Personalizing Jazz Vocabulary D.Mooney

MB30786M
Online Audio
by Davy Mooney
This method book is designed to help intermediate to advanced jazz students incorporate classic
jazz vocabulary into their original improvisations. Using a series of standard and modern chord
progressions, guitarist Davy Mooney provides several short passages that are meant to be played
exactly as written within an otherwise improvised solo; students are expected to adapt this
written material to their own purposes by improvising into and out of it.
Written in standard notation only, in guitar octave with fingerings. Includes access to online audio.
Davy Mooney
Online Audio
MEL BAY PUBLICATIONS, INC.
Mooney proves he has both the vocabulary and the chops to deliver generously repeated guitar/
bass/drums backup tracks for student use; he then demonstrates the method by providing
transcriptions of his own improvisations, incorporating the same phrases and chord progressions
required of the student. The firm message conveyed by this book is that, “you can do it too.”
PERSONALIZING
JAZZ VOCABULARY
BY DAVY MOONEY
In an effort to overcome the disconnect between developing a unique sound and learning
the language of past jazz masters, the author eloquently analyzes several phrases and chord
changes and comments on various aspects of improvisation, referencing the styles and specific
recordings of many outstanding jazz artists. This is the method that Mooney used as a student to
personalize his own jazz vocabulary and learn to express himself within the context of the jazz
tradition.
PERSONALIZING JAZZ VOCABULARY
PERSONALIZING
JAZZ VOCABULARY
MB30786M
$19.99
R
R
MB30786M
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PERSONALIZING
JAZZ VOCABULARY
Davy Mooney
Online Audio
To access the online audio go to:
WWW.MELBAY.COM/30786MEB
© 2019 by Mel Bay Publications, Inc. All Rights Reserved.
WWW.MELBAY.COM
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CONTENTS
Chapter 1
Page
Audio
Introduction to Personalizing Jazz Vocabulary............................. 3
Chapter 2
Five and Nine Eighth-Note Resolution Cells................................ 9
Chapter 3
Happenstance................................................................................. 13......................1, 2
Chapter 4
Interstellar...................................................................................... 18......................3, 4
Chapter 5
Blues.............................................................................................. 23......................5, 6
Chapter 6
Henderson-Type Changes.............................................................. 28......................7, 8
Chapter 7
Rhythm Changes............................................................................ 34......................9, 10
Chapter 8
Coltrane-Type Changes................................................................. 40......................11, 12
Chapter 9
Golson-Type Changes.................................................................... 46......................13, 14
Chapter 10
No One........................................................................................... 52......................15, 16
Chapter 11
Monk-Type Changes...................................................................... 57......................17, 18
Chapter 12
Shorter-Type Changes................................................................... 62......................19, 20
Chapter 13
And Then?..................................................................................... 68
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CHAPTER 1
An Introduction to
Personalizing Jazz Vocabulary
The Great Disconnect
In my travels as a touring musician and clinician, and as a teacher of applied lessons and
graduate level jazz improvisation at the University of North Texas, I have encountered a
persistent disconnect that frustrates many jazz students. Most students at the intermediate to
advanced level have an impressive command of chord-scale theory, and are skilled at
modal and diatonic improvisation. Some of the more advanced students can play highly
technical, complicated modern jazz language, but often their playing lacks an essential element:
a convincing command of classic jazz vocabulary.
When I query students about this, and ascertain that they have transcribed classic jazz solos,
I’m at a loss. Why has none of this vocabulary been assimilated, as the chord-scale, modal, and
modern information has? Is it that students resist playing material culled from other players’
solos? Perhaps, but a more persistent issue is the disconnect between doing the transcription
and then integrating and personalizing the language of classic jazz into one’s own playing.
Some students do this intuitively, and I believe I was one of those. But what exactly does
“intuitively” mean in this instance? Surely there was some method that I and others utilized to
incorporate this highly sophisticated information into our nascent improvisational voices?
As I began to analyze, retrospectively, what I had done to incorporate and personalize
this vocabulary, so that it began to feel like my own, I remembered vividly my first summer jazz
camp experiences at Loyola University in New Orleans, in the early 1990s. I was usually placed
in an intermediate combo, because I had a ready command of the blues scale, and after a couple
of years I learned the modes of the major scale and began to improvise over blues and modal
tunes using Dorian, Mixolydian, etc. Around this time, I bought my first classic jazz guitar
record, Wes Montgomery’s A Dynamic New Sound, and I heard it through the filter of my
summer jazz camp experience; it sounded like Wes was playing scales, but they sounded more
like jazz than the scales I had been playing. I thought to myself, “There must be a jazz scale that
I just haven’t learned yet.”
The summer I turned 15, I began to study with the guru of New Orleans jazz guitar, Hank
Mackie, and when he realized that I could improvise modally, in the key centers of various jazz
tunes like “Lady Bird” and “All the Things You Are,” he introduced me to the concept of the
jazz minor scale.
“Eureka!” I thought, “the jazz scale I’ve been searching for!” The jazz minor scale, in
Hank’s nomenclature, was the ascending melodic minor scale, and he taught me that I could play
this scale up a half step on a dominant chord that resolved up a perfect fourth or down a perfect
fifth, V-I or V-i. Many schools call this scale the super Locrian scale, and I later learned the
various modes of melodic and harmonic minor, and harmonic major, etc.
3
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Blues
But Hank was wise and experienced enough to impress upon me that the altered dominant
sound that the jazz minor scale presented —the f9, s9, f5/s11, and s5/f13 intervals against the
b
b classic jazz sound bthat
dominant
Vb chord, that had that
I’d heard in Montgomery’s
A
F mi7 playing—must
B7
B7
E7
B7
be treated carefully, and resolved to strong chord tones on the downbeat of the measure containing
Ó Hank taught
Πme,
‰ were
œ theœ 3rdb œ, 5th, œand 9th.
the&
tonic chord,
’ ’the’I. The
’ strongest
’ ’resolution
’ ’ notes,
bœ œ
J
He showed me my first ii-V-I lick, and I still remember it:
4
4
D mi7
&
œ2
2
œ4 œ3 # œ2 œ3 n œ1 œ3
G7
1
œ # œ # œ œ1 b œ b œ œ œ
1
1
4
3
Ex. 1
3
1
C6
1
˙
Ó
b
œ
œ b
D mi7
G7
’ ’ ’
C mi7
F7
B7
G7
C mi7
F7
This lick (in the style
Kessel and others) incorporates a very common
chromatic
œ of Barney
Ó
œ
&
’
’
’
’
#
œ
’ ’ ’ ’
#
œ
˙
D œnatural downthrough Cs and C
line over the ii chord, moving by way
of aœ pedal point from
#
œ
#
œ
natural
B, the major 3rd (I’ll useb 7 M3 for major 3rd from now
b on, for brevity’s sake) of7 the V
b
B B bto
7
B7
mi the V
B7
chord. Jimmy Page uses the sameE idea in the opening of “Stairway
to Heaven.” Then Fon
chord,
Locrian)
& ’the entire
’ jazz
’ minor
’ (aka ’super ’
’ scale’ is used,
’ incorporating
’ ’ the’very dissonant
’ ’ ’ ’
s11, f13, s9, and f9 intervals, as well as the more consonant B, G, and F notes—the root, M3, and7
b
D mi
G7
7
it is not a random
f7 intervals
against the G7
E ` 7chord. But although the entire scale isB bused,
E7
œ C6,
sequence of pitches. The stepwise
tob the
œ ofb the
˙ downbeat,Ó is essential to
‰ # œ resolution
œ M3
n œ on the
œ
&
’
’
’
’
œ
the tension and release that makes the dissonant pitches possible, and ultimately quite beautiful. ’ ’ ’
b
like this sounded
ears,
7
7
C miLicks
F 7 magical to my 15-year-old
B7
G 7 and still
C mido.
F7
Incidentally, I used to think of the I chord in a major key as being a Maj7, but under the
œ œ
& ’ of’Barry
’ Harris
’ and
’ his’“6th ’Diminished
’ ’Scale”
’ I’ve
’ begun
’ toœ think
I chord as a n œ
influence
b œ of the
œ
œ
#
œ
Maj6. It feels a bit more stable to me, especially on standard tunes from the great American
b
b
b
b
C
songbook.
B7
E7
B7
F mi7
B7
One can’t expect
of bed one day playing, much less improvising,
Ó a student to’roll out
&
’
’ in’an exact
’ rhythmic
’ ’place ’in the tune,
’ to’ ’ ’
˙
language like example 1. It needs to be played exactly,
b
7
7
B
D mi I remember soloingG 7on
executeb 7the tension and release and create a sophisticated,
beautiful line.
E
“On Green Dolphin Street” in the key of C my first year at the New Orleans Center for Creative
œ #œ œ bœ œ
&back
’ in’1995.
’ I would
’ “improvise”
’ ’ ’on the
’ modal-sounding
’ ’ ’ A’sections,
Arts,
œ andœ then on the ii-V-I
bœ
in C that begins the B section I would play Hank’s lick exactly. The juxtaposition of my spacey,
modal improvising with the language of Barney Kessel was perhaps incongruous, but it made
my solo sound more like jazz, classic jazz.
Improvising vs. Playing Licks
So, is the solution to the aforementioned “disconnect” to learn hundreds of these lines, and
string them together into a sort of pastiche solo? Perhaps. There are definitely great players whose
“improvisations” are largely predetermined. In Brad Mehldau’s excellent 2003 essay Ideology,
Burgers, and Beer, he recalls an argument that took place in the late 80s between a group of young
musicians over burgers and beers in the West Village of Manhattan. The fight involved the relative
greatness of Sonny Stitt vs. Sonny Rollins, the rub being whether it is nobler to aim for a more
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compositional, structured sounding solo (because, of course, composition and structure are always
fluid in an improvisation), à la Rollins’s greatest work, or a more free-flowing improvisation à la
Stitt, who played “great, unadorned bebop,” as Mehldau puts it.
Both Stitt and Rollins are great players, and it is silly to pit one against the other (that isn’t
ultimately the point of Mehldau’s essay), but in my own playing and teaching I strive for the
Rollins model, ultimately.
My Sonny Rollins was the Joe Pass of the early 1960s, specifically the albums For Django,
Joy Spring, and Catch Me! For my PhD dissertation, I transcribed all of Pass’s solos on those three
records, and tried to analyze and identify what I heard as motivic development—the deep structure
(if I can use that loaded term) and apparent formal logic of his improvisations.
I was onto something in that dissertation, although as I look back on my work, the quest
was quixotic. I struggled to separate what Pass had improvised, in the sense of never played before,
from his individual variations on the classic jazz language—those melodic tropes, patterns, and
phrases handed down from Louis Armstrong and Sidney Bechet through Hawkins, Eldridge,
Webster, Young, Parker, Powell, eventually to Pass, etc. Identifying any essential difference
proved elusive.
And so, after transcribing 24 solos, and obsessing over them for two years, I hit upon a
concept that I called question and answer to describe Pass’s method of playing an idea and then
answering it logically, through some type of melodic, rhythmic, or harmonic similarity, so that
each idea flowed to the next. The end result was a solo that sounded like it had formal, developed
motives, almost like a classical composition.
My question and answer formulation is similar to Arnold Schoenberg’s “developing
variation,” a concept introduced in the “Criteria for the Evaluation of Music” section of his essay
collection Style and Idea to contrast the compositional styles of Wagner and Brahms. To read
Schoenberg describe it, the Wagner/Brahms dichotomy is remarkably similar to the Stitt/Rollins
division that spoiled the burgers and beer session of Mehldau and his buddies:
In order to make his [Wagner’s] themes suitable for memorability, [he] had to use
sequences and semi-sequences, that is, unvaried or slightly varied repetitions differing in
nothing essential from their first appearance, except that they are exactly transposed to
other degrees…
Whereas Brahms used:
…repeated phrases, moti ves, and other structural i ngredi ents of themes only i n varied
forms, if possible in the form of…developing variation.
Setting aside the whole “motivic development” can of worms, a more interesting question
from a pedagogical standpoint might be, “How did Pass personalize the classic jazz vocabulary
of his antecedents such that his solos came out sounding original?” Nothing that he plays on
For Django, Joy Spring, and Catch Me! had never been played before. Why does it sound like
him, while also clearly part of the classic jazz tradition?
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Personalizing Jazz Vocabulary
To teach students to personalize jazz vocabulary, as Pass and so many others did, I use a
method that is simple in design, but can be difficult to execute. I take a standard jazz tune, a tune
that has clear key changes or at least clear tonicizations of closely related keys. I pick four or five
measures of the chorus and write out a short passage for the student to play exactly, while they
improvise everywhere else. The lion’s share of these measures are dominant-tonic, V-I or V-i
resolution points, so that students are forced to incorporate into their solos altered dominant
harmony, chromaticism, and other harmonic and melodic techniques that chord-scale theory
doesn’t address with enough authenticity to the classic jazz tradition.
On more modern harmonic tunes, I will also write material that attempts to smooth out the
dissonant harmony and deceptive resolutions that characterize the work of composers such as
Wayne Shorter, Joe Henderson, John Coltrane, and others.
The most important aspect of this method is that it forces students to learn to improvise
into and out of the written material. I’m not a neuroscientist, but it seems to me that there is a
different mental process going on when one plays something exactly than when one improvises.
Perhaps the old right-brain/left-brain dichotomy illuminates the difference. I encourage my
students to try to disguise the written material by improvising something that’s intervallicaly,
melodically, or rhythmically similar immediately preceding and/or following the written-out part.
To relate the method to my dissertation, the students pose a “question” that is “answered”
by the written material, or the material itself is the “question” they must “answer,” or some
combination of these options. In this way they start a conversation with the classic jazz tradition.
The Personalizing Jazz Vocabulary method helps students to assimilate vocabulary
into their solos and integrate the improvised and non-improvised mental processes into something
more fluid and organic. It also forces them to be aware of exactly where they are in the tune at all
times, so that they don’t generalize or approximate the form or harmony.
This book presents 10 examples of this method in the following chapters. Each chapter
presents one to two choruses (something close to 32 bars) of a chord progression similar to many
American songbook and jazz standards. At five points within the chorus(es) a short passage is
written out, while the rest of the measures contain slash marks. The student is to improvise over
the slash marks and play the written material exactly. He/she should also attempt to disguise the
written material by improvising into and/or out of it, rather than leaving empty space before and
after the material. Ultimately, the listener should be unable to identify which material is improvised
and which is not.
For each progression, there is audio of me demonstrating the method, along with a backing
track for student practice. I also provide an analysis of each written portion. By assimilating,
personalizing, and also understanding the theoretical implications of the classic jazz vocabulary,
students should eventually be able to improvise with the vocabulary itself, but this is a long-term
goal. At the outset, the written material should be played exactly.
What About the Improvised Part?
I have perhaps been flippant in referring to the improvised part of the method. What do
students play over the slash marks of these tunes? While it is true that many students who have
come up through the chord-scale method of jazz education are skilled at plugging diatonic scales
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into chord progressions, it is worthwhile to briefly address my thoughts on this topic, although
it isn’t the focus of this book.
Allow me to digress to the 1966 documentary The Universal Mind of Bill Evans, in which
the great pianist describes a common issue with intermediate jazz students:
I see this in a lot of people who come to me…they tend to approximate the product rather
than attacking it in a realistic true way at any elementary level, regardless of how
elementary, but it must be entirely true and entirely real and entirely accurate. They would
rather approximate the entire problem than to take a small part of it and be real and true
about it.
Evans goes on to demonstrate the issue, on the standard “How About You.” He plays eight
bars or so in his own style, and then offers an “approximate” version, characterized by harmonic
vagueness. Then, to define what he considers to be an “entirely true and entirely real and entirely
accurate” form of improvising, he plays simple melodies and arpeggios over the same passage of
the tune.
When I teach a class of beginning to intermediate students, I emphasize arpeggios far more
b
than
chord-scales.
In fact, I present
the notes of the
b7
b7
b7 full, seven-pitch chord-scale
A
F mi7 as simply being
B7
B
E
B
options to connect the notes of the arpeggio. There are other options as well, chromatic pitches for
‰ below
œ œtheb third,
œ œ rather
instance.
I often
than œ
& ’
’ have
’ students
’ ’ arpeggiate
’ ’ ’chordsÓ starting aŒhalf-step
b
œ
J
œ
the root, so they become accustomed to on-the-beat dissonance:
Blues
4
4
D mi7
˙
&œ œ œ œ
1
2
1
4
3
5
4
1
˙
œ
# œ2 œ œ
G7
C6
˙4
1
œ
3
œ
# œ2 œ
3
˙
2
3
Ó
3
4
Ex. 2
œ bœ
b
C mi7
F7
B7
G7
C mi7
F7
In the improvised portions of standard tunes I give students their freedom, but encourage
Ó of course’to ’ ’ ’
them
simple
the˙changes—and
& to’arpeggiate
’ ’ chords
’ œand toœ try# œto hear
# œ #melodies
œ # œ over
œ
œ
improvise into and out of the written material, something intervallicaly, melodically, or
b
b
b
B B b7
rhythmically
similar, to try to disguise
E 7 it.
B7
F mi7
B7
That being said, each tune (especially in the case of more modern pieces) presents its own
&
’
’ must’to a certain
’ extent
’ be’analyzed
’ individually;
’
’ in ’
’ I present
’ my
’ method
’ ’ ’
challenges and
this book,
b
for improvising
on each tune
the specific written
b7
D mi7
G7
E ` 7 at the beginning of the chapter, before analyzing
B7
E
material.
bœ nœ
œ jazz
˙
‰ # œ other
Ó chapters, and
œ b œ of the
& ’I also
’ expound
’ ’ on various
œ aspects
’ ’ ’ ’
practice within these
the organization
of these musings
may seem somewhat
whimsical.
I7situate these musings
as
b7
7
7
7
7
C
mi
F
B
G
C
mi
F
they occur to me, suggested by certain progressions and improvisational situations. They are
consistently
is
œ œ
& ’ ’marked
’ ’in the’text,’either
’ by’bold’font’or by’a separate
’ œ heading
b œ œif theœpassage
#œ nœ
longer than a sentence or two.
b
b
b
b
C
B7
E7
B7
F mi7
B7
&˙
b
E7
Ó
&’ ’ ’ ’
’
’
’ ’ ’ ’
’
’
’
’ ’ ’ ’
B
b7
77
’
D mi
’
’
œ
œ
œ #œ
7
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’
G
7
’
œ bœ
’
’
œ bœ
Transcriptions and Backing Tracks
For each progression I have included a backing track for you to practice the Personalizing
Jazz Vocabulary method, with the great Dallas/Fort Worth-based rhythm section of Matt Young
(who also engineered) on drums and Mike Luzecky on bass. You can find out more about these
great players at mattyoungmusic.com, and facebook.com/Luzecutive.Account, respectively. I
provide the comping. We loop through each progression many times, so you can explore
different ways to incorporate the written material into your improvisation.
I’ve also included an example of me demonstrating the method over the same tracks—
twice through each collection of vocabulary—and there is a transcription of these improvisations
at the end of each chapter. I wanted to be down in the trenches with the readers of this book, and
to reveal the results of my own current adventures with the method. Feel free to take anything that
I’ve improvised here and incorporate it into your own playing. Think of it as some extra vocabulary
you can use, some lagniappe, as we say in New Orleans.
A Note on Fingerings
I’ve provided fingerings for all the written examples in this book, and they are meant as
suggestions, nothing more. I am not entirely systematic about the way I finger things, and I might
play some of these examples slightly differently each time. The fingerings I use when I play have
been developed over the years through trial and error—with attention to getting as legato a sound
as possible, and ease of execution and comfort for the left hand. I try not to stretch when I don’t
have to. Feel free to adopt these fingerings, or make up your own, but when memorizing new
material I suggest you keep your fingerings consistant until you have completely internalized
the idea.
Summation
The personalizing jazz vocabulary method is a realistic, thorough, and accurate way for
students to incorporate sophisticated harmonic language into their individual improvising voices.
I’m reminded again of those jazz summer camps, back in the early 1990s. Even when we were all
playing “Sonnymoon for Two,” and soloing with the straight blues scale, everyone sounded
different. We don’t want students to lose that inherent originality, even as they strive to play
complex, classic, modern jazz, and learn to speak its intricate language.
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CHAPTER 2
Five and Nine Eighth-Note Resolution Cells
When I teach a class of intermediate jazz students, I begin by ascertaining their command
of the chord-scales of the tune we are playing. I then encourage them to improvise with more
arpeggios, and to start a half-step below the third, as I explained in Chapter 1. As the class
progresses, I start to introduce small passages of classic jazz vocabulary. I usually begin with a VI or V-i resolution, and give students a short, five or nine eighth-note cell to play exactly, while
they improvise before and after it.
Why five and nine eighth-note cells?
In a ii-V-I (I’ll use major key Roman numerals for convenience) in which the ii and V
chords each occupy a full measure, I give the students eight 8th notes to fill the V chord measure
with some combination of chord tones, altered harmony, and chromaticism. The ninth eighth note,
on beat one of the I chord, is the resolution. It will always be a strong chord tone of the I chord,
and will usually be approached by half or whole-step.
b7 in which the ii andb7V chord are both contained
b
A In a Bii-V-I
F mi7 students
in a single measure, I give
E
B7
four eighth notes—starting on beat three of the ii-V measure (the beat on which the
V chord
œ
Ó
Œ
‰
œ
bœ œ
& ’resolve
’ to’a fifth
’ eighth
’ note
’ on’ the’downbeat of the I chord measure.
begins)—that
J
Here are some examples of nine eighth-note resolution cells:
Blues
4
4
&
bbb
b
F mi7
’
Ex. 3
b œ b œ2 œ1 œ4 2
bœ
B 47
’
’ ’
b 7
b
˙3
b7
Ó
b7
Ó
b7
E miexample, the V chord
A is filled with notes from the Bf super Locrian
D scale. The
B
In this
b b on the s9, and descends
passage begins
through f9, root, f7, and f13—then skips down
œ stepwise
œ
b
n œ n œ # œtriad.œGf and˙D are the s5Ó
&
’
’
’
’
to the M3. This skip is very important, and suggests
n œ œa Bf augmented
and M3 of this triad, and since the bass is probably playing (or has recently played) Bf, the root,
b
b
b7 s9 and f9 intervals
the Bear will perceive
an augmented sound. The
D7
G 7 line then continues throughD the
to descend
b b to Bf on the I chord, a very strong resolution to the perfect fifth (I’ll use P5 from now
b
&
’ ’ ’
’ ’ ’ ’
’ ’ ’ ’
on) of Ef6. ’
Here is another example, in the minor mode:
b
G7
b
G `7
E mi7
b
A7
bb
b
& ’ ’ ’ ’
C
b
&bb ’ ’ ’ ’
b
D7
b
&bb ˙
b7
Ó
‰ nœ
b
œ
œ bœ
’ ’ ’ ’
b
G7
99
’
’
b
œ bœ nœ
D7
˙
b
D7
B7
’ ’ ’ ’
’
b
’
b
D7
’
E
b
b
’
F
b
A7
œ bœ
œ
œ nœ
’
’
’
F mi7
’
b
A mi7
Ó
E mi7
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D7
bœ œ
E6
œ2 b œ1 b œ4
1
b
B7
b
A mi7
b
B7
4
&4 ’ ’ ’ ’
Ó
’ ’ ’ ’
b
G mi7( 5)
C7
Œ
F min
œ1 œ œ1 œ3 n œ2 œ4 œ3 1
bb b
œ
& b ’ ’ ’ ’
2
nnnnbbb
Ó
4
˙
2
Ex. 4
œ bœ œ
bœ œ
‰ œ
J
Blues
Blues
The pitches
the F harmonic minor scale, a mode sometimes
b 7 of this cell come bfrom
b called b
7
E midominant
D 7 to the B 7
the Phrygian
scale. Again,A the most important aspect of this cell is the resolution
strong
7 the C7 are P5,b 7f13, F mi7
b 7 (m3) chordb7 tone on beat
b 7 oneb7of the Fmin. Theb 7pitchesF mion
b7 Bthird
A A minor
B
E
B
B
E
B
perfect fourth (P4), M3, f9, root (R), and f7.
