the page they become more altered and present more of a challenge to the up anc coming jazz player. It is best to practice with one
complete progression until you feel comfortable with it, then move on to the next one. You may also want to substitute a measure in one
blues with the same measure in another blues below or above. Number 14 is one that Charlie Parker used on a blues called Blues For Alice
and another called Laird Bird. Number 16 uses a steady stream of minor chords (ii) moving to dominant 7th chords (V7) usually called ii/
V7’s or a series of ii/V’s. Experiment with the various progressions.
Begin slowly so you can hear the root progression clearly. In time, your mind will remember it and you can move more rapidly. Try to
memorize each progression as you are working on it. Memory is a key process in improvising! Listen to jazz players on records and see
if you can hear when they are substituting chords or scales or licks or patterns over the basic three chord progression. The masters do
it all the time and with such ease that often our ears don’t even realize they have deviated from the basic progression being played by the
rhythm section. You may want to check out Volume 2 “Nothin’ But Blues” in my play-a-long book/cd series. It contains eleven different
blues progressions played by the rhythm section and you can play and practice along with them. Bass players and piano players can even
turn off one channel of their stereo and substitute themselves for the player on the recording. It is a great way to practice with a professional rhythm section.
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Read from left to right!
Measure
1
No.
2
EXAMPLES OF BLUES PROGRESSIONS
(In the Key of F)
3
4
5
6
7
by Dan Haerle
8
9
10
11
12
1.
F7
F7
F7
F7
Bb7
Bb7
F7
F7
C7
C7
F7
F7
2.
F7
F7
F7
F7
Bb7
Bb7
F7
F7
C7
Bb7
F7
C7
3.
F7
Bb7
F7
F7
Bb7
Bb7
F7
F7
G7
C7
F7
C7
4.
F7
Bb7
F7
F7
Bb7
Bb7
F7
D7
G7
C7
F7
C7
5.
F7
Bb7
F7
F7
Bb7
Bb7
F7
D7
Gmi7
C7
F7
Gmi7
C7
6.
F7
Bb7
F7
F7
Bb7
Eb7
F7
D7
Db7
C7
F7
Db7
C7
7.
F7
Bb7
F7
Cmi7 F7
Bb7
Eb7
F7 Ami7
_
A 7
D7
Gmi7
C7
Ami7
D7
Gmi7
C7
Gmi7
C7
Ami7
D7
Gmi7
C7
Ami7
D7
Gmi7
C7
F7
C7
8.
F7
Bb7
F7
Cmi7 F7
Bb7
Eb7
9.
F7
Bb7
F7
Cmi7 F7
Bb7
10.
FM7
Emi7 A7
11.
FM7
12.
FM7
13.
FM7
Dmi7 G7 Cmi7
_
_
Emi7 Eb 7 Dmi7 Db 7 Cmi7
_
_
_
BbM7
A 7 G 7 Gb 7
_
_
_
BbM7
A 7 G 7 Gb 7
Bmi7 E7 F7 E7
_
Bo7
A 7 D7
14.
FM7
Emi7 A7
15.
FM7
Emi7 A7 Dmi7 G7 Gbmi7 Cb7 BbM7
#
F mi7 B7 Emi7 A7 Dmi7 G7 Cmi7 F7 BbM7
FM7
F#mi7 B7 EM7 EbM7 DbM7 BM7 BbM7
16.
17.
Dmi7 G7
F7
Bb7
Cb7 BbM7
Bbmi7
Ami7
Cb7 BbM7
Bbmi7
Ami7
Cb7 BbM7
Bbmi7 Eb7 AbM7
Cmi7 F7
BbM7
Bbmi7 Eb7 Ami7
Bmi7
E7 Ami7
Bbmi7 Eb7 AbM7
Bmi7
E7 AM7
D7
Eb7
_
Ab 7
_
Ab 7
_
Ab 7
_
Ab 7
_
Ab 7
_
Ab 7
_
Ab 7
D7
Gmi7
Db7 Gmi7
C7
Bb7
_
C7 Db 7 Gb7
Gb7
FM7
D7 Gmi7
_
Ao 7 Gmi7
_
Ab 7 Gmi7
Gmi7 C7
Ami7
D7
Dbmi7 Gb
Db7 Gmi7
C7
Ami7
D7
Gmi7 C7
Db7 Gmi7
C7
Bb7 Ami7
D7
Gmi7 C7
Gmi7
C7
Ami7
D7
Gmi7 C7
FM7
AbM7 GM7 Gb
Gmi7
Gmi7
Db7 GbM7
Db7 GbM7
Ami7 D7
GM7
C7
GbM7
Ami7
Gb
Gb
NOTE: Portions of these progression could be combined with each other to create hundreds of slight variations of the above. Notice that
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returning to a I (one) chord.