Ó ’ (there
œ œmore
Ó‰ many
œ œ œœ bbœœ b b
one
bbŒœ7 inœ theb‰œfollowing
&&Here
’ isb’
’
’’more
’ ’nine
’ ’’eighth-note
’’’ ’bexample
’Œ are
B
7
7
J
œ
J
chapters), which
D begins Mixolydian and thenG turns altered before resolving:D
A mi7
b
b
& b ’ ’ ’ ’
44
44
b
b
& b ’
b 7 b ’
œ
œ
’ D b7 ’ b 7
A mi A mi7
’
3
& b b ’ ’ ’ ’ 2 ‰2 n œ
Ex. 5
b
b
E mi7
A7
bb b b
& ’ ’ ’ ’
’
’
’
nœ
œ1œ œb3œ b œ1n œ n œ2 œ œ1 œ œ n œ
œ2 D`œ3œ17
G
b b b bbGbb7
b
&& bbb b ’b b ’
’ ’
’ ’’ ’
œ nœ nœ #œ
nœ
1
œ
2
1
œ bœ
4
4
b
2
2
6’
b6
G1 G
’
˙˙
1
’
b
DÓ Ó7
œ bœ nœ
b
D7
Ó
˙
œ
˙
B7
’
’
A mi7
œ.
n n n n n n∑
Ó
b
E mi7
1
7 œ
7 7
œ7G miexample
A
B 7altered
F mi7
B7
#note
œ is#the
E“and
mi7D 7of four,”Cresolving
œ
f9,
the
InFthis
the
only
D
natural
on
the
œ
œ
#
œ
1
#œ œ œ
œ isœ4 3
b b of the I chord.
b ˙ although
n œ n œ then œDf œMixolydian
to Df,
n n n n n n b b bscale,
Ó∫there
& btheb b bP5
’ ’ ’ ’ The othernnotes
œ œare from
b that
Ó the targeted note is ’b œ’ ’œ1
a chromatic
“enclosure” of the M3 of the Df7 chord. By enclosure I mean
&
b b a half step above7 andb below—in
b7 this case the
b7the chromatic
b
CB
b b76 Ff
“enclosed”
P4 (Gf) and
7
7 A m
D7 7pitches
G
D
7
7
G
Dby
G
D
B
mi
D
11 7
mi
2
4
b7 of Dthat
b17 instance,
enclose
Fb 7onAbeat
3. I don’t think
itn œ
functions
2 Ff 1as a s9 in this
A b bthe
1because
œ
F˙mias a
b
3
œ
2
œ
œ
B
E
B
œ
b
n ofœ classic
& b bpassing
’b b ’note. Chromatic
’ ’ language
’ ’is an’integral
’b œpart’
’ jazz
’ vocabulary,
’
’ and’ ’Ó ’
chromatic
b
&
b
’
’
’
’
b7
the universe of chromatic band
non-chromatic ornamentation
in jazz is every 7bit as 7
7
G mi
C7
7
D
F
mi
`
7b 7
A
D
G as Baroque classical music.
sophisticated
b `2 7 ∫ œ œ b œ b œ
˙
bHere
7
A
bb GareGsome
œ cells:
D7
œ
b
Ó
‰
n
œ
five
eighth-note
resolution
b
œ
&
’ ’ ’ ’
’˙ ’ ’
œ
’ ’ ’ ’
œ bœ
’ ’ ’ ’
Blues
b
œ
œ
b
Ó
& 4b b ˙
’ ’ ’ ’
’ ’ ’ ’
’
Œ
‰ œ œ bœ œ bœ
&4 ’ ’ ’ ’ ’ ’ ’ ’ Ó
J
bb bb
œ #œ
bb ’’ ’’ ’7 ’ ’ ’ ‰’ n œ’ ’
&& b b7’
œ œ’ ∫’œ ’ ’ œb œ œ
G mi ( 5)
7 (b 5)
A mi G mi
C
7 1
2
D
D
Ó1 œ1
7
6
73
1
œ
b
b
Ó
&
’
’
’
’
2
C&
7
b b A˙ mi7
b
b#6
& Ex.
F min
D1 œ œ œC œ n œ2 4 G3 1
b œ3 œ12 œ2 œœ1 œ˙31 œ 2 ˙
bb
œ
& b# b b ’b ’ ’ ’
7
2
b œ3
G
7
œ2’
œ4
’4
œ
œ n œ œ4 œ3 1
Ó œ
G6
’ ˙1 ’
D
˙ œ
Fœ mi7œ
4 œ ∫œ
b
œ #œ œ
F min
’
B7
1
Ó
˙
7
’
b
F mi7 G 6
Ó
4
Ó
b 7
B mi
’
’ n b’
D’
7
#
& ’ ’ ’ ’
b
A mi7
œ œ
2
bb
& b b bb ’ ’ ’ ’
bbb
b
&
’ ’ ’ ’
G
7
b
#œ #œ #œ œ
#œ œ
7
2
œ œ1 œ3 b œ1 n œ2 œ1 œ4 n œ
D2 7
b2
A `7
‰ nœ
1010
œ
œ ∫œ
nbb
bb ˙
b
˙
œ bœ bœ
’
œ F mib7
bbb
Ó
G1 6
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’
∫œ
b b bC 7 ’ ’ ’
Ó
ÓG mi
D
G7
b
pitches on the1 D7 chord
are a straight D augmented
triad, which resolves
bThe
Fbminfour
AÌ
D7
E 6 œ7 elegantly
nœ œ7 ∫œ
7
7
b
œ
b
&
’
’
’
’
’
’
’
’
’
’
’
’
œ
G mi ninth (M9 from henceforth)
C 1
D a simple and
C
to the major
interval
of the I chord. Augmented triads are
2
4
2
b
œ
œ
œ
1
4
œ
œ
effective
Ó to giveŒyour V-I
‰ orJ V-i resolutionsœan altered
b ˙ break upÓthe
œ 2They4 can also
& way
œ # œ flavor.
intervallic monotony of half-step/whole-step lines.
1
3
&
7
D
7
˙
D7
’
nnn
Ó
Ó
&4 ’ ’ ’ ’
Ó
’ ’ ’ ’
Œ
C˙16
Tritone substitution is another choice of altered language:
G7
D mi7
b œ1
&Ó
œ4 b œ3
œ
1
1
Ex. 7
C6
Ó
2̇
œ bœ
‰ œ
J
œ
Ó
7
7
COnmi7the G7 chord, the first
Fœ7 three
D
C
Df
pitches
are
a
straight
major
triad.
The
B
natural
on
the
œ
œ #chord,
œ f7# œof a# Df7
b b of˙a chromaticÓ
“and of four” could be interpreted either
as the
œ œor as part
#
œ
b
b is one of few
& ’of the
’ C’natural
’ on beat one of the I chord. Incidentally, this example
enclosure
Fm
Ó
n
Blues
’
b
instances where ab resolution
to the rootb(R)
7
7 sounds convincing and appealing. Often,6a resolution
œ œ1 œ3 b œ n œ œ1 œ n œ
˙
G1
2 but here,
4
it works.
to the root canAbemianticlimactic afterDhighly
altered or chromatic passages,
2
bb
& b b bb ’ ’ ’ ’
1 resolutions
2
Both the augmented triad and tritone substitution
above can resolve to either
R—don’t
involve major or minor
major
b7 tonic chords, since theb7resolution notes—M9 band
A or minor
7
B
E
B
thirds.
2
b
Here is one
7 more five eighth-note
A ` 7 resolution cell. This one is taken from that firstD 7ii-V-i
G
that Hank Mackie showed me, all those years ago. Taking these five eighth-notes out of that
previous context, illustrates how one can eventually free up and improvise with this complex
classic jazz vocabulary:
(b 5)
4
& 4b ’ ’ ’ ’
b
Œ bœ ‰ œ œ bœ
œ
bœ J ˙
’ ’ ’ ’ Ó ∫œ
œ
& b b ’ ’ ’ ’ ‰ nœ œ
G mi7
bb
Ebmin
7 (b 5)
C7
F min
œ œ œ œ3 nDœ2min œ4
F mi
œ bœ
Ó
A
œ3 œ1 ˙
œ
Ó
b
&
’ ’ ’1 ’ 4 3 1
œ
4
œ
Ó
6
& b AÓmi7
D17 œ 2 œ œ
˙
G
œ3 b œ3 2
1
D7
˙
œ œ4
nbb b
# Ó
Ó
b ’ ’ ’ ’
&Ex. 8
6
AG7 mi7
E mi7
D
7
7
7
1
D
1
mi Gtransposed
7
œ œidea up a œwhole
step and made it minor by lowering
ID
have
the G
initial
4the
∫
œ
#
œ
#
œ
œ
3
2
œ
#
œ
b
resolution
a bhalf step to the m3. The pitches
on the dominant are the same: s9,Óf9, R, and f7. Thisb œ œ1œ
#
œ
˙
n
œ
b
œ
b
b’ ’’cell’’is good
’’ to ’have under
&
’ your
’ fingers,
’ ’and can’ help’you’quickly
’ resolve
œ an
five&
eighth-note
2
1
7
b 7 line.
(otherwise) improvised
b
1
4
b
2
4
n
œ
˙
œ
3
œ
1
2
œ
œ
œ
n œ Substitution
b b b Diminished, Augmented, andb œTritone
b
b
& b ’ ’ ’’
D2 7
A mi
1
G1 6
1
1
The examples above present a2 variety of options for altering and resolving dominants.
b
When I’m improvising
a solo on a standard
A ` 7 jazz tune rife with ii-V-I progressions, I haveDa7 ready
G7
collection of classic jazz vocabulary and altered dominant resolutions I can call on. When I’m in
the moment, and have to choose how to treat the V-I progressions that come at me in real time, I
tend to organize
my altered language
7 (b 5)
7 options into three categories: diminished, augmented, and
G
mi
C
F min
tritone substitution.
F
mi7
2
1
1
4
3 present
2
4 two harmonic worlds that have different
To me, diminished and augmented sounds
3
1
emotional effects on the listener. The diminished world is characterized by the sound of f9 and
natural 13, whereas the augmented world contains a f13. The other altered pitches can be used
6 determines the augmented or diminished
freely in either
D17 but2 it is really the 13Gthat
A mi7 of these sounds,
7
bb
b
& b ’ ’ ’ ’
&
bbbb
&
Ó
#
’ ’ ’’
G
œ
œ ∫œ
œ bœ bœ
œ œ
˙
œ œ œ œ nœ œ
œ b œ3
7
‰ nœ
œ2
œ 1111
4
˙1
Ó
˙
Ó
Ó
œ ∫œ œ
œ
nbb b
b ’ ’ ’ ’
Sheet Music Plus
1 Order 4117782763. 1 copy purchased by David7 Grech on Jul 13, 2022.
D
nn
Ó
D
G mi7
Blues
b
b
4
&4 ’ ’ ’ ’
A
B7
E7
’ ’ ’ ’
b
B7
Ó
Œ
F mi7
œ bœ
œ bœ
‰ œ
J
flavor. Example 5 (p. 10) is a straight augmented triad, on the root of the V chord, resolving to the
M9 of the I. The only altered pitch is the f13 interval, but its presence is overwhelming and places
us squarely in an augmented world.
Here’s a way to treat the Example 6 chord progression with diminished harmony:
A mi7
&
# Ó
D7
œ2 b œ
œ
bœ
1
3
4
˙
G16
1
nb
Ó
∑
Ex. 9
Here, instead of a D augmented triad, resolving to the M9 of the I chord, 7we have a B7 major
A
E mi
triad (in first
D mi7inversion) resolving
G 7 by half-step to the P5 of the I chord. The combination of1 the4 f9
and natural 13 intervals, the Ef and B natural, give the passage its diminished flavor. To my ears, 3
the diminished world is more equivocal than the augmented. Diminished chords, and the halfwhole diminished
b6 can be
b 7scale that composers
b7 like Ravel and Stravinsky used to suchGaffect,
1 On the
mi
resolved manyAdifferent
ways—thereDis a fundamental uncertainty to the4 diminished
1sound.
2
2
1
1
3
other hand, augmented triads, the hexatonic augmented
1scale,2 and the whole tone scale—all sounds
characterized by the f13 interval—are more emphatic.
This is, of course, subjective, but when I’m improvising in real time, subjectivity is all.
I classify sounds this way, and choose
altered world I want to enter based on the7effect
b`2 which
7
7
A
D
I want to evoke
G in the listener.
Tritone substitution, as in example 7 (p. 11), doesn’t address the crucial 13 interval, so it is
a separate sound to me. Equally affective, in its own way, but more like a hemisphere than a world,
if you will.G mi7 (b 5)
C7
F min
7
&b ’ ’ ’ ’
œ œ
b
& b bbbb ’ ’ ’ ’
b
& b bb ’ ’ ’ ’
#œ #œ #œ œ
#œ œ
œ œ œ bœ nœ œ œ nœ
˙
œ bœ bœ
œ ∫œ
œ
‰ nœ
Ó
∫œ œ
b œ œ1
D
Ó
n
˙
˙2
Ó
F mi
2
1
1
4
œ
3
2
œ
œ
4
œ
n œ more
1
Inb the
chapters I will present many
of this type of language—
b following
œ œ3examples
œ
œ
Ó
b
˙
b
&
’
’
’
’
augmented, diminished, tritone substitution, as well as chromaticism and other various classic jazz∫ œ œ œ
sounds—as five
resolution cells,
7
7 and nineDeighth-note
6 as well as in longer and more complex
2
A
mi
G
1
passages. I have also included 3some tunes with more
“modern” jazz harmony—containing
1
D7
progressions that are modal, often with 2dominant
chords
that
resolve
deceptively—to
demonstrate
4
how the Personalizing Jazz Vocabulary method can work beyond the realm of ii-V-I progressions.
Most of this language is in eighth notes, although I have tried to vary the phrasing of the material
1 notes of the bar, where feasible. D 7
G mi7
by starting on different
eighth
7
Keep G
in mind that the point of this book, and of the Personalizing Jazz Vocabulary method,
is not only to memorize these examples and get them under your fingers, but to improvise into and
out of them, so that they can become part of your own soloistic voice.
&
# Ó
œ bœ
bb
b
& b ’ ’ ’ ’
œ
˙
œ
’ ’ ’ ’
Ó
’ ’ ’ ’
12
12
nbb b
b ’ ’ ’ ’
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œ
œ
œ nœ
CHAPTER 3
Happenstance
The chord progression in this chapter is similar to many standard tunes in the jazz
repertoire. It is a common jam session progression, and is essential for students to learn if they
want to be active, performing jazz musicians. The tune doesn’t have any major modulations, but
it tonicizes various closely related keys, and there are several ii-V-I/i progressions, as well as the
just-as-common IV-iv-I progression that Hank Mackie taught to me as the subdominant minor
cadence.
I have written out five examples of classic jazz vocabulary in the chorus below, and
students should play these examples exactly, while improvising into and out of them. Students
should also attempt to disguise the written language by improvising something intervalically,
b
melodically,
leading into band/or
out of the given material.
b or rhythmically bsimilar
A
F mi7 The recordedB 7
B7
E7
B7
example (the “Mooney Improvisation”) contains two choruses where I demonstrate this technique.
œ b œ around it.
Πwhile
‰ œimprovising
Again,
writtenÓ portion exactly,
& it’is essential
’ ’ that
’ students
’ ’play’the ’
œ bœ œ
J
Here is a brief analysis of each example, in the order it occurs in the chorus below:
Blues
4
4
F min
&Ó
AÌ
b œ2 œ4 œ1 4
œ # œ œ œ2 œ4
1
‰ Jœ
Œ
3
2
Ex. 10
D7
1
b
E6
b ˙2
œ
Ó
œ b
∑
œ œ
œ #œ #œ #œ œ
#
œ
∫ œ œ4 3
chord in this instance is actually an Ef6 chord.
b œ œ1 ˙2
b
Ó
& ’ In’the’key’ of Ef (and in any major key) the iii chord, Gmin, has a tonic function, and Ó
7
mi7the keyAof Gmin, although
D 6 the i
7The chord progression
7
here functions as a minor ii-V-iEin
1
C mi
F
nb
is so similarb to
the I that the btwo
can be used interchangeably. G b 6
1
A mi7
D2 7
b
1
2
4
n
œ
˙
taken from the chord’s B mi7
In this example the four
on2 theœ1 Ami7f5
are largely
D7
1
œ
3 notes
œ eighth
1
œ
œ
b œthatn œthey lead stepwise to the M3Ó of the D7n nonn beat
arpeggio,
they are presented such
nbbbb ’ ’ ’
b b b b b b although
n
n
&
’
’
’
’
three. The D7 is not altered in the sense that was described in Chapter 2. Instead, this example
7 7
b I call contouric
b7 while taking its bpitches
b`2 7 variety,
presents
what
from7 the arpeggios ofF mi
the
A
7
G mi
C7
7 7
A
B
E
B
D
G
œ descending
chords.
is varied in the∫sense
œ bthe
˙ first half of the bar
b b The contour of the line
œ that
bœ
œ
œ
b
‰
n
œ
Ó the line’ ’ ’
b
contrasts
with’
the ascending
&
’
’ ’ second half and, even within those last four eighth notes,
b 5) line resolves
dips again.
b
G mi7( The
C 7 stepwise to the strong P5 Fcho
min rd tone of the Ef6. 7
F mi
B7
1
4
œ2 1 3
Blues
4
&4 ’ ’ ’ ’
bb
&bb ’ ’ ’’
DÌ
7
A mi
#
&& ŒÓ
œ
œ œ n œ2 œ4 œ3
G7
2
œ3 œœ2 b œb œ œ œ œ ˙
bœ #œ
1
D17
2
3
7
C mi
&’ ’ ’ ’
G6
2
3
F
œ3 Ó
1
D7
’ ’ ’ ’
œ7 œ
œ1
C min
1
4
1
1
b Ex. 11
& b bb ’ ’ ’ ’
G
7
’ ’ ’ ’
Ó
˙
Ó
# œ œ 13# œ # œ # œ œ
D
œ bœ
œ ∫œ œ œ #œ bœ œ œ
b
E6
D
7
G mi7
œ
2
œ
E mi7
b Ó
œ nœ
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b
b Sheet
b7
7
G6
A mi
œ bœ
‰ œ
J
b
œ œ n b b Ób
b ’ ’ ’ b ˙’ ’ ’Ó ’ ’
1
’ ’ ’ ’
13
Œ
A7
B mi7
C7
œ ∫œ
∫ œ1 œ4 b œ3
œ1
1
D7
œ bœ
D6
˙2
Blues
This example is more dissonant and altered than example 10. There is a chromatic passing
note,
b7 between the m3 (F)b7 on beat two and the f13b7(Ef) on beat three. Then a skip Fdown
A an E natural,
mi7
B
E
B
to the M3 of the G7, B natural, evoking an augmented triad, followed by a chromatic enclosure of
the resolution note, the P5 (G) natural of the Cmin. The idea begins on beat two and ends on the
“and of one” of the Cmin measure. It’s important to be able to execute ideas on various parts of
the measure, and to sometimes make your resolutions less predictable.
4
&4 ’ ’ ’ ’
b
B7
&‰
b œ2
b
2
1
œ
b
œ
œ1 œ3 œ1
œ
Ex. 12
œ
œ
Œ
E6
b ˙2
3
2
Ó
’ ’ ’ ’
œ #œ #œ #œ
b
E6
Ó
Blues
œ bœ
‰ œ
J
b ˙2
œ
œ b
Ó
b
A
Emimi7
b7
7b
A C mi
B7
FE7b7measure there is aBdescending
B 7 and four of the Bf7
G major triad, wFith
beats three
the f9 and1natural
7
7
In example 12, there is contouric variety in the line, as well as a diminished
alteration:
on
#œ
∫œ œ
4
œ
13 pitches that evoke the diminished sound. This
time
our
idea
begins
on
the
“and
of
Ó
Œ
‰ œ b Ó b œ œ one”—ab œ œ œ œ ˙b
&
’
’
’
’
’
’
’
’
4
bœ œ
&
’
’
’
’
J
difficult upbeat, but one that we should be able to execute.
b
b
4
b
4 bn œ
˙
1
1
œ
3
œ
1
2
œ
œ
A
7
AÌ
D7
1
1
œ
4
œ b œ œ œ œ3 b œ2b œ œ3 n œ 1 4 b œ2
bbb b
b
œ bœ
&Ó b ’Œ ’‰ J’ ’
Œ
Ó
&
7
b D2
A mi7
E26
2
b2
G1 6
œ œ bœ bœ
œ ∫ Blues
#œ
3
2
1
1
Ó
˙
bbb
œ
b
‰
n
œ
& Here is’an example
’ œ ’œthat’doesn’t concern itself with a ii-V-I7 progression.
6 have
Instead,Dwe
A7
#œ #œ
E mi
7
7
œ
7 (b 5)
7 œ
G
Ex. 13
A `7
1
7
D6
D7
Ó
∑
nnn
C mi passage
F
# œCof the seven pitches of the Ef majorFscale,
G mi that contains
min∫ œ along
a scalar
six
7
œ4 b œ3withœ1 a chromatic
2
F miThe
˙
2
1
1
4
b
Ó
nb
passing
note,
a
B
natural
between
the
C
and
notes
on
beats
two
and
three
of
the
measure.
Bf
3
7 Ó
2
b7
b
4
A& ’ ’B b’
7 ’
F
mi
3 7 1
E
B
idea “resolves”
b6 M3 of the Ef6 becomes Gf,
b 7 to the f7 of theb7Af7 chord, as the G natural that is the
G
1 material over the Ef6 b 7
A
mi
D
1
2
the f7 of the Af7 chord, by way
G,
(Ef), ˙Gf. The
4 F,
2 of1a diatonic enclosure:
n
œ
B mi
D7
1
œ
3
œ
1
2
œ
œ
b œ n scale,
œ G 6 although I must confessÓ I didn’t learn
chord bcould
7be thought Dof7 as a sort
2 ofœ bebop
n n n n bmy
bbb
b
b
A
mi
n
b
1
7
b
n
& b ’ through
’ ’bebop
’ scales.
’ ’ ’B
3
chromaticism
1
D
œ œ œ œ nœ œ œ
bb b b
œ ∫œ œ œ
œ ˙
Ó
&4 ’ ’ ’ ’
Œ
‰ œ œ bœ œ
&4 ’ ’ ’ ’ ’ ’ ’ ’ Ó
b
J
œ bœ 2
˙
# 7
nbb b
b`2 7 œ œ4
G mi7
C7
7
Ó
Ó
A
D
b
G
&b b
b’ ’ ’ ’
œ bœ bœ
˙b
∫ œ FÈ
œ
A
7
œ
GÌ
C7
4
Ó
‰
n
œ
b
3
AÌ
D7 ˙
E6
& Fbmin’ ’ ’ ’1
’ G’mi7 ’
1
b
œ
2
2
b
œ
b
1
b œ2
bœ
1 C 7b œ
1
b7 b
G mi7
F min
7
œ
4
2
b
œ
F
mi
B
Œ
‰
Ó
Œ b bb Ó œ
œ
œ
1
4
œ
œ
&
Œ J ‰ œ Jœ œ œ n œ œœ œ # œ œ
b˙
Ó
&b b bÓb
œ
œ œ ˙1 2 Ó4
œ ∫œ œ
bœ œ œ
&
’ ’ ’’
1
( 5)
2
1
AEx.
mi7 14
3
œ b œ3
D17
2
2
1
3
2
G6
˙1
4
4
3
œ #œ
1
3
b
4
œstraight
n b b b against the
# This
7 again,
œ
7 C7. Once
œ
last
example
is
a
tritone
substitution
of
a
Gf
triad
œ
Ó
Ó
A
b
#
œ
E
mi
D6
&
’
’
’
’
’
’
’
’
7
7
#
œ
œ
œ
#
œ
1
b
C
mi
F
we resolve to the P5 of the Fmin chord.
F min
2
AÌ
# œ D7
D7
E6
B mi7
D7
∫ œ œ4 3 C 7
b œ œ1
˙2
b Ó bb b œ œ n œ œ ∫ œ œ
2
b œ œ4 œ1 4
&
’
’
’
’
œ
œ
œ
Ó
Œ
‰
b
˙
Ó
œ
bb œ
&
b 7 J
b7 œ # 3œ 1 2 4
6
G
1
A mi
D
1
2
2
14
4
n
œ
˙
1
œ
3
œ2 œ1 œ14
b œ1 n œ2 œ
nn
bb b b b
Ó
n
& b ’ ’ ’’
1
1
2
G mi7
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Here is the full chorus, with all the examples in context. Again (not to belabor the point),
students should improvise around the examples, but not with them. Listen to the “Mooney
Improvisation” for a demonstration.
A
b
& b˙
Ó
2
B
9
b
E6
FÈ
&’ ’ ’ ’
C min
& œ3
A
b
A 7
b
A Á
C7
œ œ Ó
b
’ ’ ’ ’
3
2
C7
’ ’ ’ ’
DÌ
Œ
G7
œ3 œ2 b œ œ
1
b
1
2
B7
bœ #œ
3
1
b œ2 3 b œ1 œ2 œ1 3
‰ œ
œ œ1
FÈ
’ ’ ’ ’
C7
D7
2
1
b
œ
œ
œ4 œ1 œ4 # œ œ œ œ
Œ ‰J
2 4
1
’ ’ ’ ’
E6
’ ’ ’ ’
GÌ
Ó
AÌ
GÌ
’ ’ ’ ’
F7
1
FÈ
’ ’ ’ ’
’ ’ ’ ’
b
E6
13
GÌ
4
&4 ’ ’ ’ ’
E6
5
Happenstance
2
FÈ
œ1
Œ ‰ J
AÌ
D7
2
Ó
& b˙
’ ’ ’ ’ ’ ’ ’ ’ Ó
17
1
b
E6
b
A 7
GÌ
C7
b œ2 œ1 œ4 œ3 b œ2 3 1
2
œ œ b œ4 b œ
Œ Ó
&
’ ’ ’ ’ ’ ’ ’ ’
21
C
FÈ
&’ ’ ’ ’
25
&
29
˙
FÈ
3
Ó
b
A Á
’ ’ ’ ’
b
B7
b
E6
’ ’ ’ ’
b
E6
’ ’ ’ ’
GÌ
Œ
C7
’ ’ ’ ’
1 bœ
b
œ
1
b
œ
‰ œJ1 b œ
C7
3
FÈ
4
2
b
B7
’ ’ ’ ’
15
15
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Happenstance
b
œ œ œ GÌ
œ
œ œ
b
œ
œ
œ
#
œ
J
& 44
A
b
(mooney improvisation)
E6
bœ œ œ œ bœ œ
J
œ œ ‰ Jœ b œ œ œ œ # œ œ œ œ
C7
b
A7
E6
FÈ
AÌ
GÌ
D7
C7
œ bœ œ bœ bœ ‰ œ nœ œ œ ‰ j ‰ bœ
j
b
œ
Ó
‰
& J œ bœ œ
J
#œ œ J
œ
b
œ
n
œ
5
b
b
AÁ
E6
DÌ
G7
B FÈ
œ œ bœ œ
bœ œ œ œ bœ bœ bœ
j bœ ‰ Ó
œ
Œ
b
œ
b
œ
bœ #œ
&œ
#œ œ œ
9
C min
F7
œ œ œ œ œ œ bœ #œ œ
&œ
13
A
b
E6
GÌ
b
FÈ
œ œ bœ œ. bœ œ
J Œ
B7
C7
FÈ
AÌ
bœ bœ œ œ
‰ œ
œœ
D7
œ
J
j œ bœ œ b˙
œ œ œ œ b ˙ b œ œ œ . # œj Œ .
& bœ ‰ œ œ œ œ
17
b
E6
b7
A
GÌ
C7
bœ œ œ œ bœ
œ œ bœ bœ bœ nœ œ bœ œ œ bœ
b œ œ œ œ œ œ œj œ . Œ ‰ b œ
&
J
b
GÌ
C7
bœ
b
œ
b
œ
b
œ
œ
b
œ
j j
bœ
#œ œ œ bœ œ nœ œ ‰ œ bœ
& œ ‰ bœ œ œ. ‰ bœ bœ œ bœ
J
21
C
FÈ
b
AÁ
E6
b
b
E6
C7
b
œ b œ # œ œ b œ œ œ b3œ œ œ b œ n œ3 b œ b œ n œ œ3 œ
FÈ B 7
bœ œ œ bœ Œ œ bœ œ ˙ Œ ‰ j
œœ
&
#œ
25
FÈ
B7
29
17
16
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Happenstance
b
2
E6
GÌ
b
A7
GÌ
œ œ œ bœ œ
œ
b
œ
&œ
33
E6
& bœ œ œ œ Œ
C7
œ œ œ3 œ b œ n œ
œ œ
b
Œ
AÁ
b
E6
b
C min
F7
FÈ
œ b œ b œ b œ œ b Jœ œ
œ
‰
Œ
& ‰J
‰
41
œœŒ
œ œ œ œ œ bœ Ó
&œ
45
b
E6
49
&
œ
GÌ
œ bœ œ bœ œ œ bœ
b
œ
Œ
Œ
&
A
53
C
FÈ
& œ Œ
57
D7
œ bœ œ œ
œ
œ #œ œ œ
œ
C7
DÌ
œ
G7
œ #œ œ #œ œ nœ
œ œ bœ œ
Œ
bœ #œ
J
b
B7
bœ œ Œ œ bœ œ
œ C7œ b œ b œ FÈ
œ œ
bœ bœ œ œ
‰ œ
œ œ
AÌ
œ bœ œ œ œ œ bœ œ
œ
‰J
D7
œ #œ
b
GÌ
C7
œ œ bœ bœ œ bœ nœ œ
œ
œ bœ œ #œ œ bœ œ œ
J .
Ó ‰ ‰
A7
b
œ œ œ bœ bœ bœ
AÁ
b
œ #œ œ bœ nœ bœ
œ
œ bœ
FÈ
&
3
b
bœ œ œ œ bœ
E6
bœ bœ œ œ
AÌ
bœ œ #œ œ bœ
œ b œ b œ œ œ œ œ œ Œ ‰ Jœ
FÈ
37
61
FÈ
B7
bœ bœ
b
E6
œ œ œ. bœ
J
bœ bœ
b
œ
Œ ‰ œJ b œ
GÌ
œœœœ
C7
b
C7
b7
FÈ
B
œ œ œ bœ œ œ œ œ œ œ
Œ ‰J
bœ bœ œ ˙
E6
17
18
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Ó
CHAPTER 4
Interstellar
The chord changes in this chapter are an example of a harmonically deceptive progression
within a standard tune. I recall spending many hours sitting on a bench outside of my dorm my
first semester at the University of North Texas, with my guitar and a metronome, playing these
changes over and over, trying to find logical melodies that would navigate their deceptive
complexity. Particularly the first eight bars, which contain a series of deceptive resolutions:
Emi7f5-A7 should go to Dmin, but it instead “resolves” to Cmin7-F7—which should of
course go to Bf6, but instead moves to Fmin7-Bf7. We don’t arrive at the home key of Bf
7
b
b7
b
major
until
to the IV chord,
resolves to IB b 7
A
F miand
B 7 bar nine, after aE detour
B 7 which becomes minor
by a more plagal, IV-iv, subdominant minor cadence. The five examples of jazz vocabulary I
œ b œ eliminating
Œ
‰puzzles,
œ without
have
& written
’ for’ this’tune’ attempt
’ to’ address
’ ’someÓof these harmonic
œ bœ œ
J
the opportunity for improvisation. Here they are, in the order they occur in the chorus below:
Blues
4
4
EÌ
A7
b œ2
œ
‰ J
1
& Ó.
œ
1
Ex. 15
œ1
4
C min7
œ3 # œ b œ
2
œ
œ
Blues
4
3
1
œ
Ó
˙
4
∑
7
œ the
language
over
resolving to
b
b here is straight D harmonic
b 7 minor Ascale,
œ A7 chord
D 6 what
A C miThe
F mi7
7 B 7
E œ7 # œ # œ # œ œ B 7 E mi
1
F7
4
# œ F, but is in fact the P4 of the Cmin7 chord.
might have been the m3 of Dmin,
∫ œ Somehow
œ4 b œ3 1 it works.
2
˙
œ
found
that
both
the
m3
and
P5
of
Dmin,
Over
those
hours
shredding
this
tune
outside
West
Hall,
I
b
Ó
&
’
’
’
’
F and A, worked
b6 which allowed me to treat
b 7 just as well asb7resolution notes on the Cmin7 chord,
G
A
mi
D
the A7 as still being the dominant
of Dmin, rather than having
4
2
nsome
œ2 function
˙1 1 in the key of C minor.
&4 ’ ’ ’ ’
bbbbbb ’ ’ ’ ’
&EÌ
A7
’ ’ ’ ’
œ œ1 œ3 b œ1 n œ2 œ1 œ
Ó
D min
Œ
œ # œ œ œ3 A2 4 ˙1
˙b œ b œ D˙
œ
b
∫
œ
#
œ
b
œ
Œ
Ó
Ó
&b b ’ ’ ’ ’ ‰ œn œ œ
&
4
G7
1
1
b
G mi7( 5)2
C7
b`2 7
2
œ œ œ œ3 n œ2 œ4
b
& b bb ’ ’ ’ ’
F min
7
Ó
F mi7
œ
œ b œÓ
‰ œ
J
b
B mi7
œ b
D7
nnnnnnbbbb ’ ’ ’
E7
# œ œ # œ4 œ # œ3 1C 7n
Ó
’ ’ œ’
1
1
G3 mi7
b
B7
œ ∫œ œ œ #œ bœ œ œ
Here is example 6 again, with a chromatic approach, transposed to the key 7of Dmin. Beats
1
Ex. 16
2
œ3 œ1
1
4
˙
Ó
7
6
œ7 7 œ D 7 2œ # œ # œ6
A
E
mi
D
œ
AF mifour contain
b
three and
beautifulGaugmented
M9 ∫
ofœ1Dmin.
# œ triad, resolving to the
#œœa simple,
4
D7
B3 mi7
D 72
b
œ
œ
˙
# Ó
œ œ
nÓb b
b œ œ1 ˙
b
Ó
b
b
&
’ ’ ’ ’ ’ ’ ’ ’
&
b
1
F min
& Ób b
3
2
1
4
AÌ
E6
b 1
b7 D7
A mi7
D
2
1
Œ ‰ Jœ b œ œ4 œ1œ2 œ4 œ1# œ œœ3 œb œ1 œ n œ2b ˙2 œ1
& b b b b ’ ’2 ’ ’
bbb
b
&
’ ’ ’ ’
G
7
b2
A `7
3
‰ nœ
2
1
18
19
œ
4
œ ∫œ
œ4Ó n œ2
b 7
C7
b b˙b b œ œ œ n œ œ ∫ œ œ
G11 6G mi
œ bœ bœ
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˙
D7
nnn
Ó
Ó
4
&4 ’ ’ ’ ’
Gõ
4
&
œ
œ2
œ1
1
œ bœ
4
Ó
’ ’ ’ ’
˙.
3
Ex. 17
œ bœ
‰ œ
J
C min7
œ2 b œ1 b œ4
2
Œ
Œ
Blues
œ
Ó
˙
4
b7
b7 from the G whole-toneb7scale as well as7G super Locrian.
This example
contains pitches
7 F mi7
B
E
B
A
E
mi
7
7
Ef,
However,
1
C mi I would analyze this
F material as an example of an augmented resolution (containing
4
the f13 interval)—one that initially uses A natural, the M9, before resolving to the P5 of Cmin7 3
through the s9 and f9 intervals. The last five pitches are a classic five eighth-note resolution,
identical to example
b
b 3 from Chapter 2.b
œ œ
#œ #œ #œ œ
#œ œ
4
&4 ’ ’ ’ ’ ’ ’ ’ ’ Ó
&’ ’ ’ ’
A
4
nœ ˙
œ
3
œ
1
2
œ
œ
œ
4
b
œ
n
œ
DÌ
A7b b
1
1
& b b b b# œ3 ’ œ4 ’ œ1 ’b œ’ b œ œ œ3 b œ4 œ1 ˙
Œ
&‰ 7
b`2 7
A
Blues
œ bœ bœ
bbEx.b b18G2
∫
œ
œ
œ
‰
n
œ
&
’ ’ ’ ’
A mi7
D2 7
1
D
Œ
‰ ∫œ œ œœ b œb œ œ1 œ ˙2
b Ó
J
2
1
G1 6
1
˙
˙ 4
D
7
Ó
7
7
Example
GBmib 77( 5)18 contains a tritone
C 7 E b 7 substitution on beatsB bthree
Fand
min four of 7the A7 measure,
7 F 7mi
A F mi
E mi
2 One
7 the m3 of the Dmi7f5
1
4 pitches of the A7 measure
resolving
could
also4 conceive of the
3
1
C mito
F 7 1chord.
2
4
3 of1 a diminished world), but it is the
3
as belonging to the A half-whole diminished scale (habitants
resolution of that scale to the Af on beat one of the Dmi7f5 that makes the dissonant pitches work,
regardless of7 how
7
6
b6
2 them.
b you contextualize
b
b
Ó
Ó
n
œ œ
#œ #œ #œ œ
D
œ
œ
4
œ
œ
#
œ
œ
b b b ’ ’ ’ ’ ’ ’ ’n œ ’œ œÓ œ ˙ Œ Ó ‰ œ∫ œ œœ∫bœœb œ 1 œ
&
b
4
&
œ œ
J
b Ó
& ’ ’’ ’’ ’ ’ ’
D1
A mi A mi7
G1 D 7 1
œ b œ3 D2 27 1 G˙1
2
4
n
œ
˙
1
œ
œ bœ4œ œ3 b œ1 n œ2 œ
œ
n
#bÓ
b
E7
2
2
b 1
4
B2 6
b
œ
#
œ
b
F7
b
2Ó
b
&
’
’
’
1
œ
Ó
b
2
˙
# œ œ # œ4 œ3 # œ3 ’ 1 n
& b b ’ J ’ ’# œ’ œ1 ˙
b
AÌ
Œ ‰
ÓD7
ÓE 6
1
G mi7 œ
&F min
27
b
7
2A `
1
D
G7 1
4
2
b
œ
œ œ1 œ4 œ# œ œ ∫œ œ œ œ b ˙b œ b œ Ó ˙ b b b b œ œ
ÓEx.
bb b19b Œ ‰ Jœ
&
Ó
2
4
&
’ ’ ’ ’ ‰ nœ
A
7 (b 5)
1
œ œ
#œ œ œ # œœ # œ œ
D6
œ
#œ
œ nœ œ œ
∫Óœ œ œ
bb
œ
b
b œ ∫œœ œ˙2 œ
˙
b ’ ’ ’’
&
b
Ó
&
6
2 b
b
D17
A mi7A b mi7
G
7
G11 6 D 7
œ b œ3 D22 1
2
1
œ œ4 œ3 ˙ b œ1 n œ2 œ1 œ4 n œ n ˙b b
#b Ó
b b ’ ’Ó ’ ’ n
Ó
bb
&
b
b
& b ’ ’ ’’
b
3
Here
(with a chromatic approach),
G miwe have a tritone2 substitution
C7
F7mina B triad over
A 7 an F7 chord,
E
mienclosure.
F
mi7
2 chord
7 to the P5 (F) of the BfMaj
1
1
4
by
way
of
a
chromatic
that resolves
3
1
F
2
4
4
3
1
3
Here is the full chorus:
1
F min
1
1
œ
Œ ‰ J
& bÓb b b
&
’ ’ ’ ’
G7
7 (b 5)
G mi
2
bb
b
& b ’ ’ ’’
AÌ
b2
2 `7
A
bœ 4
E6
D7
7
7
œ œ1 œ4 # œ œœ ∫œœ œ œ b ˙b2 œ b œ Ó D˙
‰ nœ œ
2
4
1
1
2
C
3
œ œ œ œ20n œ2 œ4
1
19
3
œ œ
F min
4
˙
Ó
3
1
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G mi7
F mi7
bbbb œ œ
Ó
œ ∫œ œ œ
Interstellar
A
& 44 Ó .
1
b
&’ ’ ’ ’
b
B 6
A
9
Œ
b
A ö
EÌ
&’ ’ ’ ’
25
CÌ
&’ ’ ’ ’
29
œ œ2 œ1 œ4
1
Ó
˙
4
D min
˙1
1
A7
1
&’ ’ ’ ’
A
2
3
CÈ
’ ’ ’ ’
A7
1
Gõ
4
&’ ’ ’ ’
b
E ÿ
b œ2 œ2 b œ1
3
2
F7
Œ
b
E 7
Dï
’ ’ ’ ’
’ ’ ’ ’
’ ’ ’ ’
b
3
DÌ
œ2 # œ2 œ4 2 1
#œ œ
‰ J
B2 6
1
b
’ ’ ’ ’
˙
4
4
’ ’ ’ ’
’ ’ ’ ’
1
1
œ œ1 b œ b œ œ œ3 b œ4 œ1 ˙
#
œ
‰
A7
’ ’ ’ ’
Ó
b œ4
B 6
’ ’ ’ ’
b
A ö
Ó
’ ’ ’ ’
CÈ
F7
B mi7
AÌ
’ ’ ’ ’
13
21
4
EÌ
&’ ’ ’ ’
4
œ # œ œ œ3 # œ2 4
œ
EÌ
&’ ’ ’ ’
17
1
’ ’ ’ ’
F6
B
2
B 7
FÈ
5
A7
œ b œ2 œ4 œ1 œ3
#œ bœ œ œ
‰J
EÌ
b
˙
Œ
Ó
G7
’ ’ ’ ’
’ ’ ’ ’
20
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Interstellar
(mooney improvisation)
A
A7
œ œ œ œ œ œ bœ œ œ
4
œ #œ bœ œ œ
J J
&4
5
A
9
&
EÌ
b
bœ œ œ œ Œ
b
b
B7
FÈ
Eÿ
œ #œ œ bœ œ bœ
œ œ bœ ˙
#œ œ bœ œ œ nœ
F7
b
Ó
Aö
œ #œ œ
Œ bœ œ bœ œ
b
b
E7
œ #œ œ œ
œ #œ œ œ œ œ œ œ bœ œ bœ bœ ˙
œ
#
œ
Œ
b
œ
Œ
œ
& œœœœ
B6
EÌ
A7
D min
B mi7
F6
EÌ
A7
AÌ
Dï
Gõ
œ œ œ œ
œ œ œ3 œ œ œ
‰
œ œ œ œ œ bœ œ œ œ
& J
13
B
CÈ
& œ . Jœ œ Œ
17
b
Aö
bœ œ bœ bœ
œ
œ
œ
Œ ‰ j œœœ
bœ œ
bœ #œ œ œ #œ œ
CÈ
œ œ bœ œ œ
œ œ œ bœ œ ˙
Œ
b
b œ œ œ b œ b œ œ œ œ # œ œ œ œ b œ œ œ Œ ‰ œ œ œ œ œ3 œ b œ
œ
‰
b
œ
j
&
J
bœ bœ
œ
21
3
A
EÌ
&œœ œ ˙
25
CÌ
œ bœ bœ œ
Œ
&
29
B6
bœ
G7
#œ œ œ bœ œ œ bœ œ œ œ œ œ ˙
‰
DÌ
A7
œ b3œ œ # œ œ
b
B6
œ #œ œ
œ œ bœ œ œ œ bœ
#
œ
œ
œ
J
#œ œ œ nœ
Œ ‰
‰J
F7
22
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Interstellar
2
EÌ
A
A7
œ bœ œ œ
œ #œ bœ œ
‰J
œ
CÈ
F7
œ bœ œ
œ
b
œ
‰
b
œ
n
œ
œ
œ bœ œ œ œ
J
33
b
b
b
FÈ
B7
Eÿ
Aö
œ œ Œ
œ œ b œ œ œ b œ œ b œ3 b œ
Œ
‰
b
œ
bœ œ
&
œ #œ œ #œ œ nœ bœ bœ
œ œ
J
b
œ
œ
37
b
b
A B b6
EÌ A7
D min
B mi7
E 73
œ œ œ œ œ bœ Ó œ œ #œ œ œ œ #œ œ œ œ œ nœ bœ Œ œ bœ œ œ œ
&
& œ bœ ˙
41
F6
œœœœ
&Œ
45
B
Gõ
&œ
49
b
& bœ
53
A
œ œ bœ œ
bœ œ œ œ œ
Aö
EÌ
&Ó
œ bœ ˙
EÌ
A7
œ œ #œ
œœœœ
bœ
œ
œ œ œ œ bœ œ
AÌ
bœ œ bœ bœ
Dï
œ œ #œ
œ œ œ œ œ
CÈ
j
œ œ œ œ œ b œj œ Œ ‰ œ b œ œ
b
B6
bœ œ œ œ
œ œ œ bœ œ
œ œ
œ œœ œ Ó
œ ‰ œ A7 # œ œ œ b œ b œ œ œ b œ œ œ . œ G7œ œ œ b œ œ œ
œœ
‰
‰
J
DÌ
b
B6
œ #œ œ
œ œ. bœ œ. œ œ.
b œœ œ œ
˙
#
œ
œ
b
œ
J
J
œ
J
J
b
œ
Œ
Œ
‰
Œ
‰
‰
&
J
J
57
CÌ
F7
61
23
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Ó
CHAPTER 5
Blues
The standard jazz blues progression is of course ubiquitous in the jazz repertoire, and yet
it is often taken for granted by intermediate to advanced jazz students. As a young player, I
struggled to achieve what I thought was the correct, authentic amount of “blues” in my “jazz
blues.” I still work on this aesthetic balance, and make a point to play at least a couple blues
tunes on my trio gigs. The examples below are more concerned with classic jazz vocabulary than
b
b
b
b7
A language,
F mi7 and were very
B7
blues
but two “jazz
this balance very well,
B7
E 7blues” solos thatB strike
helpful in my development, are Wes Montgomery’s “D Natural Blues,” from
œ b œThe Incredible
Ó
Œ
‰
œ
&
’
’
’
’
’
’
’
’
Jazz Guitar of Wes Montgomery, and Grant Green’s “Solid,” fromJ the album ofœtheb œsameœ
name. Here are the examples, in the order they occur in the three choruses of Bf blues below:
Blues
4
4
B
b7
&Ó
œ b œ4
œ
J
‰
Œ
b
B7
œ1 b œ3
1
œ1
œ2
œ4 b œ
Blues
2
b
E 17
b˙
Ó
∑
b
b7
F mi7
B
7
œ7 œ the first
#
œ
E mi7 blues Aprogression.
D 6 line is
This
example
addresses
ii-V-I
in
the
standard
jazz
This
7
#
œ
œ
œ
#
œ
1
C mi
œ bœ
œŒ œ4 b œ3 ‰ half-step,
œ ˙2 and
very&
direct and
by a∫ chromatic
’ simple:
’ F’the P5’of# œthe’Fmi7’is approached
’ ’ fromÓbbelow
1
œ J
Ó Bf7 chords. The resolution
then
are taken from the arpeggios of the Fmi7 and
is Ó
& the
’ pitches
’ ’ ’
A
b
F3mi7
2
œ
œ
Ex. 20
4
4
B7
E7
b 7the f9 of the Bf7b7 to the P5 of the Ef7.
stepwise, from
1
1
œA b`27 # œ # œ3 # œ1
7
‰ nœ
œ
F min
D2
b
& b Fbœ4b7b b ’ 2 ’ ’ ’
&b b G
7
œ
# œ3
&bb ’ ’ ’ ’
2
7 (b 5)
G mi
C
Ex. 21
b
œ œ1 œ3 b œ1 n œ2 œ1 œ n œ ˙
b
A mi
œ
œ œ2 œ1 œ3 n œ2
œ ∫œ
4
2
G1 6
2
B3
˙
b
1
7
B mi7
Ó
˙
œ bœ bœ
D7
nnnnnnbbbb ’ ’ ’
GÓ7
D7
œ
G mi7
Ó
F mi7
b
B7
∑ C7
’ ’ ’
4
bbb
œ
œ œ
œ3 œ1 substitution
œIn∫this
b
Ó
7 the
˙
b
œ
7œ case,
œ
& This
’
’
’
’
œ
example
contains
a
variation
on
the
tritone
concept.
both
œ
œ
#
œ
A
#œ #œ #œ œ
E mi
D
7
œ equivalents:
1 been
F2 7 for their
#
œ
ii and CVmichords
are Dsubstituted
tritone
an Fsmi7-B7 progression∫has
7
4
œ
7
6
A mi
G
b œ 3
œ1 b œ3 2Wes Montgomery’s
substituted over the Cmi7-F7.
compositions often contain
1
D 7 b Óthis substitution—
B mi7 b œ D 7œ1
˙
4
n b b b Joe Pass’s playing is full
&#Coast
’Ó ’Blues”
’ and
’ “Fourœ on Six”
“West
are two notable
examples—and
œ
Ó
b
’b6 ’ by’how’ ’ ’
b7 classic jazz solos). I’ve
of &
these types ofb lines
b always’been’fascinated
7 (as are many other
1
4
A maneuver
mi 1
D2E natural
F min
AÌ
D7
E 6 against
1G mi7
2 F7 chord.
4
this harmonic
makes an
sound correct
an
The M7 C 7
1
1
3
1
1
22
b œ2 œ4is one
interval
against
a dom7
chord
dissonant
pitches
and yet the œ
œ
œ
1
4of the more
œ
b
Ó that exists,
Ó
Œ
‰
b b b b dissonance
œ œ #isœ such
œ 2that4 the ˙M7-against-V-chord
&
œ œ œ n isœ ∫ œ
structural
integrity ofJthe ii-V motion
1
3
overwhelmed by that E
2 natural's secondary function as the m7 of the Fsmi7 chord that has
b`2 7
been substituted.
approach to the P5 of the Bf7.