35
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3XEOLVKHGE\&KDUOHV+DQVHQ0XVLF%RRNV
VALUES
THE GREATEST HANDICAP --- FEAR
THE BEST DAY --- TODAY
EASIEST THING TO DO --- FIND FAULT
MOST USELESS ASSET --- PRIDE
THE GREATEST MISTAKE --- GIVING UP
THE GREATEST STUMBLING BLOCK --- EGOTISM
THE GREATEST COMFORT --- WORK WELL DONE
MOST DISAGREEABLE PERSON --- THE COMPLAINER
WORST BANKRUPTCY --- LOSS OF ENTHUSIASM
BEST TEACHER --- ONE WHO MAKES YOU WANT TO LEARN
GREATEST NEED --- COMMON SENSE
MEANEST FEELING --- REGRET AT ANOTHER’S SUCCESS
BEST GIFT --- FORGIVENESS
GREATEST KNOWLEDGE --- GOD
GREATEST THING IN THE WORLD --- LOVE
SUGGESTION: Put these values as a pin-up in your practice room.
Musical Training
is a more potent instrument than any other,
because rhythm and harmony
ÀQGWKHLUZD\
into the inner places of the soul.
-- Plato
BILL EVANS - piano player
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VRPHWKLQJZLWKLQKLPVHOIWKDW¶VXQLYHUVDODQGZKLFKKHFDQSXWLQWRWHUPVWKDWDUHFRPPXQLFDEOHWR
RWKHUSHRSOH7KHPDJLFRILWLVWKDWDUWFDQFRPPXQLFDWHWRDSHUVRQZLWKRXWKLVUHDOL]LQJLWHQULFK
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36
BEBOP CHARACTERISTICS
Compiled by David Baker
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37
A SHORT LIST OF BEBOP PLAYERS
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BEBOP SCALES
7KH³%(%23´VFDOHFDQEHXVHGRYHUDQ\TXDOLW\PDMRUPLQRUGRPWKRUKDOIGLP,W
LVSUREDEO\XVHGPRVWRIWHQRYHU'RPWKDQG'RULDQPLQRUFKRUGVFDOHV
C7 Bebop scale = C D E F G A Bb B C -- (This is also called the 7th scale.)
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DUHGRZQEHDWV*RRGEHJLQQLQJVWDUWLQJQRWHVIRUDVFHQGLQJHLJKWQRWHVOLQHVDUH
E)RUGHVFHQGLQJHLJKWKQRWHOLQHVWKHVDPHDVDVFHQGLQJE7KHVHDUH
$//FKRUGWRQHV:KHQ\RXEHJLQDSKUDVHRQWKHQGWKRUWKQRWHRIWKHVFDOH\RX
PXVWXVHDSDVVLQJWRQHRUFKURPDWLFLVPVRPHZKHUHLQWKHSKUDVHLQRUGHUWRPDNHWKH
%IDOORQDQXSEHDW%HFDUHIXOWRXVHSURSHUMD]]DUWLFXODWLRQRU\RXPD\QHJDWHWKHHI
IHFWLYHQHVVRIWKH%HERSVFDOHVRXQG
Doing the above will make your phrases sound natural and more like what you hear
on records.
The circled note is the extra, added tone.
BEBOP SCALES: MAJOR = 1, 2, 3, 4, 5, 5, 6, 7, 1 -- C D E F G G A B C
DOM.7th = 1, 2, 3, 4, 5, 6, °7, 7, 1 -- C D E F G A B° B C
MINOR = 1, 2, °3, 3, 4, 5, 6, °7, 1 -- C D E° E F G A B° C
HALF-DIM = 1, 2, 3, 4, 5, 5, 6, 7, 1 -- C D° E° F F G G B°C
PROPER USE OF THE BEBOP SCALE WILL INSTANTLY MAKE YOUR MUSICAL LINES MORE MATURE AND ALIVE.