7
7 The resolution is Aa chromatic
bb
& b b bb ’ ’ ’ ’
bb b G
& b ’ ’ ’ ’
b
G mi7( 5)
C7
œ œ œ bœ nœ œ œ nœ
‰ nœ
œ
œ ∫œ
˙
G
œ bœ bœ
F min
œ œ œ 1 copy
œ3 purchased
bb b b Sheet Music Plus Order 4117782763.
n œ2 œ4 byœ3Davidœ1 Grech˙on Jul 13, 2022.Ó
&
’ ’ ’’
1
2
1
23
24
4
1
˙
D
Ó
F mi7
œn
Ó
œ ∫œ œ œ
E
&‰
2
œ b œ n œ2
œ1 b œ1
œ3
#œ
`7
3
4
2
Ex. 22
b
˙
B 37
Ó
Blues
∑
In the jazz blues progression,
sixth bar sometimes contains a passing diminished
7chord,
7
œ7 œ the
A
#
œ
E
mi
b
b
b
7
#
œ
A
7
7
7
F mi7
in thisCcase
mi Ban E diminishedF seventh,E #which
œ œfunctions eitherB#asœ a Vœof iii or perhaps a V of1 I six-
∫ œ œ4 b œ
Œb Ó ‰ œ œ b œ œ1 œ
’ ’ ’ ’ Ó
J
2
1
1
œ nœ ˙
3
œ
1
2
œ
œ
œ
bœ nœ b
b b7b b
b
Ó
7
7
& C mi1 b ’ ’ ’ ’F
B
1
2
œ b œ2 œ1 œ3 # œ3 b 2n7œ1 œ œ4
˙
Ó
∑
A`
D7
& G7
b
œ
˙
bbb
∫œ œ
bœ
œ
œ
‰
n
œ
b
Ó
& 1 ’ ’ ’ ’
4
&
& ’4 ’ ’’ ’’ ’
four, in the classical harmony sense (more on this diminished harmony in Chapter 10). This line 3
uses the Ef half-whole diminished scale—which can also be thought of as the four pitches of
an E diminished
arpeggio, along
b6 resolves
b seventh
b7 with the four pitches a half-step below—and
7
G
1
A miBf7 chord through Da chromatic enclosure.
to the M9 of the
1
2
4
Ex. 23 7 (b 5)
C7
G mi
F min
F mi
œ
œ
œ
œ
œ
œ n#œœ œ# œ œ # œBlues
A œ
E mi
bmib b
œ
œ
œ
Ó
b
C
F
#
œ
˙
∫ œ œ∫ œ3 œ
&
’ ’ ’’
instance the pull of the ascending C-Cs-D substitute root movement overwhelms the dissonance.
b Ó theory), I must b œ œ1
6
2
As a&
product
very muchGcame
up through chord-scale
’A mi7’bof jazz
’ education
’ D17 (who
b7b
b7 dom7 chords. Something
A to aB perverse
7
œ b œ3 inE2making
F mi7
confess
pleasure
M7s˙1 work over
b6 D 7 about
b
B
7
7
Gb 1 b
4
#4theÓ rules—I
n
1works,
A mi don’t know, butœD2resolving
breaking
to iii instead of I in this
definitely
2
œ
4 context
n
œ
˙
Ó
b
1
1
œ
b
3
œ for’œit. Listen
‰ ’œon “You
&
’œ ’b œ ’œ
1 Dexter
2Ó
œGordon’sbŒ solo break
to my
But
don’t
take
my
word
to
œ
&ears.
’
’
’
’
’
’
’
4
b
œ
n
œ
b
b b b of’a Dream”
J Ó
Stepped
from
A Swingin’ Affair
b Out
F min
AÌ
D7 for a classic example
E 6 of this harmonic
b
1 ’
&
’
’
G
mi7
maneuver.
2
1
2
b
œ
24
œ
œ
Ó D 7 bbbb œ œ
& Ó 7 G 7 Œ ‰ J G 7 A b`7œ œ1 œ4 # œ œ 2 7 œ4 œ b ˙b œ
˙
1 C mi
D mib b
b
œ
3
1
2
1 nœ
3 œ 1∫ œ
œ
œ
‰
Ó
b
œ
& œ3 b ’œ2 ’œ ’# œ2 ’ b œ œ3 b œ2
Œ
Ó
∑
& G mi7(b5)
C7
F min
7
F mi
2
1
1
4
œ
3
2
œ
œ
3b
4
œ
n œ œ œ3 œ1 ˙
œ ∫œ œ
b b24b ’ ’ ’ ’
Ó
& Ex.
7 œ theœ2 Bf blues progression
7 exampleDover
6
7
This
is a Dmi7 arpeggio
a chromatic
A7 7
A7milast
G
#
œ
E
miwith
1 7
#
œ
œ
œ
3 then# œ
# œtriad—a tritone substitution—
C mito the M3 of the œG7,
F band
approach
a descending
1 Df major
D∫ œ1 4
œ
2
˙
œ b œ3 1
4
œ
n
#
resolving by leap to the P5 of Cmi7. Sometimes
it’s nice to resolve more obliquely
b b b than the
œ
b
Ó
Ó
b
Ó
&half-step
’ ’ ’ œ’
’ ’ or’whole-step.
’
usual
7
2
1
1
3
7
In this example, the progression
Cmi7-Csdim7-Dmin
has been4substituted7 over the written
2
4
3
1
7
7
ii-V-I in Bf. As with example 21, the results include a M7 interval over the F7 chord. 1In this
4
b
b6
b7
AÌ
D7
E6
G
A mi at the outset of this
D2 chapter, I encourage students4 to ngrapple
As I stated
œ2 ˙1with the1 right
F min
b 7
2œ
1
1
1
œ
b
œ
œ
œ
œ
œ
œ
œ
œ
b
œ
n
œ
Ób b b Œ ‰ J
b˙
œ œ #œ œ
&
b
b
& b ’ ’ ’’
1
Ó
bbb
b
œ
Ó
3blues.
2 that issue here—
1 I haven’t
2
amount of classic blues language to apply4 to jazz
addressed
1
4
mainly because it is a large and complex subject, and warrants a2 book
4 of its own—but it is one we
1
all have to deal with. Again, I encourage students3 to study solos like the aforementioned
2
b 2 7 wrestle25with this aesthetic dilemma.
Montgomery and
7
7 Green examples, and`to
bb b G
& b ’ ’ ’ ’
b
A
‰ n œ 24 œ
œ ∫œ
œ bœ bœ
7 ( 5) Music Plus Order 4117782763.
1 copy purchased by David Grech on Jul 13, 2022.
G miSheet
C7
F min
2
˙
D
G mi7
F mi7
Ó
b
B 7
A
5
& 44 ’ ’ ’ ’
b
E 7
b ˙1
Ó
&
C mi7
9
B
&’ ’ ’ ’
b
B 7
Blues
b
E 7
b
B 7
’ ’ ’ ’ Ó
’ ’ ’ ’
œ œ
F47
2
&’ ’ ’ ’
2
b
# œ3 œ
1
b
œ œ b œ œ1 b œ3 2 œ1 œ4 b œ2
œ
Œ ‰J
1
b
’ ’ ’ ’
B 7
3
E 7
’ ’ ’ ’
B 7
3 4
2
# œ # œ # œ1 œ2
1
F mi7
b
b
˙
B3 7
D mi7
’ ’ ’ ’
G7
C mi7
Ó
2
C mi7
&’ ’ ’ ’
21
b
C B 7
˙2
Ó
&
25
b
E 7
&’ ’ ’ ’
29
&
33
œ
C mi7
1
Œ
Ó
F
7
B 7
’ ’ ’ ’
b
E 7
b
B 7
’ ’ ’ ’
’ ’ ’ ’
’ ’ ’ ’
G7
b
B 7
F7
’ ’ ’ ’
b
B 7
’ ’ ’ ’
D mi7
G7
’ ’ ’ ’
œ b œ2 œ1 3 3 n œ1 œ1 œ4
œ #œ
F7
1
2
B 7
’ ’ ’ ’
œ3 œ œ # œ
D mi7
b
F mi7
’ ’ ’ ’
B 7
b
F mi7
C 1mi7
b
B 7
’ ’ ’ ’
F7
’ ’ ’ ’
’ ’ ’ ’
13
b7
B
4
7
3
b
`
1
E
1 bœ
œ b œ n œ2 ˙3
3
E 7
2
œ
œ
#œ
Ó
&’ ’ ’ ’ ‰
17
G7
1
2
œ b œ1 œ3
G 37
3
G7
’ ’ ’ ’
C mi7
F7
b œ2
’ ’ ’ ’
25
27
Sheet Music Plus Order 4117782763. 1 copy purchased by David Grech on Jul 13, 2022.
Blues
(Mooney Improvisation)
b
b
b
b
F mi7
B 7
B 7
bœ œ œ œ
œ œ bœ œ
œ.
œ œ bœ
b
œ
J
4 ‰œœ
œ
œ
œ
Œ ‰
J b œ Jœ œ œ
&4
J
b
b
E 7
B 7
D mi7
G7
bœ œ œ ˙
œ œ bœ œ
œ
œ œ œ œ b˙
œ
b
œ
œ
#
œ
œ
‰
Œ
&
5
b
F7
C mi7
B 7
G7
C mi7 F 7
œ œ œ #œ #œ œ œ bœ œ œ
œ œ œ bœ
#œ
œ
#œ
Œ Ó ‰ bœ œ œ
&
œŒ
B 7
A
9
B
&
b
œ œ œ bœ œ œ
B 7
b
œ bœ b˙
bœ
&
13
E 7
E 7
17
œ œ. Ó
& J
21
b
C B 7
œ Œ Ó
&
C mi7
b
bœ bœ œ
b
b
bœ
œ
b
œ
b
œ
n
œ
œ
œ
œ
œ
œ
bœ œ bœ œ œ
bœ œ
b
B 7
D mi7
G7
E `7
b
œ
œ
œ
nœ
œ œ bœ. œ œ œ bœ œ œ bœ
œ œ bœ
#
œ
œ
‰
J
E 7
F7
Ó
b
œ b˙
E 7
bœ œ œ
B 7
b
G7
œ œ œ bœ œ Œ
B 7
b
B 7
F mi7
B 7 bœ
œ bœ œ œ #œ nœ œ œ
C mi7
F mi7
F7
b
œ bœ nœ
b
œ
œ
bœ
B 7
œ bœ œ bœ œ Œ ‰ j œ œ
œ
25
b
b
G7
D mi7
B 7
E 7
œ
œ œ bœ œ bœ
œ œ œ bœ œ bœ
j
b
œ
œ
œ
œ
œ bœ
&
œ bœ bœ œ œ ‰ bœ œ ‰ œ Œ
29
b
C mi7
F7
B 7
G7
C mi7
F7
œ bœ œ œ bœ
j
& ‰ J ‰J
œ b œ œ œ œ œ œ b œ ‰ œ œ Œ Œ ‰ b œj œ b œ œ
33
26
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Blues
D B b7
& Œ ‰ b Jœ
37
b
bœ
b
B 7
D mi7
G7
b
œ
œ
œ œ bœ œ bœ œ
œ œ b œJ œ J
œ bœ œ
œ
œ
œ
œ
b
œ
œ
#
œ
‰J
œ
Œ
#œ
E 7
&
41
&
œ œ œ bœ
C mi7
b
œ bœ
b
œ œ œ #œ #œ œ œ œ bœ
#œ
#œ
F7
B 7
b
œ
nœ œ œ nœ bœ œ œ bœ œ œ œ œ œ
G7
C mi7
F7
b
b
F mi7
B 7
bœ ˙
œ œ
œ
œ bœ bœ bœ œ bœ bœ œ j œ œ
b
œ
& b œ ‰ Jœ œ Œ Œ
œ
J
49
b7
7
b
`
B
D mi7
G7
7
E
b
œ
E
œ
œ
œ
œ
nœ
œ bœ œ ‰ œ bœ ˙ bœ #œ
œ œ bœ
#
œ
‰
& ∑
45
E
bœ œ
b7
b
b
F mi7
B
B 7
œ
bœ
œ bœ œ
œ
3 bœ
œ
˙
œ
b
œ
n
œ
b
œ
bœ bœ œ œ J
bœ bœ
œ
J
E 7
B 7
E 7
B 7
b
7
C mi7
F7
G
F
œ #œ œ. œ œ #œ œ œ bœ nœ nœ œ œ
#œ œ bœ œ #œ nœ œ œ
bœ bœ œ ‰ J
J
& ‰ J
53
C mi7
57
F
&
61
b
œœ
B 7
65
&
69
b
b
Ó
E 7
œ œ œ œ œ bœ œ bœ bœ bœ nœ œ
B 7
œ b˙
C mi7
œ œ bœ
b
3
‰ œj b œ œ b œ œ n œ b œ
F mi7
B 7
b
G7
D mi7
œ #œ œ bœ œ
.
œ
œ
b
œ
œ
b
œ
n
œ
œ
œ
bœ
œ
Ó
œ #œ œ bœ
J J J
b
F7
B 7
G7
C mi7
F7
œ ˙ œ œ b Jœ œ b œ œ œ b œ b œ b œ b œ . œ œ
bœ
bœ bœ œ b˙ Ó
J
b
œ bœ œ œ bœ bœ
E 7
&
B 7
7
B 7
27
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Sheet Music Plus Order 4117782763. 1 copy purchased by David Grech on Jul 13, 2022.
CHAPTER 6
Henderson-Type Changes
The harmony of this chapter's chord progression is commonly referred to as more
“modern” than the tunes we’ve looked at so far. By “modern” we generally mean more modal
progressions—in this case, major seventh chords move in a whimsical, non-functional way—as
well as deceptive resolutions such as this tune’s Fmin7f5-Bf7-EMaj7s11: a minor ii-V in the key
of Ef minor that resolves instead to an EMaj chord. The material that I have written for two 16b7 less with altered dominant,
b7
barA choruses bof
V-I resolutions, as thereFare
7 this tune is concerned
mi7
B
E
B
fewer to worry about than in Chapters 3 or 4. The Personalizing Jazz Vocabulary method is just
as effective for incorporating idiomatic, classic jazz vocabulary on modern tunes as it is on
standards.
Here are the examples from the two choruses of below, in the order they occur:
Blues
4
’ ’ ’ ’
B maj7
A maj7
&4 ’ ’ ’ ’
# œ4 # œ2 # œ1 # œ2
&Ó
2
Ex. 25
œ œ
b
œ1 b œ1
Ó
Œ
œ3
œ bœ
‰ œ
J
œ1
˙
Blues
#
œ
#
œ
œ
#œ œ
#œ
∑
One of the challenges of playing Joe Henderson-type progressions
similar
to
7
7
A
E
mi
7
7
“Punjab,”
1
C mi “Inner Urge,”Fand “Black Narcissus” is constructing lines that go “over-the4
3
barline.” By this I mean avoiding playing an idea on DMaj7, then a separate idea on BMaj7, and
a third separate idea on AfMaj7, etc. Such disjointed improvising can render one’s solo7
b7 predictable. In example
b7 25 I have written a bline
A
F mi
monotonous
B and
E
B 7 that connects theb 6parallel Maj7
b
b
7
7
G
chords “over-the-barline,”
such that Dthe unusual progression of BMaj7-AfMaj7—parallel
1 major
A mi
1
2
4
2
1
1
3 material
chords a m3 apart—sounds smooth and logical. The
1
2 itself is culled from pentatonic scales.
I like the sound of a minor pentatonic scale off the M3 of a Maj7 chord—in this instance Ds
minor pentatonic over the BMaj7 and C minor pentatonic over the AfMaj7.
&’ ’ ’ ’
4
& 4b ’ ’ ’ ’
bb
&bbb ’ ’ ’ ’
b Ó
’œ ’œ ’œ b’œ n œÓ œ œ Œn œ
b2
œ
∫œ œ
b œ œ1
‰˙ œ
J
œ bœ
Ó
D
œ
n
D
b
œ
1
œ
˙
4
∫œ
bœ
Bb b7 b
œ
b
œ
œ
1
2
b
œ
Ó
‰
n
œ
2
3
b
#œ #œ ˙
& Ó ’ ’ œ’ œ’
Œ
∑
& G mi7(b5)
C7
F min
F mi7
2
1
1
4
3
œ
3
œ
œ œ n œ2 œ4 œ3 1
b b b26
Ex.
œ ∫œ œ
œ ˙
Ó
b
&
’ ’ ’’
œ
Example 26 features7 œa straight Bf7 arpeggio resolving to the M9 of the EMaj7s11.
The
7 Fs
7
7
6
2
œ
A
E
mi
D
#
œ
D
A
mi
G
#
œ
7
7
and DsC pitches
on the EMaj
work on an Efmin
chord.
Thus, the deceptive
minor
1 F chord would also
œ
œ
7
#
œ
1
mi
3
œ
#
œ
1
D∫ œ ofœ4an 3
b œ smoother
2
ii-V that# doesn't resolve to i sounds
familiar. In fact, the upper
structure
˙
4 and more
n
œ
b
b ’from’a b œ’ œ1 ’
b aÓhalfb bstep
EMaj7s11
an’Efmi7 arpeggio, andœ a minor pentatonicÓscale down
Ócontains
&
’
’
’
Maj7s11 chord (in this case Ef minor pentatonic) is a common, melodious scale choice.
b G
7
F min A b mi7
A `7
E Maj7(#11)
b
AÌ
D2 7
D7
7
b
E6
b
4
nœ ˙
1
1
2œ
œ
1
3
1
2 œ œ
4 œ 28
2
b
œ
œ
œ
œ œ1 30œ4 b œ œn œ œ b ˙
Ó
Ób b b b Œ ‰ J
&
b
#œ 1 2 4
& b Sheet
’ Music’Plus ’
’
Order 4117782763. 1 copy purchased by David Grech on Jul 13, 2022.
1
2
b 27
3
2
G1 6
1
G mi7
bbb
b
œ œn
Ó
4
A
b
b
B7
&4 ’ ’ ’ ’
G maj7
A maj7
Ó
Œ
2
4
œ bœ
œ bœ
œ
œ
D maj7
# ˙3
1
2
B7
œ bœ
‰ œ
J
C maj7
4
b
F mi7
2
# œ # œ2 # œ3 1 n œ1 n œ œ œ
#œ
B maj7
# œ1 œ
1
œ
œ
#
œ
& #œ œ œ 1
3
3
B7
’ ’ ’ ’
4
5
b
E7
Ó
∑
Blues
Ex. 27
œ7 œ
A7
#
œ
E mi7
D6
7
#
œ
œ
œ
#
œ
1
C miExample
F
27 connects the
# œ parallel Maj7 chords with a line of contouric
∫ œ œ4 b œ3 variety 2and some
to
BMaj7,
and the
subtle chromaticism: the G natural to Gs that connects the AMaj7
œ1 C˙natural toÓ
b Ó
nb b b
&
’
’
’
’
but an exception Fhas
CsAthat resolves
7
b7 is rather long for our
b7 method,
b6
bb 77 the line. Thisb7example
mi
B
E
B
G
been made Atomiillustrate howDone
can counter the rough
4 modal
2
n œ2 ˙1jumps1 of the harmony withBabmi7 D 7
1
1
œ
3
œ
1
2
œ
œ
œ b œ nan
melodicb line
that doesn’t simply transpose
œ idea to the various key centers, butn nweaves
b
b
b
b
Ó
b
& through
b ’ ’them.
’ ’Schoenberg’s Wagner/Brahms dichotomy, from Chapter
nnb bb ’ ’ ’ ’
skillfully
1, nisn perhaps
relevant here.
b2
G mi7
C7
7
A `7
D
G7
˙
bbb
∫œ œ bœ bœ
œ
œ
b
Ó
‰
n
œ
D maj7
&
’ ’ ’ ’
’ ’ ’ ’
E Maj7(#11)
3
7 (b 5)2
7
1
b7
G mi
F min
4C
3
7
F
mi
B
2
2
1
1
4
1
4
œ
3
4
&4 ’ ’ ’ ’
œ bœ #œ nœ
œ
œ # œœ n œ # œœ œ œ
b‰b b
b
œ
&
&
’ ’ ’’
2
A mi7 1
œ b œ3
D17
Ó
’ ’ ’ ’
4
3
G6
2
˙# œ
1
Blues
˙1
Œ
1
œ
#˙
œ ∫ œ Œœ œ # œ b œ œ œ
œÓ ˙
3
œ bœ
‰ œ
J
b
Ón n
# Ó
œ œ
nbb b
Ó
b
& This
’ often
’ called
’ ’Lydian
’ ’ ’
line comes from the sixth mode of the harmonic
b minor’scale,
7
Ex. 28
2
4
œ7b œ
AÌ
D7
B mi7
#œ #œ #œ œ
#œ œ
D7
n
A
F min to
D7 chords,
E 6 a touch of mystery
Emimi
D
b7
7 Gto
mi7the sound.
b7 to add
s2.
over
Maj7s11
A I like
7
F
B IC7
1
C miB7b7 use this 1sound
F
E2
B
4
1
was introduced
œ b œ œ4by œ1theœ4musicœof œtheœgreatb ˙2New Orleans
œ n œ œ 3∫ œ 1 œ b œb
Ó
Œto this
‰ harmony
Ó œ guitarist
b b b bb œœandœ composer
œ
&
Ó
Œ
‰
#
œ
J
& Masakowski,
’ ’ ’who’often’uses’Maj7s9
’ ’chords
Steve
2in his
4 music. The tune “Paladia” from
œ theb œ1995œ œ œ
1
J
3
Blue Note album
b6
b Direct2Axecess, is a good
b example.
4
&4 ’ ’ ’ ’
7
b Ó
2
4
# œ œ œ3 b# œ1 n œ2 œ œ n œ
CÈ
F 13
B maj7
DÈ b b
G7
b
1
4
b
2
3
3
&Ó b b ’Œ ’‰ œ’ ’# œ # œ œ œ n œ # œ n œ
A mi7
&
D2 7
J
1
˙
G1
1
b`2 7
2
œ
∫œ œ bœ
œ
#˙.
1
Ó
Œ
n
∑
˙
∫œ œ bœ bœ
bbb
œ
œ
‰
n
œ
b
Ó
& Here is’a ii-V-I
’ œthat’œuses’the Fs super
7
7
6
# œ # Locrian
E mi
to resolve
byAhalf-step to the DP5 of the
œ # œ scale
œ
7œ
C mi7 G mi7 (b 5) F 7
#
œ
C approach to the M9 on beat one
F min∫ofœ thœe bCœsmi7 chord, but
BMaj7 chord. There is a chromatic
F
mi7 Ó
˙
2
œ
1
1
4
b
Ó
nb
œ
3 altered
otherwise
material
here is scalar—a
no-frills,
& ’ b’the
’
’
2
œ
œ
4 dominant ii-V idea.
œ
n
œ
3
1
œ œ œ G b6 ˙
œ ∫bœ œ
Ó
& b bAb bmi’7 ’ ’ ’D b7
1
7
7œ
7
G
Ex. 29
A
2
2
1
4
1
7
b
7
& b b b bAb mi’ ’ ’ D’œ1
# Ó7
2
œ2 œ1 œ3 b œ1 n œ2 œ1 œ4 n œ
2
G6
bb 2œ3 œ2
A `7
˙
œ4
1
( 5)
1
#
A mi7
2 2
2
1
3
2
4
˙1
b œ Ób œ
&b b b
œ
∫
œ
œ
nœ œ
& Fbmin’ ’ ’ ’1 ‰ AÌ
D7
7b
7
G mi
C 1
F min
2
4
b
œ
œ
Œ ‰ œ Jœ œ œ nœœ œœ1 œœ4 œ# œ œ œ Óœ
bb b Ób
&
˙1 2 4
&
’ ’ ’’
31
G
4
4
3
29
1
3
D7
3
˙b
D7
3
B mi
E6
b˙ œ
7
nbb b
G mi7
C7
b ’ ’ ’ ’
Ó
6
Ó
b
B7
’ ’G mi’
7
b b bœb œœ œ
∫œ œ œ #œ bœ
G
œ bPlus
1
D 7 Jul 13, 2022.
Sheet Music
4117782763.
1 copy purchased by David Grech on
œ3 Order
2
˙
œ œ4
nbb
D17
D
n n7n n n n b b b b ’ ’ ’
D
Ó
2F mi
2
1
b
B mi7
D7
Page left blank to avoid
awkward page turns.
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Henderson-type Changes
A
B maj7
& 44 ’ ’ ’ ’ ’ ’ ’ ’ Ó
FÌ
5
D maj7
b
B 7
2 œ
œ
Ó
&’’’’
1
b
A maj7
3
&’ ’ ’ ’
4
2
E Maj7(#11)
#
#
C È
G7
’ ’ ’ ’
F 13
’ ’ ’ ’
B maj7
’ ’ ’ ’
2
1 œ
œ
# œ # œ # œ3 # œ1 n œ1 n œ
1 œ #œ œ
œ
#
œ
œ
& ’ ’ ’ ’ ’ ’ ’ ’ #œ œ 1
F 9sus
15
B
# œ4 # œ2 # œ1 # œ2 œ1 b œ1 3 œ1 ˙
œ
b œ b œ # œ2 3
#œ ˙ Œ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
1
DÈ
11
b
A maj7
D maj7
&
#˙
3
19
G maj7
5
Ó
3
4
A maj7
b
1
B maj7
4
B maj7
’ ’ ’ ’
C maj7
2
b
3
’ ’ ’ ’
B 7
4
2
2
A maj7
’ ’ ’ ’
œ2 b œ1 # œ4 n œ3 2 1 4
# œ# œ œ # œ œ ˙ Œ ’ ’ ’ ’
&’’’’ ’’’’ ’’’’ ‰
FÌ
23
b
A maj7
F 9sus
DÈ
&’ ’ ’ ’
33
#
#
C È
F 13
B maj7
G7
2
3 # œ1 4 3
œ œ nœ
Œ ‰ œJ # œ
#œ nœ œ #˙.
2
2 1
3
1
&’ ’ ’ ’
29
E Maj7(#11)
Ó
1
4
2
G maj7
’ ’ ’ ’
A maj7
’ ’ ’ ’
B maj7
3
Œ
C maj7
’ ’ ’ ’
31
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Sheet Music Plus Order 4117782763. 1 copy purchased by David Grech on Jul 13, 2022.
Henderson-type Changes
A
(mooney improvisation)
œ #œ œ ˙
œ
4
J
&4
b
œ œ œ #œ œ œ
#œ
J
# œ œ Œ # œ # œ # œ œ b œ œ œ œ b œ b œ3 b œ
D maj7
B maj7
A maj7
b
E Maj7(#11)
b
œ
œ
œ b œJ # œ œ œ œ # œ # œ œ œ œ3# œ # œ œ œ œ # œ # œ œ œ œ # œ œ # œ
b
œ
b
œ
& ˙ bœ
J
5
bmaj7
A
DÈ
G7
#œ #œ œ
3
# œ # œ # œ # œ œ n œ œ œ b3œ
3
œ
œ
œ
œ
Œ
Ó
b
œ
‰
bœ œ œ œ œ œ
&
B7
FÌ
#
9
#
C È
œ # œ ‰ Œ # œ # œ œ œ # œ œ3
b œ œ3 œ œ œ œ b3œ
Œ
b
œ
œ
Œ
#œ #œ #œ
œ œ Œ
&
F 13
3
B maj7
F 9sus
13
œœ 3
.
œ
#
œ
3 œ #œ 3
œ
œ
œ
#
œ
n
œ
#
œ
#
œ
#
œ
œ
œ #œ œ œ œ
J
œ
#
œ
n
œ
#
œ
#
œ
œ
‰Œ
& #œ œ
G maj7
A maj7
B maj7
C maj7
B
D maj7
b
3 #œ œ 3
b œ œ3 œ
#œ
bœ œ. œ œ. bœ bœ 3
3œ œ œ 3 œ œ
#
œ
#
œ
b
#œ
#œ
bœ œ œ
Œ bœ
Ó
œ
&Œ
17
b
B maj7
21
A maj7
œ # œ n œ3 # œ
E Maj7(#11)
œ bœ #œ nœ
#œ #œ œ #œ œ ˙.
Ó œ Œ
25
b
#
#
A maj7
C È
F 13
B maj7
DÈ
G7
3bœ œ
bœ œ
œ nœ œ œ œ œ ‰ œ #œ #œ œ œ nœ #œ nœ
œ
‰
& J
œ # œ . # œj œ Œ
J
&
29
F 9sus
#œ #œ œ
B7
FÌ
‰
G maj7
A maj7
b œ œ3 œ œJ œ œ b œ œ œ œ œ œ œ œ Ó
œ
œ
Œ
& œ
œ
3
33
B maj7
#œ #œ
3
#œ
C maj7
œ
3 œ
‰œ J ‰ Œ
32
33
Sheet Music Plus Order 4117782763. 1 copy purchased by David Grech on Jul 13, 2022.
2
C
œœ
D maj7
&
37
#œ
3
Henderson-type Changes
3 œ
œ
‰
#œ
b
œ3 # œ œ
#œ #œ #œ #œ œ bœ œ œ œ œ
#3œ œ
œ
œ
Œ ‰
bœ
Œ
J‰ Ó
B maj7
b
B7
A maj7
bœ bœ #œ
3
3
3 #œ
#
œ
œ
#
œ
#
œ
œ
œ
œ
b
œ
n
œ
œ
Œ
b
œ
Œ
J
J
41
b
A maj7
DÈ
G7
b
œ
3 # œ œ œ #3œ œ
3
3
3
#
œ
œ
3
3
œ
b
œ
#œ
œ
b œ œ œ3b œ œ
3 œ#œ #œ
#
œ
œ
#
œ
J
œœœ œœœ
Œ‰
& ‰œ œ
œ
45
#
#
C È
F 13
B maj7
F 9sus
3# œ œ #3œ
3
œ
œ
3
3
#
œ
3
3
3# œ
3
œ
n
œ
œ
#
œ
#
œ
œ
œ
bœ œ œ œ œ œ
#œ œ
& œ#œœ#œ J
œ œ bœ œ Œ Ó
FÌ
œ
& b œ ‰ b Jœ œ b œ œ œ b œ Œ œ
49
E Maj7(#11)
œ #œ œ œ œ œ œ
œ
œ
#
œ
n
œ
#
œ
#
œ
# œ œ # œ #3œ 3 œ
œ
œ
œ
#
œ
n
œ
#
œ
#
œ
œ œœ œ
& #œ œ œ
G maj7
A maj7
B maj7
C maj7
D
b
3
3
3
3b œ œ
3 b œb œ b œ œn œ œ
b
œ
œ bœ bœ œ œ
#
œ
‰b œ b œ
& # œ # œ œ œ # œ œ Œ ‰ œj b œ œ b œ b œ œ
J
53
b
D maj7
B maj7
A maj7
57
E Maj7(#11)
& œ bœ bœ œ œ œ ‰
61
b
A maj7
&
65
b œ œ3
F 9sus
œ bœ #œ nœ
DÈ
B7
FÌ
#œ #œ œ #œ œ ˙
#
#
C È
F 13
G maj7 A maj7
B maj7
G7
œ #œ œ #œ œ bœ œ œ œ nœ #œ
3
3
3
B maj7
3
#
œ
œ
œ
#
œ
œ
n
œ
œ
# œ n œ œ # œ œ œ œ œ # œj œ # œ # œ
œ œ œ œ œ bœ œ œ œ œ ‰ J
3
3
C maj7
D maj7
œ œ œ œ œ3 œ œ œ # œ œ œ # œ # œ # œ # œ œ œ œ n œ œ3 œ œ # œ
œ
J J
& #œ
#œ ˙ Œ
69
33
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CHAPTER 7
Rhythm Changes
Rhythm Changes is one of the most common chord progressions in the jazz repertoire, and
serious jazz students need to be comfortable with it. With this progression, I still struggle to find
the proper balance between “running changes” and improvising. The A sections of this tune
b
have
come
many more than
Gershwin
b to be populated
b by numerous bchords,
A
F mi7 the original George
B7
B7
E7
B7
tune 4“I Got Rhythm,” which was basically a three-chord song until the bridge. I tend to want to
Πthing,
‰ œlike œI have
b œ something
œ bœ
& 4all ’of them—it
’ ’ ’can ’
’ ’almost
’ aÓcompetitive
play
become
œ b œ œ to œprove!
J
One solution to this problem is to conceive of the first four bars of the tune more like this:
Blues
b
B6
&’ ’ ’
’
b7
b7
’
’
F7
’
B
Ex. 30
B6
b
E
b
G7
B
’
b7
4
&4 ’ ’ ’ ’ ’ ’ ’ ’ Ó
œ œ
#œ #œ #œ
C mi7 Rather thanF 7this: # œ œ
& ’b ’ ’ ’
CÈ
A
b
Blues
œ
B6
’
’
F7
D2 7
7
F mi
’
’ ’ ’ ’
‰ œ œ bœ œ bœ
JA 7
E mi
D6
1
∫ œ œ4 b œ3
œ1 ˙2
b Ó
Œ
7
DÈb 6
G1
œ n œ ’˙ ’
& ’ ’ ’ ’ œ œ1’ œ3 ’b œ1 n œ2 ’ œ1 ’
bb b b b
& Ex.
b ’31 ’ ’ ’
A mi7
’
F7
2
4
b`2 7
1
G7
’
Ó
’
CÈ
b
B7
œ
Ó
œ
œ bœ
nb b b b b b
F7
b 7
D7
’ ’B mi ’ ’
nn n n n b b b b
’ ’ ’ ’
n
G mi7
C7
D7
œ A
œ b œ30,
A˙ one to conceive
#
œ
E mi7b œallows
D6
∫
œ
b
as
in
example
of the changes in
7bSimplifying 7theœ progression,
#
œ
œ
œ
œ
#
œ
1
Ó
‰# œ n œ
Cb mib ’ ’ ’ F ’
4
∫
œ
&
’
’ ’point
’ of
œ
3
2
example 31
as
one
way
to
add
complexity
to
a
simple
pop
song
rather
than
as
the
starting
b
œ
b
1
˙
b
œ
(
5)
7
b Ó
nb b b b b
b7 Ó only exhaust
C 7 to address every chordF min
’G mi’There’s
’ ’ no need
7
the&tune.
from
example
31
every
time—you’ll
F
mi
B
4
b
b 7
2
œ1 Dœ2b7 into
œ1 œ3a njazz
4
G1 6 1 œ
œ
b b b or
n n#
3
1
A mibe
œ
b œ
yourself,
transformed
robot!
2
œ
4
b
œ
Ó
2
n
œ
˙
˙
∫
œ
b
œ
B mi7 œ D 7 n n
1
1
œ
& For
’ a’great
’ ’example
œ
3
œ
œ
#
œ
1
2
œ
œ
œ bimprovising
œ nœ
of true
over Rhythm Changes, listen
n n n b btob John Scofield’s
b b b 7b
Ó
n
b
b7
7 ’ ’2
6
n bn 7 bF mi’
7 ’ ’ ’
&
b
’
’
b
b
b
D
A A miB 7“Wee,”
7 G En Route.
7
masterful
the album
7
7
B
3
œ1 from
1
E
B
D
B
mi
D
b œ œ2b 2of
˙
4
# Here’s
n b b D30
mi7
C 7 pattern
7 chords over theGI-VI-ii-V
an example
7
A ` 7 œthinking of theÓsimpler example
G
Ó
nnnn
b
œ
b
b
œ
&
’
’
’
’
’
’
’
’
Ó
Œ
‰
œ
œ
˙
b
œ
∫
œ
b
œ
b
&&Fthe
’’ ’’section
’ ’AÌ
’ ‰ undoubtedly
that
will
first example from
b your solo. This isÓthe
n’
œ œ’D7 œ’play’behind
b b brhythm
bœ œ œ
min
E6
’
’ C 7’ ’ œ ’the
1
G
mi7 J
chorus below:
b
72
1
G mi7( 5)
2
Ó
Œ ‰ Jœ Cœ1b œ œ2 œ4 œ1 œ1 3 œ4 2# œ 4 œ œ œ F min
Ó F mi7 b b b b œ œ Bœb7 n œ œ ∫ œ œ b œ
4 b˙
& b
œ
n œ 3 œ 1 œ3 2 œ1 4 ˙
b
œ ∫ œ œ œ # œ b œ œ œ nnnn#
Ó
& b bb ’ ’ ’ ’
CÈ
2
G7
1
DÈ
B67
G7
F7
7
bGœ26 œ1 œ4 b œ3 F7œ2 3 7 2
2
œ
D1
A mi
b
7
7
1̇
œ D # œ œ3
B mi
DÓ
Œœ b œ3 ‰ œ2 J œ4 ˙1
n
& #Ó Ó
b
b
Ó
b b ’ ’ ’ ’ ’ ’ ’ ’ nnnn ’ ’ ’
&
G7
7
Blues
4
4
F min
1
AÌ 1
D7
b
E6
G mi7
C7
Œ ‰ Jœ b œ œ4 œ1 œ4 # œ œ œ œ b ˙2
Ó
bbbb œ œ œ n œ œ ∫ œ œ b œ
&Ó
2
4
7
1
6
œ7 isœnot concerned
The language here
with the G7-Cmi7 portion
3
#
œ
E
mi7 of the Aprogression. Instead,
D
7
#
œ
2
œ
œ
# œ note between the G ∫and
C mi ony is Bf major,
F with a# œchromatic Gf passing
the harm
œ1 F,4 and a fragment
Ex. 32
&’ ’ ’ ’
b
A mi7
1
2
b
b Ó
2
œ œ1 œ3 b œ1 3534n œ2 œ1 œ4 n œ
D2 7
b
˙
G1 6
1
œ b œ3 œ1
b
Ó
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’ Music
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’ Order 4117782763. 1 copy purchased by David Grech on Jul 13, 2022.
˙2
Ó
b
B mi7
nnnnnnbbbb ’ ’
Blues
of an augmented triad over the F7 to resolve to the M9 of a BfMaj chord insteadb of the written
b
b
b
A
F mi7
B7
Dmi7.
B7
E7
B7
4 ’ way
œ b example
bœ
Ó changes”
Πlike
‰ this
œ next
œ œ b œ is definitely
& 4By
’ of’ contrast,
’ ’ being
’ ’able’to “run
œ œ useful,
J
œ
and I can call on this type of language in a pinch:
b
B6
G7
CÈ
F74
3
2
1
G7
DÈ
œ4 œ1 œ4 2 3 œ1 œ œ4 b œ2 4 2 œ1 œ
bœ nœ
œ œ bœ
&
œ bœ
2
4
2
3
CÈ
1
F7
2
œ œ œ œ œ #œ œ bœ œ bœ œ œ œ œ Œ
3
2
Ex. 33
1
2
4
1
2
1
4
4
œ œ
A7
E mi7
D6
7
#œ #œ œ
œ # œ Changes
C miBut
F7
∫ œ1 4 not running changes.
the challenge
of# œRhythm
to me is improvising,
œ b œ3
b Ó
b
b
Licks vs4. Tropes
G1 6
D2 7
2
œ œ1 œ3 b œ1 n œ2 œ1 œ n œ ˙
&’ ’ ’ ’
b
A mi7
˙2
œ1
1
nb b b b b b
Ó
b
B mi7
D7
bbb
Ó 33 above.
n n n n n n b b bItb contains
& b bOne
b ’more
’ point,
’ ’and perhaps a slight digression, about example
’ ’ ’great,
’
classic jazz7 vocabulary, butb`2 7I haven’t included it in the written 7chorus because a line
G mi7 this long
C 7 and
A
D
G
b
œ
˙ ry method
as the shorter, simpler
complex
b œ la
b b b isn’t as conducive‰ ton œthe Pœ ersonalizing
œ ∫ œ œ Jazz Vocabu
Ó
b
&
’
’
’
’
’ his
’ excellent
’ ’
“tropes” that
I’ve included. I must credit the great guitarist Brad Shepik, and
7 (b 5)
7
G mi
C
F minthe jazz “trope”7concept I’veb 7just mentioned. A
improvisation
class at New
York University, with
F mi
B
2
1
1
4
œ
3
2
œ
œ
4
n œ œlanguage,
bb b b is a fragment of theœ jazz
jazz “trope”
a
short
idea
that
one
hears
over
andœover
3
1
œ œ ˙
œ ∫œ œ
œ again,
Ó
nnnn#
b
œ
&
’
’
’
’
œ
#
œ
with
like the examples
b7 7 and2 melodic variations,
b7
b7 I’ve been writing in this book—
A slight7 Brhythmic
F mi7
6
E
B
D
A
mi
G
many of which areœ1 similar.
On the 1other hand, example 33 above
is more of ba 7“lick:”7 a series of
3
D7
B mi
D
˙
4
n
tropes#strung togetherb œin a œ2particular
order.
The
ultimate
goal
of
the
Personalizing Jazz Vocabulary
b
b
œ
b b eventually
nnnn
& Óis to learn enough of these tropes soÓ that you
’
’
’
’
’
’
’
’
method
can
improvise
with
them,
and
b
D7
E6
1
G mi7
C7
stringF min
them together
intoAÌ
complex
passages
of
your
own.
2
Blues
4
&4 ’ ’ ’ ’
&Ó
&
1
‰ Jœ b œ œ4 œ1 œ4 # œ œ œ œ
Œ
CÈ
’ ’ ’ ’
F7
1
2
b œ œ 2 n œ3 œ
œ bœ œ
#œ
1
2
1
2
4
3
3
b ˙2
b
B6
4
˙
1
Ó
Ó
4
Œ
œ
œ
bbbb œ œ œ n œ œ ∫ œ œ b œ
G7
Ó
2
Ex. 34
œ bœ
‰ œ
J
œ #œ #œ #œ
Ó
1̇
œ
œ
G7
Example 34 is similar to example 23 from Chapter 5. Again, we are basically
ignoring
7 the
7
A
E
mi
7
7
writtenCF7-Bf6
progression Fand substituting A7-Dmin, a V of iii in the key of Bf. The pitches
1 over
mi
4
the F7 chord are taken from an A7 arpeggio, with a chromatic approach from Ds to E natural, and 3
eventually resolving to the m3 (F) of the substituted Dmin chord, which is also the P5 of the written
Bf6. Again web see that on Rhythm
Changes, blues, and many standard tunes,
b6 one can
b
7
7
G
substitute various
of what is written, provided4 there
sense
of
1
A mi progressions onDtop
1
2 is a strong
2
1
1
3
tension and release.
1
2
&’ ’ ’ ’
bbb b
b
& b ’ ’ ’’
b
& b bb ’ ’ ’ ’
G
7
b
G mi7( 5)
C7
#œ
œ œ œ bœ nœ œ œ nœ
b2
A `7
‰ nœ
œ
œ ∫œ
œ œ œ1 œ n œ2 œ4 œ3 1
bb b b
œ
&
’ ’ ’’
1
b Ó
2
35
36
3
˙
œ bœ bœ
F min
4
˙
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Sheet Music Plus Order 4117782763. 1 copy purchased by David Grech on Jul 13, 2022.
∫œ œ
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œ ∫œ œ
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b
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’ ’ ’ ’
E mi6
œ bœ
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J
œ œ3 b œ1 œ3 b ˙
Blues œ œ œ œ œ # œ œ b œ
2
1
1
2
1
2
4
4
2
3
1
b7
b7
b7
F mi7
B
E
B
This example addresses
the second half of the A section, which tonicizes the
7 and
7 IV chord,
œ
œ
A
#
œ
E
mi
7
7
#
œ
œ4 b œ
returnsCto
œ ’ iv-I’progression,
Ó# œ orœ a sivŒ diminished-I.
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& mi I ’either’through
’ aF’subdominant
’# œ ’minor
Ex. 35
œ
4
œ
case, the4language is straight Ef major scale, with the G natural lowered to Gf to reflect Jthe m3 œof b œ
œ
A
b Ófeel.
the &
Efmi6
’chord.
’ ’This’line is simple, but has an appealing, over-the-barline
b
b
b
3
1
2
4
n
œ
˙ 4 2 3 1
œ
D7
œ
3
2
1
2
œ
œ
œ
4
œ
b
œ
1
b
œ
n
œ
2
3
4
˙
2
b b b 1b 1 œ1 œ
#
œ
b
Ó œ bœ
œ
& ‰ bœ ’œ ’ ’ ’
Ó Blues
œ
#
œ
&
œ œ œ
27
b
7
7
A`
D
3G
bœ bœ
˙
b b36b b7
b7 n œ œ œ ∫ œb7 œ
Ex.
A
b
‰
F mi7 Ó
B’ ’ ’ ’ E
B
&
4
œ7 arpeggio—closely
5)
7 (bhave
7
œ
Here
we
an Amin9
related
to the
written
D7—which
Aœ7 on
œ bœ
#
œ
E
mi7 ‰is altered
Ó
Œ
7
#
œ
G
mi
C
F
min
œ
œ
7
&
’F an’augmented
’
’
’
’
#
œ
1theF mi
C miwith
4 ’a f13,’evoking
#
œ
beat four
sound
as
it
resolves
through
the
M3
of
D7
to
M9
4
2
∫
œ
J œ b œ3 1
œ1 œ œ1 œ3 n œ2 œ4 œ3 1 4 b Ó
of G7. b b
œ ∫ œ œœ
b b ’’ ’ ’’ ’ ’
œ ˙
Ó
&
&’
A mi7
b
D2 7
G71 3
1
b
G1 6
1
b
1
b
1
2
n
œ
˙
7
4
2
3
1
# œ # œ3 1 œ 2 b œ3 œ œ
2D 1
4
2
˙
b
œ
n
œ
# œ # œ # œ œ œ4
#b b b b
nbb b
œÓ # œ’ œ ’b œ
b
Ó
Ó
Ó
œ
œ
&
b
’
’
’
’
b
#
œ
&&
’
’
#
œ
˙
œ
œ
1
œ
b
2
1
27
4
3
b
F min 1 7
AÌ
D7
E
6
1
7
G mi7
`
A
D
G
Ex. 37
2
1
œ b2œ b œ
˙
∫
œ
bÓb b
4
b
œ
bbÓ
œ
œ
œ
1
4
œ
œ
b
‰
n
œ
Œ
‰
b
˙
Ó
b
b œ
œ
œ
&
’ is a’tritone
’ substitution
’
& This line
œ
J
#
œ
7
of
a
B13
sound
over
the
F7,
resolving
to
the
P5
of
the
Bf6
7
2
4
œ
A
# œ3 # 1œshift,# œalthough
E mi
7œ
7 7 (b 5) descending P4
œ contour
œ it is followed
chord. The
is a nice
by∫minor
1 7
mi
F min
CG
miinitial
F2 7 Cinterval
#
œ
œ
F
mi œ4 b œ3
2
1
1
4
thirds, half-steps, and whole-steps.
œ
3
2
œ
œ
œ1
œ n œ œ4 œ3 œ1
b ÓÓ
bb b’b ’ ’ ’
&
œ
& As with’ blues,
’ myself tob play Rhythm Changes on my˙ trio gigs, andb6I strive for∫ œ œ
force
b ’7 I ’
G1
1over
A mi
D2 7 material
2 improvising
a mixture of
(with
7changes”
7 “running
6 like example 33)4 and
2
n
œ
˙
D
1
1
A
mi
G
œ
1
3
œ
7
1
2that œ
simplified harmony. I use
I have personalizedD over
the
œ theb œ3tropes2 of theœjazz˙1œlanguage
b
œ
n
œ
b
b
years,&
so
feel
shackled
# bthat
œto theœ4endless I-VI-ii-V cycles.
nbb b
Ó
b bIb don’t
’
’
’
’
Ó
Ó
b ’ ’ ’ ’
&
7
AF7
mi4 7A mi
2D 7
7
D1
2
2
œ3 1 1 B 6 2
G
1
b2
AÌ
A `7
6
G1 6
4
œG7 œ
1
b
E6
bœ bœ
œ
bb b
∫
œ
2
1
œ
œ
4
2
b
œ
‰ nœ
Ó
&&Ó b ’Œ ’ ‰ ’Jœ ’ œ œ1 œ4 # œ œ œ œ b ˙
F min
G
7
1
b
G mi7( 5)
C7
D7
1
2
4
œ œ œ œ3 n œ2 œ4 œ3 1
bb b b
œ
&
’ ’ ’’
36
#
2
1
2
1
3
F min
4
˙
37 6
7
7
2
D
A miSheet
G
1
Music Plus Order 4117782763.