CHECK OUT JOE RIPOSO'S BOOKS ON BEBOP SCALES:

BEBOP SCALES AND PATTERNS - (Order Code: BEBOP (Treble) or BEBOP-BC (Bass Clef)
TARGET AND APPROACH TONES (Order Code: TAT)
38
TRANSPOSITION CHART
C Concert Instruments: Trombone, Piano, Flute, Guitar, Oboe, Organ, Violin, Cello, Viola, Harp, C
Melody Sax, C Trumpet, Bass Guitar, Bass Violin,
Bb Instruments: Trumpet, Cornet, Clarinet, Tenor Sax, Soprano Sax
Eb Instruments: Alto and Baritone Sax, Eb Clarinet,
NOTE:&&RQFHUW,QVWUXPHQWVDUHQRQWUDQVSRVLQJ7KH\UHDGWKHLUPXVLFDVLV%ELQVWUXPHQWVPXVWSOD\
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'2:1WKUHHKDOIVWHSV0LQRUWKLUG7KLVLVFDOOHGWUDQVSRVLQJDPLQRUWKLUG
If we had a musical phrase comprised of these notes, here is how they would be transposed;
C Concert Instruments play: C E° G
Bb A
G
F
D
D°
G° B
E
Bb Instruments play:
D
F
A
C
B
A
G
E
E°
Ab
C
F B°
Eb Instruments play:
A
C
E
G
F E
D
B
B°
E°
A°
C F
A°
TWO INTERESTING SHORT STORIES
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IRUPRUHLQIRRQ&KDUOLH3DUNHU¶VOLIHDOODUHDYDLODEOHIURPwww.jazzbooks.com
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39
John Welch:³,ZDVHLJKWHHQ\HDUVROGDQGYHU\QDLYH,KDGVWXGLHGDUUDQJLQJZLWK%LOO5XVVR,ZHQW
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PLAY-A-LONGS FROM JAMEY AEBERSOLD FEATURING CHARLIE PARKER
VOL. 6 - CHARLIE PARKER - “ALL BIRD”
VOL. 69 - “BIRD” GOES LATIN
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Jamey Aebersold
H = Half Step, W = Whole Step, -3 = Minor Third (3 half steps)
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[ # and + means to raise 1/2 step. b or - means to lower 1/2 step. 3 means 3 half steps ]
For additional study, I highly recommend Dan Haerle’s book, “The Jazz Language.”
WRITE THE NOTES TO THE FOLLOWING SCALES
(use the above whole and half-step sequences as a guide)
1. B°
2. A°7
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3. B 7
4. BØ
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5. D
6. C7
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7. F 7
8. EØ
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16. A°
17. E°7
18. E
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20. C74
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USE PENCIL
THEORY ASSIGNMENTS
WRITE THE NOTES TO THE FOLLOWING CHORD SYMBOLS
WRITE THE NAME OF THE SCALE TO THE LEFT, ALSO
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_
2. B ¼
3. C7+9
4. B°¼4
5. DØ
6. A°¼4
7. CØ2
8. F¼4, 5
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9. B° ¼
10. E74
11. F7+5
12. E°7 4, 5
13. A¼4
14. D°7°9
15. B7°9
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16. G ¼
17. C7°9
18. GØ
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19. D ¼
20. A79
42
USE PENCIL
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ii V7 I
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ii - V7 - I sequences in major keys / ii - V7 - I sequences in minor keys
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MAJOR KEYS
MINOR KEYS
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Jamey Aebersold’s
POINTS TO REMEMBER
Taken from his “Anyone Can Improvise!” Seminars
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VOL. 57 MINOR BLUES IN ALL KEYS.$W\SLFDOPLQRUEOXHVLQDOO
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VOL. 60 FREDDIE HUBBARD JAZZ FAVORITES.,QFOXGHV%LUGOLNH
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ANYONE CAN
IMPROVISE!
DVD Video
Jamey explains and demonstrates
fundamental techniques used by all
great jazz improvisers.
Product Code JAD - $19.95

Jamey Abersold Jazz Handbook

Transcription

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