1 copy purchased by David Grech on Jul 13, 2022.
3
œ bœ
œ
2
4
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˙
D7
bbbb œ Ó œ
F mi7
Ó
n
G mi7
D7
œ ∫œ œ
b
& 44 Ó
A
F mi7
5
&
b
B 6
˙4
F mi7
&Œ
13
B
G7
b
B 7
b
E 6
G7
Ó
C7
&’ ’ ’ ’
b
&˙
25
3
F mi7
’ ’ ’ ’
CÈ
G7
DÈ
E mi6
G7
CÈ
F7
’ ’ ’ ’
b
E 6
B 7
1
3
CÈ
Ó
3 2
œ œ b œ # œ3
1
‰ œ œ œ
1
F7
1
˙1
1
b
’ ’ ’ ’
’ ’ ’ ’
# œ2 # œ œ
#œ #œ
1
2
1
F7
DÈ
G7
CÈ
b
CÈ
F7
B 6
’ ’ ’ ’
E mi6
’ ’ ’ ’
’ ’ ’ ’
F7
B 6
Ó
# œ4 # œ3 # œ1
1
’ ’ ’ ’
F7
G7
# œ2 n œ3 œ
CÈ
’ ’ ’ ’
’ ’ ’ ’
’ ’ ’ ’
b
2
F7
’ ’ ’ ’
4
œ b œ œ3
’ ’ ’ ’
4
CÈ
Ó
œ1 b œ2
DÈ
F7
G7
CÈ
’ ’ ’ ’
’ ’ ’ ’
G7
&’ ’ ’ ’
29
b
1
2
&’ ’ ’ ’
B 6
F7
1
17
A
CÈ
1
b
b
b
E mi6
1 bœ 1 4 2 E 6
œ œ œ b œ œ1 3 1 3
œ bœ œ b˙
‰ J
B2 7
D7
21
œ b œ2 œ1 œ4 b œ3 œ2 œ3 2 DÈ
# œ œ3 1̇
Œ ‰J
B 6
&’ ’ ’ ’
A
9
Rhythm Changes
4
F7
’ ’ ’ ’
b
F7
’ ’ ’ ’
37
38
Sheet Music Plus Order 4117782763. 1 copy purchased by David Grech on Jul 13, 2022.
Rhythm Changes
(Mooney Improvisation)
b
CÈ
G7
F7
DÈ
G7
b
œ
œ
œ
œ bœ œ œ
4 œ œJ œ œ œ ‰ J
#œ œ œ bœ œ œ œ
&4 J
J
œ
A
j
& œ bœ œ bœ œ.
F mi7
5
A
9
b
B7
b
b
E mi6
j
j
œ bœ bœ œ Œ
E6
DÈ
G7
œ œ œ Œ
b
b
b
E6
E mi6
œ bœ œ œ bœ œ
œ bœ œ bœ bœ
Œ
‰
J
&
B7
13
D7
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&œ œ
17
CÈ
F7
œ bœ #œ œ bœ Œ
CÈ F7
‰ œ bœ
J
Ó
bœ
œ bœ œ œ #œ nœ œ
CÈ
b
G7
DÈ
G7
CÈ
F7
œ bœ œ œ. bœ bœ bœ ‰ Œ
œ œ bœ #œ œ nœ œ
œ
&
J J
B6
F mi7
B
B6
F7
CÈ
F7
‰ œ bœ #œ œ
b
B6
Œ
bœ
Œ
œ bœ #œ
œ
œ
bœ
œ œ bœ #œ œ œ œ œ
œ
œ
œ œ œ œ œ œ Œ
‰ œ
G7
œ bœ œ œ bœ œ œ #œ #œ #œ #œ
#
œ
œ
œ
#
œ
œ œ‰
#œ œ #œ
J‰
& Œ œ #œ œ œ bœ œ
#œ
C7
21
A
b
B6
F7
G7
CÈ
bœ œ
œ œ #œ œ œ
#œ nœ
DÈ
F7
G7
œ bœ
CÈ
F7
œœ œ
Œ
Œ œ bœ Œ
& œ œ œ ‰ b œJ n œ
25
b
b
b
b
E6
E mi6
CÈ
F7
F mi7
B6
F7
B7
b
œ
œ
b
œ
œ œ œ œ bœ œ bœ œ
œ œ bœ #œ œ bœ œ œ Œ œ œ
œ
‰
&
J
J
3
29
39
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2
Rhythm Changes
b G7
CÈ
F7
DÈ
G7
CÈ
F7
b
œ
œ
œ
œ
b
œ
œ. bœ
œ
œ
œ # œ œ œ b œ œ œ œ b Jœ œ œ b œ œ œ b œ
J
Œ
‰
&
J
J
A
33
B6
b
b
G7
DÈ
E mi6
CÈ
F7
bœ œ œ œ bœ bœ œ œ
b
œ
œ œ #œ nœ œ
œ
b
œ
œ
b
œ
J
œ
œ
J
Œ ‰
Œ
J
F mi7 B b7
E6
&Ó
37
b
A
B6
G7
CÈ
F7
œ
œ #œ œ bœ œ
œ
‰
‰ J
&
J
J‰ Ó
b
b
b
E6
E mi6
œ ‰ Jœ b œ œ œ b œ œ œ
bœ œ b˙
&
41
F mi7
45
B
&
49
bœ œ œ œ
D7
C7
& bœ #œ œ œ œ œ
53
A
B7
b
B6
Œ
‰œ œ
DÈ
‰
G7
œ #œ œ œ
Œ
J
CÈ
œ bœ
F7
œ ‰ Œ
œ œ
b
œ bœ #œ œ
œ
œ
‰
b
œ
Œ
‰
œ
J
œ bœ œ #œ
CÈ
F7
œ bœ #œ œ œ œ œ œ
œ œ
G7
œ œ œ bœ œ œ œ œ œ bœ
F7
B6
œ œ œ œ bœ
œ‰
J
œ #œ
œ œ œ ‰ J #œ #œ #œ #œ œ #œ
#œ
œ bœ
œ œ. œ œ bœ
bœ œ. bœ œ
.
J
J
& œ.
J
J Ó
J .
57
b E bmi6 CÈ F7
b
F mi7 B b7
F7
E6
B6
œ bœ œ œ bœ
œ bœ bœ œ œ œ œ bœ œ bœ œ œ
b
œ
œ
œ #œ œ œ œ bœ œ bœ ˙ Œ
&
G7
j
œ œJ œ .
CÈ
DÈ
F7
G7
CÈ
F7
61
40
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CHAPTER 8
Coltrane-Type Changes
Negative Guide Tones
Another progression that is difficult to improvise on, rather than just run changes, is the
harmonic cycle that John Coltrane used to great effect in “Giant Steps,” “Satellite,” “Countdown,”
and many other compositions and arrangements. One method that I employ to play on this tune,
outside of the Personalizing Jazz Vocabulary method, is to search for what I call “negative guide
tones.” Guide tones commonly refer to the thirds and sevenths of chords, which are pitches that
usually change from chord to chord, so that one can clearly perceive the movement of the harmony.
Negative guide tones, on the other hand, are notes that stay the same from chord to chord. On tunes
b
b
b
b
A employ
that
F mi7 in major and
B 7 minor thirds.
B 7 the ColtraneE 7cycle the changes
B 7 move rapidly, jumping
4 some
Having
common tones or negativeÓ guide tones
can
b help
œ
Œ to‰ construct
œ œ b œyourœ lines around
œ
&
’
’
’
’
’
’
’
’
4
œ
b
œ
J
œ
smooth these large leaps. Here is an example:
Blues
b
G6
1
2
œ
&J œ
2
b
B7
Ex. 38
#
E6
F7
œ œ3 b œ1 œ3 # œ2 .
œ1 œ3 b œ1 œ1
J
B6
D27
G mi7
# œ3 # œ œ3 # œ1 n œ n œ œ
#œ
n œ2
J
1
4
1
3
C7
b ˙2
Blues Blues
Ó
œ7 œ
A7
# notes
œ # œ D# œandœ Ds as
E mi7
D6
œ
1
C mi7In bthis caseF I’m
using
the
negative
guide
tones
to connect
this line
b
#
œ
∫ œ Fœ4mi7b œ3
b7
b7
A
7
B7
2
B
E
B
b b bBbb7
7
1
b
b
b
˙
A
7
7
7
œ (M7)
through theBchanges. D is the P5
F mi of ÓEf6, andnblater
b Ó the major seventh
E of G6, the M3 ofB Bf7,
& ’4 ’ ’ ’
bœ b
œ
œ
bœœ b 7 œ b œ7 œ œ
B mi
D
n
b
n
b
Ó
n n nnb b ’ ’ ’ ’
A mi77 7 4 DD77 7
4
1
4
2 A mi
1
4
7b œ
1 G mi
œ4œj # ˙11C
D b œ œ1 œ4 b œ2
œ
˙
œ œÓ b œ œ..
J #˙
˙2
’ ’ ’ ’
œ of
‰b6 the
œ M3
& 44
’ while
’ ’Ds is’b7the’major
’ ’sixthÓ(M6) ofÓ ŒFs7 and
the root
of’D7,
Œ
‰b œ B6.
œ œ bœ
7
J
G
& 4 A b’
’
’
’
’
’
’
’
1
mi
D2
1
2
4
J
n
œ
˙
Here is another example:
œ œ1 3 1 2 œ1 œ
b
& b b b b b6 6 ’ ’ ’7 ’
B majB
1
# Gœ1 7.
œ bœ nœ
b`2 7 1
D71D
1
b
b
b
EE 66
œ bœ œ ˙
œ ∫œ œ b œ œb œ ˙b œ
A
1
œ1j ˙˙
#3jœ3 œjœJ n2œ2
&&
bb #b œb .
œ
&
’ ’# œ J’ ’n œ ‰ Jn œ œ
G mi17( 5)
Ex. 39
b
b
Bb177
GG66
2
2
1
C7
1
1
F min
œ b
b7
Ó
F mi
B
œ1 œ2 œ1 œ3 n œ2 œ4 œ3 1 4
#
bb bœ
7 œ
7
6
œ
œ
7
œ œ ˙ E miE miÓ 7 A1 A∫ œ œ Dœ # œ b œ Dœ6 œ n n n n
#
œ
7
#
œ
œ ’’
& C mibIn7F 7’
’
œ
#
œ
#
œ
#
œ
F
# œ are the negative
œ
# œ guide
this case# Fs
tones. ∫ œ ∫
œ andœ G
œ4 œb œ3 œ1 b ˙œ2
7
7
6
2
œ
D
b
Ó
nb b b b b bÓ
A mi ’ ’ ’ œ1 3
G
b 7œ Ó ˙7
b
Ó
nb
7
&&’
1
D
B mi
D
b
œ
2
˙
b
4
b
b
6
# Please
n Gb1from
bersonalizing
thatœDbrief
Jazz
Vocabulary
7 œ but
b necessary
6
G1P’
b’
2
Ó A miA7bexcuse
Ó1 digression
n n n n B bmi7
b ˙b b ’n œ1 the
mi7
D7
7
7
4
2
&
’
’
’
’
’
n
œ
B
mi
D
1
œ
˙
3
D7
œ
œ requires somen explanation
method. The peculiarity and complexity
of
beyond
1
2 Coltrane
œ
œ
b œharmony
œ
œ
œ
b
œ
n
œ
œ
b
b
b
œ
n
œ
7
F min b b
AÌ
D7
E6
bbb
G mi7 example
n n nÓn n b b b ’Cfrom
providing
two
n n n n b’
&&b b bbbbfive
’ 1 ’’1 ’’2of’vocabulary. Here is a brief analysis Óof each
’n nthe
’
b ’ ’examples
’ ’ ’
4
2
œ b 2occurrence:
œ
b
œ b of
œ
œ
n
œ
∫
œ
b
12 4
œ
œ
choruses
below,
in
order
7
7
Ó
Œ
‰
b
˙
Ó
b
œ
œ
b œD 7
&
b œG mi7
G mi
C
C7
J A `7 Aœb`7œ # œ œ1 2 4
Dœ7
G 7G 7
b
œ
b
œ
˙
œ
˙
3 œ ∫œ
bb
∫œ bœ
bœ Ó
&&b b b b’ ’’ ’’ 2 ’
’ ’‰ n œ‰ œn œ œ œ
’ Ó’ ’ ’ ’ ’ ’
7
1
2
b
b
G miG7(mi5)7 ( 5)
C7
1
3
1
C7
2
F min
1
F min
œ œ œ œ œ2œ3 nœ1œ2 œ4œ3 nœ3œ2 1 œ4 4œ3 1 4
bb bb bb b b
œ ˙ œ Ó˙
&& ’ ’’ ’’ ’’ ’
7
A miA7mi
##
&& Ó Ó
F min
F min
2 1 1
1
7
D17 Dœ1 2
œ b œ3 b2œ3 œ2
œ œ4
2
G6
˙œ
1
4
G6
˙1
3
2
1
1
2
4
4
b
b
F miB7 7
F mi7
B7
œ Ó∫ œ œ œ œ# œ∫ œb œ œœ œœ # œn n n nb#œ œ œ
b
D7
D7
B mi7
D7
AÌ4117782763.
D7
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Sheet Music
Plus Order
1 copy purchased
byEDavid
Grech on7Jul 13, 2022.G mi
1 AÌ
77
D7
E6
1
1
12
bœ
2
4
b
nbb b
n ’ ’
b’ ’’ ’’ ’
Ó 41 Ó n b b b b ’
’ ’ ’ n n n’
’
’
’
b
b
40
2
G mi
b
C
B mi7
D7
C7
œ
&4 ’ ’ ’ ’
D7
B6
&Ó
3
1
œ
b
B 37
1
3
2
Ex. 40
Œ
2 bœ
1
1
œ
#
œ
n
œ
œ
œ2 b œ3
œ
G6
# œ œ œ œ4
1
Ó
’ ’ ’ ’
œ
œ #œ #œ #œ
œ bœ
‰ œ
J
4
1
œ
bœ œ œ bœ
˙
Blues
4
2
œ
7
The pitches here mix scalar material from D Mixolydian with arpeggios
E
mi7 over theA G6 and
7
7
the Bf7.
1
C mi The G natural onFthe “and of two” in the second measure almost feels like a chromatic
4
3
passing note to the Af on beat three, although it is of course the root of the G6 chord.
b
b7 dominant harmonyb7 here, and I haven’t resolved onF mi7
A Unusually,
B 7 I haven’t used anyEaltered
B
beat one of theb Ef6
measure
(not
sho
n
here).
Or
at
I’ve
resolved early, since
w
least
b6the Bf on the
b7
7
G
1
A
mi
D
1
“and of four” is the P5 of the Ef6. I find
that during measures 1-2 and
5-6
2 of this progression,
4
2
1
1
2
it isn’t necessary to alter the dominants. There3 isn’t1 enough
time, really, and the chords jump
around so much that more consonant resolutions sound sophisticated on their own.
#œ
D
∫œ œ bœ
œ1 ˙
b Ó
&’ ’ ’ ’
4
& 4 ’ ’ ’ ’ œ ’ ’ ’ ’ Ó œ n œ Œ ˙ ‰ œJ œ b œ œ
œ œ bœ nœ œ
bb b b b
Ó
n
& b ’ ’ ’’
Gb 7
b E6
b2
#7
A `7
œ bœ bœ
œ ∫ œBlues
Ó
˙
2
4
b
1 # œ ‰ œ n œ # ˙œ
b
3
& &b Ó ’ ’ # ’
œ # œ’
F
b
G mi7( 5)
C7
B63
A b B
œ E bœ7 œ1 œ3 n œ2 œ4 3B b7 1
b
Ex.
41
œ œ
&bb ’ ’ ’’
b7
˙ 1 4Ó 2
bœ œ œ
bœ
D 74
F min
F mi7 7
F mi
œ ∫œ œ œ
Ó
˙
4
œ bœ
Ó (first inversion)
Œ E mi‰resolving
œ Astepœthan example
œ ’ 41:’
&4
’
’
’
’
#
œ
Fs7
One ’
can’t’
get simpler
an
arpeggio
œ
#
œ
œG consonant #resolutions
œ œ like this areJ enough,
F above,
D I stated
# œ simple,
ACmimiM3 of B6. As
∫œ
wise to the
4
1
2
4
7
7
4
œ
3
3
œ
1
D
b
œ
b
œ
2 5-6.4
˙
especially
during
measures
1-2
and
œ1
b n Ób b
# Ó’ ’ ’ ’
œ œ
&
Ó
b b b6’ ’ ’ ’
&
b
b 7
b
b 2 G1
b
1
D2 7
F min
D7
E
4
4 6 nœ
F mi7 A mi4 œ41 bbœ27 AÌ
E
6
1
4G mi7 2
˙
1
1
œ
2
3
œ
1
2
œ
œ
œb œ2 œ44 n œ2 bœ˙3 b œ nœœ Ó
1
2 b bœ1 b œ
b œ œbÓb bœ œ
2 ˙
b
œ
b
œ
&
1
4
b
œ
œ
b
Ó
Œ
‰
b
˙
Ó
&
b
’
’
’
’
œ
œ
b œbœ
&
œ #œ
J
2
4
1
77
7 2
7
1
6
b2
3
7
1
œ bœ bœ
˙
bb
∫
œ
œ
œ
‰
n
œ
b
Ó
b ’ ’ ’œ ’œ
7
7
&Here
A
#
œ
E
mi
# œ by #some
an arpeggio
on the Fmi7,
altered
Bf7: a
œ followed
œ harmony on the
œ
1
C mi7 we 7have
F7
(b 5)
7# œ
∫
œ
G
mi
C
F
min
descending B minor triad, a dissonant upper structure. The resolution is a chromatic enclosureœ4of7 3
F mib œ œ1
2first1beat of the measure.
1
4 b Ó
the&
P5 of
the
Ef6,
Bf,
on
the
customary
œ
3
2
œ
œ
’ b ’b ’ ’
œ n œ œ4 œ3 1
œ ∫œ œ
œ ˙
b
bÓ6
b7
& b A b’
7 ’ ’ ’
G1
1
mi
D2
2
4
n
œ
˙
1
1
œ
7
7
6
3
2
œ
œ œ Gb œ1 n œ2 œ
D1
bb b bAbmi
3
œ
1
D7 Ó
b
œ
2
˙
& # b ’ ’ ’ ’ œ œ4
nbb
Ó
Ó
bb ’ ’ ’ ’
& 7
b`2 7
b
A
D7
F minG
AÌ
D7
E
6
b
œ
1
G mi7
œ
˙
bb b b
∫
œ
b
œ
œ
Ó
& Ó ’ ’Œ ’ ‰ ’œ1 b‰œ2 œn4 œ 1 œ4
2
b
œ
b
œ
Ó
bb œ
œ41 œ # œ œ 2 F4min b ˙
& G mi7(b5)
JC 7
1
42
F mi7
2
3
1
1
4
œ
3
2 œ
œ œ n œ2 œ4 3 1
bb b b
œ œ ˙
œ ∫œ œ
Ó
&
’ ’ ’’
4
Ex. 42 G
7
2
A `7
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D7
B
4
&4 ’ ’ ’ ’
b
B 17
&Ó
4
b
B
Ó
b
E 26
Œ
‰ œ
J
#
F7
B6
b œ œ3 œ1 b œ4 n œ1 # œ1 n Blues
œ4 œ2 # œ3
4
b
1
Ex. 43 7
B
’ ’ ’ ’
œ œ œ3 œ1
G6
A
E
œ bœ
Ó
œ.
Œ
b
E7
œ bœ
j
œ
4
1
F mi7
B7
œ7 ’
The longer example
43
language
combines
œD 6 b œ
œ contains
Ó scale
Œ A 7 ‰arpeggios,
œ and
# œ ’# œ that
E mi7 fragments,
7 ’
&
’
’
’
’
’
œ
œ
4
#
œ
C
mi
F
# œ the first encloses the P5 (Bf) of the Ef6,
two resolutions by chromatic enclosure:
∫ œthe second
J the M7
&’ ’ ’ ’
As of the B6.
b
b Ó
b
#
D2 7
F7
b
4
nœ ˙
1
1
œ
3
œ
1
2 B6
œ
œ
1
œ
bb 1b b œ3 # œ4 œ # œ œ4 n œ3 b œ2 n œ # ˙1
& #bœb ’ ’ ’ ’
#œ
Ó
#
C mi7
A mi7
&
1
bb 3b G
b 44’ ’ ’ ’
& Ex.
7
b
27
A`
œ
‰ nœ
œ œ
7 (b 5)
2
G1 6
1
œ bœ bœ
œ ∫œ
œ4 b œ3
1
˙
œ
˙
œ1
#Ӝ3
D7
œ
œ
Ó
2
Œ
b
B mi7
nnnnnnbbbb ’
Ó
Ó
G mi7
’ ’
G mi
C7
F min position arpeggio.
7 line B b 7
7 F mi7 TheAFs7
In7 this example, the 7Csmi7
2 is1 treated with a simple, root
E
mi
D
1
4
3
2
œ pitches:
4
1
C bmian
F œ œ of
œ
n
œ
contains
interesting combination
the
M3,
3
1followed by the M9 and the f9, and then
4
b
œ
œ œ ˙
œ ∫ œ œ œ #3œ b1œ œ2
b
Ó
b
&
’
’
’
’
a resolution to the P5 of the B6 through the M6 of the Fs7. I’m not familiar with a chord-scale
that combines
2 group of altered
D17
A mi7 bthis particular
G 6 and consonant pitches. 7 b 6
b
b
3
œ
1
D G
B mi7
D7
7
7
b
œ
2
˙
1
A
mi
D
1
2 progressions
# I classify “Coltrane Changes”
œ 2œ4 and 1“Rhythm Changes”
4n b as
similarly,
that are
b
1
Ó
Ó
b
3
b
1
2
&
’
’
’
’ ’ ’ ’
difficult to improvise and play melodically on, rather than simply b(although of course it is anything
F min running changes.
AÌ
D7 Jazz Vocabulary
E 6 method has helped meGand
but simple!)
The Personalizing
1
mi7 my
C7
students square the circle,1 evenb œ2as these
progressions present an enduring
challenge. b
4
2
œ
&’ ’ ’ ’
b
& b bbbb ’ ’ ’ ’
&Ó
‰ Jœ
Œ
bb b b G
&
’ ’ ’2 ’
7
b
G mi7( 5)
&
&
bbbb
A mi7
# Ó
F min
&Ó
œ œ
œb2 1 4
A ` 7œ œ # œ œ 2 4
2
œ b œ3 2
œ
D17
Œ
AÌ
1
1
2
œ4
G6
˙1
b˙
œ ∫œ
‰ nœ 3 œ
œ œ œ œ3 n œ2 œ4
1
b Ó
œ œ œ bœ nœ œ œ nœ
1
C7
’ ’ ’’
#œ œ #œ #œ #œ œ
D7
œ3 œ1
Ó
2
1
b
œ
œ
œ œ
œ4 œ1 œ4
‰ J
œ
#œ 1 2 4
3
2
˙
Ó
œ bœ bœ
F min
∫œ œ bœ
œ
˙
Ó
n
b b bD 7œ œ œ n œ
˙
F mi7
Ó
4
˙
b
b ˙2
œ ∫œ œ œ
nbb b
b ’ ’ ’ ’
D7
E6
Ó
42
43
Sheet Music Plus Order 4117782763. 1 copy purchased by David Grech on Jul 13, 2022.
Ó
∫
G mi7
bbbb œ œ
Coltrane-type Changes
A
& 44 Ó
G6
5
b
b6
E
A mi7 D7
2
# œ1 œ3 œ1 œ4 œ3 œ1 # œ1 œ b œ n œ1 œ2 b œ3
’ ’ ’ ’ ’ ’ ’ ’
D7
B6
b
B 7
2
Ó
b
E 6
9
B6
B
&’ ’ ’ ’
13
B6
D7
b
# 2
B63
4
1 #œ œ
#˙
# œ3 # œ
E 6
&’ ’ ’ ’
&’ ’ ’ ’
B 37
G6
F 7
Ó
4
A mi7
D7
G6
’ ’ ’ ’
’ ’ ’ ’
b
b
F mi7
E 6
4 œ bœ 2
1
œ œ4 n œ2 b ˙3
b œ2 œ b œ
b7
4 2
4
b
E 6
&’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
17
b
b
B 17 4
#
E 6
œ œ œ3 œ1 b œ2 œ3 1 4 F 1 7# œ1 n œ4 œ2 #B6œ3
G6
œ bœ nœ
Ó
Œ Ó
&
21
b
E 6
1
&’ ’ ’ ’
25
&
29
#˙
B6
1
Ó
A mi7
D7
’ ’ ’ ’
F mi7
b
b7
b7
C mi7
F 7
#
F 7
#
’ ’ ’ ’
#
’ ’ ’ ’
C mi7
Ó
b
B 7
G6
b
F mi7
#
’ ’ ’ ’
A mi7
D7
’ ’ ’ ’
b
b7
F mi7
’ ’ ’ ’
#
#
F 17
1
C mi7 3 # œ4 œ # œ œ4 n œ3 2
G6
1
œ
#œ
’ ’ ’ ’ #œ
’ ’ ’ ’
b
E 6
3
’ ’ ’ ’
#
C mi7
#
F 7
’ ’ ’ ’
43
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Coltrane-type Changes
A
#œ œ œ œ œ œ
4
&4 Ó
G6
5
9
&Ó
&
B6 D7
œ œ
17
21
&
B6
œ
#œ
‰ J œ œ œ #œ œ
G6
D7
b
b7
E6
B
œ
G6
œ œ œ bœ
b
E6
œ bœ œ œ œ bœ
œ
D7
G6
B6
A mi7
F mi7 b œ
‰
#
D7
œ bœ œ œ œ œ #œ
b
bœ bœ nœ
#œ œ œ
b7
#
œ œ #œ #œ #œ
œ
Cœmi7
#œ
b7
b
œ #œ œ bœ nœ œ
B7
F 7
b
D7
œ # œ œ œ b œ œ n œ A mi7
œ œœ œ
E6
bœ
Œ
#
b7
B6
F
mi7
b
œ bœ nœ #œ nœ œ #œ #œ #œ #œ
œ bœ bœ œ œ œ bœ œ
‰
‰‰
F 7
œ #œ nœ œ œ bœ #œ œ nœ
œ
œ
˙
œ
A mi7
D7
G6
F mi7
#
#
C mi7 # œ œ #F œ7 œ n œ
#œ œ
#œ
#
#7
F
œ œ bœ œ bœ #œ
#œ
œ
Œ
Œ
‰
b
œ
J
œ
b
#œ œ #œ œ #œ
œ #œ œ bœ œ bœ Ó
&
25
œ bœ œ œ bœ
b
b6
#mi7 F #7
E
C
œ bœ œ
#œ #œ
#
œ
œ
b
œ
b
œ
œ
œ
œ
œ nœ bœ œ œ
Ó ‰
bœ
F mi7
&Ó
E6
#œ
Œ ‰ œj œ œ b œ # œ œ œ œ # œ œ œ œ
A mi7
B6
13
&
b
œ bœ Ó
B7
b
b
#7
E6
B6# œ # œ # œ ˙
F
œ
œ
#
œ
œ
œ
#
œ
#
œ
Œ ‰J
bœ œ #œ
. # œj # œ œ œ
œ
&
B
G6
B7
b
bœ œ œ bœ œ
E6
b
#œ œ bœ nœ
(Mooney Improvisation)
b
b7
E6
29
C mi7
45
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2
Coltrane-type Changes
œ #œ ‰ œ œ œ œ
œ
& J
C
B6
D7
G6
b
œ #œ œ bœ nœ œ
B7
bœ
b
œ œœœ
E6
bœ œ œ bœ #œ œ nœ œ
A mi7
D7
œœœ
33
b7
b
F mi7
b
#
b
G6
B7
#
œ
bœ
œ E 6 j F 7# œ # œ œ #B6œ # œ # œ # œ œ œ œ œ b œ œ
œ
œ
œ
Œ ‰ œ #œ
Œ ‰ J
& #œ œ œ
37
b
Eœ 6
#
#
F .7
œ #œ #œ œ
J
œ œ œ œ nœ bœ œ ˙
œ ˙
œ œ
& #œ
41
b7
#
#
b6
b
C mi7 F 7
B6
F mi7
E
œ œ bœ œ #˙ Œ ‰ œ
bœ œ bœ œ œ
#
œ
˙
œ
#
œ
œ
œ
œ
b
œ
œ
J
bœ
nœ
&
œ
A mi7
45
D7
b
bBœ 7
œ œ #œ œ bœ œ œ œ œ #œ œ nœ œ bœ
& J J
D
B6
D7
G6
G6
b
œ
E6
C mi7
#œ œ œ bœ œ nœ bœ bœ œ œ œ œ œ
A mi7
D7
b
b
#
E6
B6
F 7
G6 œ œ œ œ œ b œ
F mi7 b b7 b œ
n
œ
.
œ
#
œ
œ œ bœ nœ #œ
#œ #œ #œ #œ b˙
J
J
Œ œ
œ
‰
œ
&
53
#
b
#mi7
F 7
E6
C
A
mi7
D7
G6
œ bœ #œ œ
œ #œ œ nœ
œ œ #œ nœ œ œ œ
#
œ
œ
œ
#œ
Œ ‰
&
J ‰ Œ Œ ‰ Jœ # œ
57
b
b
# #
E6
B6
F mi7
b7
C mi7 F 7
b
œ
b
œ
œ
.
#œ œ #œ #œ œ Œ ‰ j œ bœ œ œ
œ #œ #œ œ nœ #œ ˙ #œ œ
bœ
#˙ Ó
J
&
49
B7
61
46
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CHAPTER 9
Golson-Type Changes
This chapter’s progression is similar to the work of Benny Golson, another harmonically
sophisticated modern jazz composer. There are aspects of the harmony explored here that I treat
similarly to Coltrane changes. During the A sections of this progression, ii-V progressions rise and
b
7
b
b
b
A by half-step,
fall
only resolving
to I at the end
B 7the Wagnerian
B7
E7
B 7 of measures four andF mitwelve. To avoid
4 you
trap (if
will) of playing an idea and then
nauseum, I use
b œ the
Ó transposing
Œ
‰ it up
œ a œhalf-step,
b œ œ ad
œ
&
’
’
’
’
’
’
’
’
4
œ
J
same negative guide tone concept that helps me through Coltrane
changes: b œ œ
Blues
b
B min7
B min7
E7
2
2
œ1 œ Œ
1
1
2
b
œ
œ
œ
œ
œ
#
œ
2
3
b
œ
œ
œ
& J
J
œ2 1
3
3
4
Ex. 45
b
B min7
B min7
A6
E7
b œ b œ1 2 3 œ4 œ œ # œ œ # œ4 3 3 1 3
œ # œ œ n œ # œ1 ˙2
J
œ bœ
J
1
1
1
1
1
1
Ó
œ œ
A7
# œ of# œthis# œexample,
E mi7
D6
œ bars
œ I’m
1 note Df/Cs as a pivot, or negative guide
F 7 In the first
using the
# œ two
∫œ 4
œ
b œ œ1chord,
˙ whileÓits enharmonic
tone,
b Ó m3 of the Bfmin7
nb b b b b b
& between Bfmin7 and Bmin7. Df is the
b
equivalent,b Cs,
is the M9 of
b the Bmin7.
G11 6
A mi7
D2 7
b 7
2
4
n
œ
˙
The negative guide
is œ1related
B mienharmonic
D7
1
œ to what Jerome Kern labeled
3concept
œ tone
1
2
œ
œ
b
œ
n
œ
n
b
b
n b b b ’ You
modulation.
n n n nThings
& b b b b b ’ Kern
’ ’uses
’ the technique at the end of the bridgeÓof “All the
’ ’Are,”
’
where a Gs on an EMaj b 2chord, a M3, becomes an Af on a C7, the f13, to modulate
from
E
7
7
7
G
mi
C
7
`
7
A
D this technique.
major toGF minor. Coltrane’s “Moment’s Notice”
uses
œ b œ also
˙
∫
œ
b
œ
b b bIn bars three and ‰fourn œabove,
œ
œ
Ó of the ’Bfmin7
b
a negative guide tone Af, the m7
&
’ ’ ’ ’
’ ’chord,
’
b
(
5)
7
7
becomes
stock feel bof
an idea played
G miGs, a M6 on Cthe Bmin7. These two lines
F min don’t have the
7
FMorgan’s
mi7
B7
b7
b
b
2
1upœ
1half-step.
4
A then
7
7
3
and
transposed
a
That
being
said,
Lee
exquisite
solo onF mi
the
œ
œ œ nEœ2 œ4 œ3 1
#
B
n
bb b b B
n
œ
œ ∫ œ œare “stocked”
œ good
Ó
n
˙
b
œ
n
original
recording
things
for
&
’ ’ ’ ’of this tune does justœ that—sometimes
œ #œ
7
reason.
7
6
2
D1
A mi
b 7
œ isb œ3too 2long for Gthe
1
D7
B although
mi
D 7I have used
P
Example
45
ersonalizing
J
azz
V
ocabulary
method,
˙
# Ó
œ œ4
n
b
Ó from the chorus
nnnn
b b b ’ below:
a fragment
of it below. Here are the examples
&
’
’
’
’
’
’
’
b
7
7
3
2
Blues
4
&4 ’ ’ ’ ’
F min
& ÓA 6
& Ó.
1
’ ’ ’ ’
AÌ
D7
E6
‰ Jœ b œ œb4 œ1 œ4 2# œ 1œ œœ1 œ 2 b ˙2
A 7 b œ n œ1 2 4 œ
Œ
2
1
‰ œ œ3 œ
J
2
2
2
3
4
Ex. 46
Ó
Ó G6
œ2 œ3 # œ1
Œ
bbbb
Œ
‰ œ
J
G mi
œ bœ
C
œ nœ œ ∫œ œ
œ œ
1 bœ
1
# œ œ # œ4 œ3
Ó
œMeasures
of this
progression contain a descending
progression:
A6-Af7œ five throughœ eight
A7
#
œ
E
mi7
7
#
œ
œ
#
œ
1
F
# œ the dominants here with a variety of jazz language. In this
G6-Gf7. One can treat
∫ œcase œ4I have3 used
b œ œ1
augmented harmony on the Af7, with a half-step approach to the M3, B to C. This chromaticism
b
Ó
&
b
A mi7
b
2
œ œ1 œ346 b œ1 n œ2 œ1 œ4 n œ
47
D2 7
b
˙
G11 6
b
& b b b b b Sheet
’ Music
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b 27
Ó
œ
E7
# œ3 œ1
D6
˙2
nn
b
b
b
4’ ’ ’ ’ ’ ’ ’ ’ Ó
Œ
‰ œ œ bœ
&
4
J of that
gives the line a hexatonic, augmented scale feel, although it omits two of the six pitches
A
B7
E7
F mi7
B7
œ
scale. The resolution to the M7 of the G6 chord is pleasantly unpredictable.
G min7
C7
œ œ2 œ3 1 b œ2 œ1 4
œ
b œ b œ2 ˙
&
1
1
b
F6
3
b
Ó
# œ1 œ # œ4 œ3
G6
# Blues
œ1
Œ Ó
b
1
E7
# œ3
4
Here
classic example of a nine eighth-note resolution cell. The pitches
Gmin7
œ ’is aœ ’
œ b œ Dœ
A‰ on the
Ó
œ
#
œ
E
mi Œ
#
œ
&
’
’
’
’
’
’
œ
œ
4Fits arpeggio,# œwhile the C7 contains f9, #M3,
are from
œ and a chromatic enclosure∫ofœ the Jresolution
œ
A
Ex. 47 7
B
E7
7
&
7
b Ó
note, the M3 (A) of the F6.
b 7
AÌ
3
2 A mi
F mi7
B7
b
œ b œ œ1 b œ4 œ3 œ1 1 2œ œ11 œ3 1 2 G61œ1 œ4 n œ2
b œ n œ #Blues
#œ bœ ˙
œ Œ Ó
bb b b
Ó
b
& b ’ ’ ’’
&
b7 7
Ex. 48 G
1
D7
D2 7 G min
b2
b7`7
A
E
b
7
1
4
b
˙
G11 6
b œ3 œ1
6
˙2
E7
# œ1 œ # œ4 œ3 3
#œ
Ó
1
D F mi
b
œ
œ
˙
bœ
b
œ
œ
4
‰
n
œ
b
b
& Example
’œ 48
’is ’
’ ’’nine’eighth-note
Ócell, its language
Πculled
œ theœG b œ Ó 6œ
another
resolution
7‰ from
&
’
’
’
’
’
7
œ
4
A Ami7f5.
# œ œ # œnote Dfœ betweenE miDF an
b 5)
J The D
harmonic
with œa chromatic
1
F 7 minor
G mi7( scale,
C 7 #passing
mind C on∫the
#
œ
7
4
œ
œ
3F mi
pitches on the D7 contain a f9 (Ef),
half-step to the P5 (D)4 of the Gmin chord.
2
2
1 resolving
1 by
b
œ
1
œ
3
˙
2
œ
œ
4
œ
œ
b
Ó
b
n
œ
œ œ3 œ1 ˙
&
œ ∫œ œ
Ób
&B bbminb7b ’b ’ ’ ’ B min7 b
E7
6
G6
E7
7
7
Blues
G
1 1
1
1
1
A
mi
D
1
1
1
2
# œ17 œ # œ4 œ3 # œ3
˙
A mi7 b œ3 œ4 b œD17œ 3# œ2 œ2œ # œ4œ1 œ3 #3 œ3G 6 11 2 œ1# œ œ4 n œ
œ bœ 2
œ ˙1 b œ Œn œ
Œ Ó
D
& b#Ób b b b
4
œ
n
Ó7
n
b
b
œ
b
’
’
’
’
b
b
b
Ó
Ó
b
A&
7
7
7
F
mi
b
& B 3
’ ’ ’ ’
E
B
b
2
b
4FEx.min49
7 œ
7
AÌ
D7 Ó
EΠ6
A `7
D
G
mi
‰
œ
b
œ
& 4b b’G 7 ’ ’ 1 ’1 ’
’
’
’
œ6
œ7 b2œ suggests
˙
2
∫
œ
b
œ
J
œ
7
œ
4
b
œ
b
œ
Af/Gs
enharmonic
oblique
Example
49
is
a
fragment
of
example
45
above.
The
‰
n
œ
b
Ó
œ
œ
b
A Ó
Eœmi b ˙
&
’
’ # œ œ# œ œ1 # œ4 # œ œ œ
Ó7b ’œ bass
Œ # œand’‰ melody.
b b Dœ
œ
& Fbetween
1
motion
J
∫ œ œ4 b œ3
2
4
b
1
2
G mi7( 5)
C7
F min
1
3
7 œ
˙
b
Ó
2
F
mi
2
1
1
4
&CÌ
E7
bb b b b 7 2 3 1 F7b œ2œ b œ4œb7 1 œ 3 œ3 n œ2 œ4 œ3 œ1 G61
1
b
1
œ
# œ ˙4 Œ n œ2 Ó ÓG1˙1 6 # œ œ ∫# œ4œ œ3 œ# œ3 œ
& Ó ’A ‰mi ’œ b œ’œ ’ D2 œ b œ b œ
œ œ1 œ31 6 œb œ1 b œ n bœ2œ œ1 œ
&
2
bb Abmib 7b
D17
G 2 1 4
Ó
1
D7
& # b ’ 3 ’ œ ’b œ3’ œ2 4
˙
nbb
œ
Ex. Ó
50
2
Ó
b b ’7 ’ ’ ’
b`7
&
7
A
D
bb œ 7 I find
7
67
œ7b b Gmeasures
29-33
of
this
progression,
Cmi7f5-F7-Bfmi7f5-Ef7-Af6,
that
œ
˙
œ
F Over
min
AÌ
D7
E
6
Ab œ
∫
œ
#
œ
E
mi
D
1 œ
œ
#
œ
G
mi
œ
œ
‰ Onn œthe# œmi7f5 chords I play a melodic
Ó
b ’harmony
melodic
# œ works
& Fbminor
’
’ 1 ’veryb œ2well.
4 scale up
∫ œ1minor
œ
3
4
2
bfamed
œ bœ1b b b ˙2 œ
œ
œ
a minorÓthird,7 (and
dominant
minor
scale
upb ˙
a half-step—the
b 5)Πon the
1 a melodic
4
œ
œ
7 chords
‰
Ó
b
Ó
œ
œ
& G mi
œ
&
7
J C1 2 1 œ # œ 1 2 4 F min
F
mi
b6
œ D bœ7 œ œ3 n œ2 3 œ4 œ3 1 4
bb b b A bmi7
2
G
1
œ ∫œ œ
œ œ4˙ n œ2 Ó˙1
47
&
’ ’ ’ ’ œ2 œ1 48
1
3
œ b œ1 n œ2 œ
bb b b b7 Sheet Music Plus7 Order 4117782763.
1 copy purchased
by David Grech on Jul 13, 2022.
Ó
n
G6
& A mib ’ ’ Dœ1 ’ ’3 2
7
A
bB
B∫7œ
1
7
D
7
Blues
b7
b7
b7
F mi7
B
E
B
super Locrian scale. It seems to me to be the right treatment of this harmony, although there
4
A
&4 ’ ’ ’ ’
Ó
’ ’ ’ ’
Œ
œ bœ
‰ œ
J
œ
are many other valid options, of course. In this example I haven’t resolved to the Bfmin7f5
chord. This is mostly for variety’s sake. I could have written a line like this, with some
chromaticism and a resolution to the m3 of the Bfmin7f5:
b
2 3 œ
b œ b œ n œ n œ b œ b œ œ1 b œ3
b
œ
œ
‰
CÌ
F72
1
&Ó
4
4
2
3
1
3
Ex. 51
b
B min7 ( 5)
b ˙1
E7
# œ œ # œ4 œ3 3
#œ
Ó
1
1
7 my students.
œBenny
is
a specific area of study for me
œGolson’s harmony
A 7 He is one of
#
œ
E
miand
7
#
œ
œ
œ
# œ Monk, Shorter, Silver, ∫andœ1 a œfew
F jazz composers,
the major
along with Coltrane,
others.
#œ
4
“Stablemates,” “Along Came Betty,” “Whisper Not,” “Killer Joe”—all classics. The Personalizing
b œ3 œ1
b
Ó
& Vocabulary method can help students navigate the tricky harmonic puzzles that Golson
Jazz
b 7
constructs.
A mi
bbb b
b
& b ’ ’ ’’
bbb
b
&
’ ’ ’ ’
G
7
b
G mi7( 5)
bbb
b
&
’ ’ ’’
&
#
&Ó
2
œ œ1 œ3 b œ1 n œ2 œ1 œ4 n œ
D2
b2
A `7
‰ nœ
2
Ó
Œ
2
AÌ
1
1
œ
4
G6
˙1
D7
œ3 œ1
Ó
2
1
b
œ
œ
œ œ
œ4 œ1 œ4
‰ J
# œ œ1 2 4
3
2
b
˙
G11 6
œ bœ bœ
œ ∫œ
œ
œ œ œ œ3 n œ2 œ4
1
œ b œ3 2
œ
D17
A mi7
F min
C7
b7
F min
˙
D7
˙
b
b ˙2
nn
Ó
œ ∫œ œ
œ
nbb b
b ’ ’ ’ ’
D7
E6
˙2
Ó
F mi7
Ó
4
D6
49
48
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Ó
G mi7
bbbb œ œ
B
Golson-type Changes
b
A
B min7
& 44 ’ ’ ’ ’
B min7
& Ó.
5
b
A G min7
9
&’ ’ ’ ’
F6
&˙
13
B
4
3
G6
œ1 œ2 2
œ œ3 # œ1 Œ Ó
G min7
G min7
b
C7
’ ’ ’ ’
Ó
’ ’ ’ ’
17
EÌ
F7
’ ’ ’ ’
1
’ ’ ’ ’
E7
’ ’ ’ ’
b
G 7
’ ’ ’ ’
œ1 œ2 œ3
C7
œ1 b œ œ b œ4 b œ2
2
1
G7
’ ’ ’ ’
œ b œ œ1 b œ4 D7œ3 1 1 2 G min
œ # œ b œ ˙1
AÌ
3
2
Ó
b
1
B 7
F min7
A7
B min7
G min7
D min
A7
’ ’ ’ ’
&’ ’ ’ ’
’ ’ ’ ’
A 7 2 b œ2 n œ1
EÌ
C min7
B min7
’ ’ ’ ’
b
‰ œ2 œ3 œ
J
A6
b
E7
&’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
21
b 7
b
B min7
B min7
E7
B min7
E7
A B min
1 1
1
1
4
4
b
œ
œ
œ # œ # œ œ3 # œ3 1
3 œ
b
œ
Ó
œ Œ
&
’ ’ ’ ’ ’ ’ ’ ’
25
3
b
b7
B Ì
F72 4
CÌ
E
1
2 3 œ
b œ b œ œ1 b œ3 b œ
b
œ
œ
‰
œ bœ bœ ’ ’ ’ ’ ’ ’ ’ ’
&Ó
1
29
&’
33
b
A 6
2
3
’
’
’
1
B min7
’
4
’
E7
’
49
50
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’
Golson-type Changes
(Mooney Improvisation)
B min7
b
bmin7
E7
7
B min7
E7 # œ œ œ3
3
B min
B
œ
#
œ
3
b
œ
œ
œ
œ
3
#
œ
œ
#œ œ œ #œ œ bœ œ bœ
#œ œ
4
œ
b
œ
&4 Œ ‰ J
œ œ Œ ‰
A
#7
b
G6
F
œ
A 7 bœ nœ œ
#œ #œ œ œ
œ
œ œ # œ . œ œ . œ # œ œ3 œ œ œ œ # œ œ
œ
‰
œ
&
J
J
J
5
#min7
A
7
#
G min7
F
C7
7
G
min
C7
F min
3
œ
3
œ
œ
3
#œ
œ # œ3 œ
œ œ œ bœ œ
œ
œ
Œ
‰
J
Œ
b
œ
Ó
bœ bœ
J
œ
œ
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&
œ
#œ #œ
A6
9
œ œ œ œ . œ3 œ œ
œ
œ
œ
‰
J
& œ. J œ œ ‰ œ œ œ bœ œ #œ nœ œ œ œ œ œ œ
13
F6
B
EÌ
3
œ œ b3œ œ œ œ3œ
bœ
J Œ ‰ Jœ
&
C min7
F7
D min
A7
G7
D7
3b œ œ b œ œ b œ œ b œ œ
œ
œ
AÌ
b
17
EÌ
A7
#œ bœ œ œ
G min
bœ œ œ #œ œ œ
3
3
3œ œ b œ b œ œ œ œ3 n œ
#
œ bœ œ
‰
B7
F min7
& œ œ œ bœ œ Œ œ œ. œ œ. œ œ bœ œ œ œ Œ Ó
21
b
b
B min7
B min7
B min7
E7
B min7
E7
A
3
b
œ
œ
3
3
œ
#
œ
j
œ
#
œ
j
bœ Œ œ
œ # œ œ Œ Œ b œ œ b œ b œ n œ œ ‰ j œ # œ œ # 3œ ‰
œ
b
œ
&
œ
œ #œ
25
b
b
BÌ
F7
CÌ
E7
œ bœ bœ œ bœ bœ
b œ b œ b œ œ œ œ3 œ b œ
b
œ
b
œ
œ
j
b
œ
b
œ
Ó
‰
bœ bœ
‰
œ bœ bœ bœ œ bœ
&
b
A6
bœ
&œ
3
29
33
œ
Ó
B min7
œ #œ
≈
œ
3
œ œ œ œ
E7
50
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2
A
Golson-type Changes
b
B min7 b3œ
œ
B min7œ 3
œ œ bœ
#œ œ
b
E7
B min7
B min7
#œ œ œ œ
œ
#
œ
œ
E7
œ b œ b3 œ
# œ œ3 œ œ #3œ œ b3œ b œ Ó
Œ
œ
‰
‰œ
J
J
35
b
#
A6
G6
A7
F 7
œ
œ
n
œ
.
.
œ œ #œ œ œ
#œ
œ
# œ œ . œ Œ œ œ3 œ # œ œ
œ bœ
œ
œ
J
œ
Œ
‰
J
&
J
39
#
#min7
A F min7
7
F
G min
C7
3
3
3
3
3
3 œ #œ œ œ
# œ œ #3œ œ 3 œ œ 3
œ
œ
j
#œ
œ œ bœ œ œ œ œ œ j œ ‰ #œ œ #œ J
&
J
bœ nœ
&Œ
43
3
3
F6
EÌ
A7
nœ œ œ bœ œ
œ
œ
b œ b œ œ œ œ œ œ œ œ œ œ # œ œ œ bœ œ bœ œ œ
œ
&
œ œ #œ. œ œ œ
46
G min7
C7
D min
G7
& œ œ œ #œ œ œ œ œ œ œ œ nœ œ
jœ Œ Ó
œ œ œ
49
3
œ œ bœ œ
&J J Œ
3
œ b œ œ b œ D7œ œ
AÌ
B
b œ œ œ œ œ œ3 œ
C min7
EÌ
3
#œ bœ œ bœ œ œ
j
œ
œ
Œ
‰
œ
œ
œ
œœœ
J
J
52
b
F min7
B7
A7
b œ œ b œ œ3 œ œ b œ3
3
3
3 œ œ3 œ œ
œ
œ
#
œ
J
#
œ
bœ œ bœ œ œ bœ œ œ
& bœ
œ
56
b
A B b min7
B min7
B min7
E7
B min7
E7
bœ œ #œ œ #œ
œ
œ
j
œ #œ œ ‰ œ œ œ bœ bœ œ bœ bœ œ œ
j
& Ó bœ
#
œ
#œ œ œ bœ
59
b
b
BÌ
F7
CÌ
E7
3
3
3
3 œ
bœ bœ œ bœ bœ
œ
b
œ
œ
j
#
œ
‰
‰‰
b
œ
Œ
œ
b
œ
b
œ
œ
.
j #œ œ bœ œ œ
& œ œœ
bœ bœ
œ
œ
63
B min7
b
E7
A6
3
3
3
3
bœ
œ
bœ bœ œ œ œ bœ
&
œ #œ œ œ œ œ
#
œ
œ
67
F7
G min
3
51
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CHAPTER 10
No One
Returning to a standard progression, albeit a complex one, this chapter’s changes are a
tour de force of subtle, unpredictable modulation. There are also interesting uses of diminished
chords, especially in bars 10 and 32.
The diminished progressions offered here are interesting to me, because they
resolve deceptively. In measures 9-11, the chords are E6-Esdim7-B/Fs. We would normally
expect the Esdim7 to resolve to an Fs chord of some sort, probably Fsmin. However, although
there is an Fs in the bass of the BMaj chord, and we could conceive of this resolution as being
IV-sivdim-I 64 , I consider the function of this diminished to be V of iii or iii6 in the key of BMaj.
The Esdim7 can be thought of as As7f9/Es, a dominant seventh with the fifth in the bass,
which resolves to Dsmin (with Fs in the bass), the tonic functioning iii chord in the key of B
major.
b7
b7 would expect the Efdim7 chord to
31-33, we haveb Dmin-Efdim7-Dmin.
We
A In measures
7
B
E
B
move to C/E, or Emi7, like the substitution we explored in example 33 from Chapter 7. But the
changes defy our expectations and the Efdim7 “resolves” back down to the Dmin chord from
whence it came.
Here are the examples from the chorus below, which address these deceptive diminished
resolutions, as well as other progressions:
Blues
4
&4 ’ ’ ’ ’
#
Ó
G7
b
1
F7
4
2
Œ
#
CÈ
4
œ œ # œ1 2
œ1 œ2 œ
œ # œ2 # œ1 # œ3 œ
DÈ
&Ó
’ ’ ’ ’
b
‰ œ
J
˙2
œ bœ
œ b
# œ1
Blues Ó
1
b
7
7
œ4
œ
A
#
œ
E
mi
7
#
œ
first harmonic
“trick”
is# œa rapid-fire
from
C major
to B major.
œ’ in’this tune
œ modulation
œ bœ œ
1‰
FThe ’
Ó
Œ
#
œ
4œ
∫
œ
&
’
’
’
’
’
4
œ
3
After four bars of common C major harmony, there is a ii-V in C, and then with no warning,
J b œ a ii-1 ˙2
Ó
V&
to B. The line in example 52 is an over-the-barline attempt bto smooth
out this jagged, abruptœ
modulation. There is a chromatic Bs over the Csmin chord, which briefly tonicizes Cs minor, but
A
Ex. 52 7
B
E7
b
B7
b
b
E7
œ2 œ1 # œ3 b œ1 n œ2 œ1 œ n œ ˙
1
n
bFb o7b b b4
1
œ
4
#
œ
1
3
B/F
Ó
n
#
œ
3
1
& œ1 bœ ’œ1 2 ’ ’ ’
b˙
œ #œ œ n
Ó
œ b œ œ b œ b 27
Ó
& G7
œ
` #˙
A
D7
3 2 1
b
œ
˙
3
3
bœ
b2 b
œ ∫œ œ
œ
‰
n
œ
b
Ó
b
& Ex. 53’ ’ ’ ’
7
7
œ7G mi7(bœ5) 53 containsœ that
A
C 7#first,
F
min
œ
E
mi
D6
7
#
œ
Example
deceptive
use
of
a
diminished
chord
that
we
discussed
œ
#
œ
1
F
mi
F
#œ
1
4
∫ œkey ofœ4 B major,
œ2 œ1 œ3 isnresolving
2
œ
3
4
to
the
iii
chord
in the
above. Since
the Fdim7 (Esdim7,
technically)
2
œ
b
b
œ
3
1
1
œ
b
˙
œ
œ
œ
œ
Ó
b
b Ó˙ specifically a Bf7/As7∫ œ œ œ
the&
pitches
b I have
’ chosen
’ ’are’from the Ef/Ds harmonic minor scale—more
&
otherwise theApitches
mi7 are all from their
D 7 respective chord-scales and arpeggios.
2
4
b
b
G11 6
b
œ b œ3 2 œ œ1 œ3˙1 1 2 œ1 œ4 n œ2 ˙ D 7
B
b œ n byœ David Grech on Jul 13, 2022.
#b b Ób b Sheet Music Plus Order 4117782763.
œ œ4 1 copy purchased
n
n
b
b
Ó
n
Ó
b
b
b
&& b ’ ’ ’ ’
’ ’ ’ ’
A mi7 A mi7
D17
2
D2 7
53
52
G6
G11 6
b
b
b
4
Ó
Œ
‰ œ œ bœ
&
’
’
’
’
’
’
’
’
4
arpeggio, with a chromatic passing note between Bf and Af, resolving to the P5 Fs of Jthe B/Fs
A
B7
E7
F mi7
B7
œ
chord.
EÈ
&
# œ1
2
A7
1 œ nœ 1
œ
# œ b œ3
œ
1
3
1
DÈ
# œ1
˙
2
Ó
b ˙1
Ex. 54
b7
b7
œ b7 œ
#œ #œ #œ œ
4
#œ œ
&4 ’ ’ ’ ’ ’ ’ ’ ’ Ó b Ó
&
A
# œ1 œ # œ4 œ3 # œ3
Ó
Blues
E7
1
7
7
B is one of our customary
E nine eighth-note resolution
B
Here
isF mian
E mi7cells. ThisAmaterial
7
F use of upper structure triads, similar to example 42, from Chapter 8.1 In this
effective
4 case, a
3
Bmin arpeggio over the Emi7 chord descends to a Bfmin arpeggio over the A7, resolving 1
with a chromatic enclosure of the P5 (A) of the Dmi7.
b
b
Œ
œ
D6
∫ œ‰ œ œ b œ 2
J b œ œ ˙œ
b
2
4
n
œ
˙
1
1
œ
3
œ
1
2
œ
œ
FÈb 1
B4 7
E7
œ
AÈb œ n œ
EÈ
2
2
b
1
œ
1
b
1
b
œ
œ b’œ1 œ3 ˙
# œ œ # œ4Ó œ3 3 1
1
& b b b b œ’ œ3 ’ ’
b
˙
#œ œ
Ó
Ó
Blues
&‰
27
b
7
7
A`
D
1G
˙
∫œ œ bœ bœ
b
œ
œ
Ex.b b55
‰
n
œ
b
Ó
&
’ ’ ’ ’
A mi7
G11 6
D2 7
b
b7
b7
b7
F mi7
B
E
B
b
7 ( 5)
7
This
is a iv-I Cresolution,
a subdominant minor cadence,
7 iii chord Emi7
G miprogression
F7min with the
6
œ
œ
A
#
œ
E
mi
F
miœ7 b œ D
7 for the I, which would
#
œ
substituted
have
CMaj.
Minor
iv
to
I
is
a
very
common
progression
2 been
Ó
Œ
‰
œ
œ
œ
1
1
4
#
œ
1
F
& ’ ’ # œ’ ’ œ ’œ ’œ œ3’ 2 ’ 4
œ
∫œ 4
4
4b b b
n œ Theœ pitches
in standards—second
only, perhaps, to the ii-V-I.
œJ b œmode
œ œare straight fromÓthe major
œ
A
3
1
b
&
’
’
’
’
b Ó˙
chord-scales,
with some contouric variety added to the line.
&
6
2 b7
D17
A mi7A b mi7
G
D
2
œ E bboœ73 œ22 1 41 4 3 ˙1
4
n
œ
DÈ
1
œ
DÈ
4
1
2
œ
œ
#b bÓ
4
1
2 # œ1 œ b œ œ œ œ1 b œ 2 n œ
˙
Ó
3
b
œ
#
œ
œ
b
& Ób. b ’ ‰’ ’ ’
œ
Ób
&
&
J
F min
1
AÌ
b 27
2`
A
bœ 4
D7
E6
D7
E6
3
b
∫œ1 œ œ˙2 œ
E7
D7
˙
n b b #b œ1 œ1 # œ4 3
b ’ ’Ó œ’ # œ3 ’ œ1n
G11 6
G mi7
1
D
2œ
bbb
b
œ
œ
œ
˙
1
4
œ
œ
∫
œ
b
œ
bb Ó b
Œ
‰
b
˙
Ó
b
œ
œ
œ
œ
&
œ
‰ nœ
Óœ œ
#œ 1 2 4
& Inœb this’example,
’ ’we J’
7
7
explore
the second of 3 the aforementioned,
deceptive
diminished
A
#
œ
E
mi
D6
7
2
7G mi7 (œb 5)
#
œ
œ
œ
C
F
min
#
œ
1
resolutions.
doesn’t resolve to Emin or C/E, I still∫
treat
B7f9
F Even though
7
# œ this Efdim7
œ itœ4as abFand
2
3mi a
1
1 from
4 some chromaticism
œ
3
chord, and the pitches I have chosen
are
that
arpeggio,
with
œ œ1 ˙2
œ
œ œ n œ2 œ4 œ3 1b Ó
b
b
œ ∫œ œ œ
& b b by’leap,’from’B’to the m3 (F) of the Dmi7.
resolution
œ ˙
Ó
&
b6
b 7
b7
G
1
A
mi
D
1
7
2
6
2 2
4
D1
n
œ
˙ 7
A mi7
1
1
œ
3G
œ
1
2
œ
œ
3
œ
1
œ
D
b œ œ2 4 ˙ b œ n œ
bbb b
#
n
Ó
n
b
bbb
œ
&
b
’
’
’
’
b
Ó
Ó
&
’ ’ ’ ’
7
G
Ex. 56
F min
3
b2
AÌ
A `7
b
7
G mi
D
b
œ
œ
˙
2
bbb Ó œ
bÓb b b ’ Œ’ ‰’ œ1 ’ b œ ‰ œ4 n œœ1 4 œ œœ ∫œœ œ b ˙2 b œ Ó
&
b
&
œ #œ
œ
J 7
53
2
4
54
7 (b 5)
1
G mi
C
F min
3
F mi7
2
2
1
1
4on Jul 13, 2022.
Sheet Music Plus Order œ
4117782763.
1
copy
purchased
by
David
Grech
œ
3
œ œ n œ2 œ4 œ3 1
bb
œ
G
7
1
7
7
No one
A
C6
& 44 ’ ’ ’ ’
DÈ
5
&Ó
B
9
2
&’ ’ ’ ’
4
C È
F o17
2
D7
C6
EÈ
&’ ’ ’ ’
&’ ’ ’ ’
17
G7
&’ ’ ’ ’
21
F6
&’ ’ ’ ’
25
C6
&’ ’ ’ ’
29
&
33
˙
DÈ
4
Ó
bœ œ bœ œ
3
2
1
3
1
2
AÈ
G7
B6
F7
’ ’ ’ ’
A7
1
b
A È
# œ1
B/F
#˙
#
Ó
3
DÈ
1
’ ’ ’ ’
b
A 7
2
GÈ
’ ’ ’ ’
G7
’ ’ ’ ’
G7
’ ’ ’ ’
b
G 7
C7
’ ’ ’ ’
D7
b
D7
’ ’ ’ ’
b
1 4 4
1 2
1
2 #œ œ bœ œ œ
œ
#
œ
œ œ3
‰J
Ó.
C6
’ ’ ’ ’
G Maj7(#5)
E o7 1
DÈ
G7
’ ’ ’ ’
Ó
˙
’ ’ ’ ’ ’ ’ ’ ’
b
AÈ
FÈ 1
B4 7
œ b œ2 3 b œ œ2 1 3 EÈ
1
œ
bœ œ ˙
‰
Ó
#
C o7
’ ’ ’ ’
’ ’ ’ ’
’ ’ ’ ’
# œ œ3 œ1 œ n œ # œ1 b œ3
1
DÈ
DÈ
’ ’ ’ ’
13
C
’ ’ ’ ’
œ b œ œ1 œ2
4
AÈ
DÈ
A7
#
#7
F
1
œ4 # œ1 2 2 1 3
2 œ œ
1 œ
œ
œ #œ #œ #œ œ
G7
E6
A
EÈ
3
b
E 7
’ ’ ’ ’
b
A 6
G7
’ ’ ’ ’
54
55
Sheet Music Plus Order 4117782763. 1 copy purchased by David Grech on Jul 13, 2022.
No one
(Mooney Improvisation)
œ œ œ œ œ œ b œJ œ œ œ œ œ œ .
œ
œ
#
œ
4
J
J Ó
&4 ‰
A
DÈ
5
&
B
9
&
G7
œœœ œ
&œ
13
C6
EÈ
#
œ œ œ œ #œ
œ #œ #œ œ
E6
AÈ
A
C6
C È
#œ œ
F o7
A7
#
F 7
G7
3
Œ ‰ œJ œ œ œ œ # œ n œ
B6
œ #œ #œ #œ œ
œ bœ œ œ
œ #œ #œ nœ #œ
#
F7
#œ œ
Ó
Œ
#œ œ
œ œ bœ œ #œ œ
b œ œ b œ œ # œ . # œj # œ œ œ # œ # œ
B/F
œ œ œ œ
#œ œ œ œ Ó
D7
EÈ
DÈ
A7
DÈ
œœœ
3
G Maj7(#5)
œ œ œ œ œ œ bœ œ bœ œ
œ
œ
œ
DÈ
G7
G7
œ œ œ œ3 œ # œ œ œ ‰
J
17
b
b
DÈ
G7
AÈ A È
GÈ
C7
G7
œ œ bœ œ œ bœ œ
œ œ œ œ œ œ œ bœ bœ bœ
œ
bœ nœ œ œ bœ
Œ ‰J
&Œ ‰J
bœ
21
b
C
b7
F6
FÈ
B7
EÈ AÈ
D7
D
œ
b
œ
3
bœ œ œ bœ œ œ œ. œ
j
œ
.
Œ
‰
J
œ
œ
œ
œ
œ
b
œ
œ nœ bœ œ
& œ
J
œ
J
25
b
#
C6
C o7
DÈ
E o7 œ b œ
œ œ bœ œ œ œ œ œ #œ #œ
œœœ
j
œ
#
œ
‰J
œ
& œ. œ œ Œ Œ ‰ J
29
b
b
b
DÈ
A7
G7
C6
E7
A6
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CHAPTER 11
Monk-Type Changes
Thelonious Monk is a canonical jazz composer, and the chord changes in this chapter are
a good example of his approach to harmony. They contain some quick modulations, and dominant
cycles that move at the harmonic rhythm of one chord per beat. It can be tempting to either
approximate or skip over these harmonically “busy” sections of the tune, but I would draw
your attention to Lucky Thompson’s solo on the 1952 recording of Monk’s “Skippy,” Sonny
Rollins solo on the original take of “Pannonica,” and Johnny Griffin’s solo on “Light Blue,”
from the 1958 album “Thelonious in Action,” as three examples of tenor saxophonists who
play all of Monk’s changes. Coltrane is of course another example.
There is a tendency toward, for lack of a better term, “quirky” affectations when playing
b
b
b7
Monk’s
music,
But when one studies Fthe
A
mi7
B 7 especially with younger,
E 7 less experiencedBplayers.
original recordings of his oeuvre, it is clear that the musicians therein accurately execute the
intricacies of his harmonies. They really get inside of his music, rather than scratching the surface
or (to use Bill Evans’s term) approximating it with self-conscious dissonance and weirdness. The
five examples below can help students in this regard.
Blues
4
&4 ’ ’ ’ ’
DÈ
b
B7
2
b
E6
œ3 œ4 œ b œ œ4 œ2 3 1
bœ #œ ˙
&
1
Ó
’ ’ ’ ’
2
2
Œ
˙
A7
4
Ó
Blues
Ex. 57
Ó
œ bœ
‰ œ
J
E7
# œ œ # œ4 œ3 # œ3 1
œ
1
1
7
b7 œ option over #this
bœ7 tonicization
b
A mostœ7Beffective
A 7 my aesthetic
F
mi7
the
of
E
f 7major,E mi
at
least
from
#
œ
E
B
œ
œ
#œ
F
#œ
∫ œ1 4
Over many years of playing these changes, I have discovered that a fully altered Bf7 isn't
4
œ
D6
‰ œœ b œ bœœ œ˙2
J
œ2 œ1 œ3 b œ1 n œ2 œ1 œ4 n œ ˙
b
b b b b b b A b7
E7
Ó
G7
Dÿ
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1
2
&
b ’ œ3 ’2 1 ’3 ’
1
˙
# œ œ # œ4 œ3 3 1
2 1 2 4
œ
b
œ
b
œ
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b œA bn`2œ7b œ ˙
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7
& Ó G7
D
b
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b
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bb b b
2
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‰
n
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& Ex. 58 ’ ’ ’ ’
&&4 ’ ’ ’ ’
’ ’ ’ ’
Ó
b Ó Œ
perspective. In example 57, I stick to a Bf7 arpeggio, with a chromatic enclosure of the M3
3 of
1
the Ef6 chord. I have also anticipated the Bf7 by an eighth note. With tunes that modulate at this
harmonic rhythm, it is okay to anticipate the harmonies a bit—this is the converseb of over-theb 7 can add depth to bone's
G11 6
barline phrasing,
A miand
D 7 improvising if not overdone. 2
b
F min
7 to have some
F
mi7
is
often
played
as
a
ballad,
it
is
helpful
7
6
2
œ7Givenœthat this chord progression
1
1
4
A
#
E
mi
D
œ
3
2 œ4
#
œ
œ
œ
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œ
# œ nhave
1
sixteenth-note
resolution
cell, but
it
œ œa nine
F b b b language.
3 eighth-note
1
# œ In example 58, we still
4
∫
œ
œ
œ
œ
Ó
œ
3
˙
b
&
’
’
’
’
occupies two beats instead of four. This is a deceptive chord progression; it feels like it wants
b œ toœ1∫ œ ˙2œ
b
Ó
resolve
even though
there is a ii-V in Df in the first part of the measure. Luckily, the
& to C major,
7
7
6
2
D
A mi b 7
G
b6 D 7
1
b
œ b œ3 D 72
1
G
1
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mi
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4
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G mi
b7the s11 of DfMaj7, andbwe
note
A G is Btheb 7 P5 of CMaj as well as
7 can play off of that dual function
F mi7
E
B
to embrace the ambiguity of the progression. The language over the Af7 is chromatic, sort of a
fragment of a bebop scale. The C on beat four of the measure functions as the M3 of the Af7 chord
as well as part of a chromatic enclosure of the M3 (B) of the G7. We resolve smoothly to the s11
(G) by half step.
4
&4 ’ ’ ’ ’
b
AÈ
&
b
D7
’ ’ ’ ’
1 œ3 b œ b œ n œ œ3 4
b
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4œIn example
œ bœ D6
7‰
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œ D minor
59 we ascend an Af Dorian’scale’on theÓfirst chord,
7 into
A
&
E
mi
4
œ
7 ’ œ ’ ’ œ’ # œ’ # ’
œ
J We
# œ thatœcontains the f13, M3, and
1f9 intervals.
triad over
upper structure triad
F the Df7 chord—an
#œ
4
∫
œ
œ b œ3 1 ˙2
resolve to the P5 (Df) of the Gf6 by chromatic enclosure.
œ
b Ó
&
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Ex. 597
B
E7
b
A7
F mi7
B7
b
G7
Dœ4 2 7 œ3 b œ2 D7
1 n œ3
1 b œ3
C6
b
E7
b œ œ œ œ1 3œ 1 b œ2 œ1 ˙œ n œ ˙ # œ1 œ # œ4 3
œ b œ n œ Blues Ó
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Ób b b b Œ ‰ J
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b
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b
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G11 6
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D
F
mi7
b
œ
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b œ The pitches
bHere
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b
œ
is an example of playing
all nofœ Monk’s
changes,
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b
4
b
&A7œ7refer’
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F 7(b 5) # œ
7
4 J
∫ œ1Af-Bf—then
progression
two-note
G mi is treated with a Cchromatically
F mincell: A-B,
œ
3 7 a
2
b
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F
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2
1 C6.
1
4
resolution
by
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of
the
b
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& bb
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bbb
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b
A
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Ex. 61
7
F min
AÌ
D7
E b6 œ
1
G
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œ
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b
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n
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1’ 2 ‰
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4
b
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b
61
contains
another
unusual
chord
The
F7
V-i
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7
7 2doesn’t resolve
œ7 (bœ5)Œ ‰ œ # œ œ # œœ1 4 progression.
œ
b
œ
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b b œDœ
& although
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4
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F
min
4
∫ œ of the
1
37
2
Fb mi
and 3a chromatic
enclosure
of the root œ
F7, 1
sound. On the Gf6 there is a scale
2fragment
œ
1
1
4
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œ
3
œ
2
2
œ
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b
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followed
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3
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&b b b bby a descending augmented sound œonn the
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7
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1
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œ
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b
œ
n
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3
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D
b b bespecially
b
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b
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˙
b
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4
n
#
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’ ’ of standards,
’ ’ butœ contain interesting,Ó deceptive progressions
bb b b as well
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&
’ ’ ’ ’
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as rapid cycles of dominant seventh
Jazz Vocabulary
b
b
7
A ` this goal. D7
F minis a Guseful
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D7
method
way 1to accomplish
G mi7
b
œ
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bb b b
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b
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4 n 1œ 4 œ
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b
b
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b
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b
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b œ
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7 (b 5)
7
1
G mi
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F min
58 3
F mi7
2
2
1
1
4
œ
3
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Monk-Type Changes
b
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b
’ ’ ’ ’
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A
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2
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b
b
G7
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b
&’ ’ ’ ’ ’ ’ ’ ’ Ó
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b
b
A 7
E È
b
A 7
b
DÈ
CÈ
F7
F 7
b
2
b
B 7
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A7
&’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
9
b
b
b6 F 7#5
bÈ A b7 G7 D bÿ
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A È
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1
2
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b
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2
b
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b œ œ œ1 b œ3 b œ1
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b
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Ó
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b
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3œ œ œœ
b
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b
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& bœ
b
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b
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b
(mooney improvisation)
b
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b
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bœ bœ bœ bœ œ œ œ bœ œ bœ bœ œ
3
3
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b
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26
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b
b
b
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D7 œ b œ
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bœœœ œ Œ œ nœ œ Œbœbœ bœbœ j‰
œ bœbœ
&‰
bœ œ
œ œ
bœ
43
46
B
E È
b
D7
A È
GÈ
C7
& Œ œ bœ œ œ œ œ Œ
50
3
3
#
F7
F 7
b
œ
#œ œ #œ œ
œ œ œ b œ œ œJ
#œ. #œ #œ œ #œ
Œ ‰
‰ Œ
CÈ
œ œ œ œ œ œ
œ
#
œ
œ bœ œ
Ó Œ
& œ #œ œ #œ #œ nœ #œ #œ. #œ #œ
œ.
53
b
b
A7
BÈ
G7 C C6
E7
E È
A 7
b œ œ œ œ b œ D7
n
œ
b
œ
œ bœ
œ . œJ œ œ œ œ
œ œ bœ bœ œ
J
b
œ
Œ
œ
.
& #œ #œ
56
b6
b7
bÈ
b
E
A7
D
DÈ
A
B 7
3
œ
b
œ
3
#œ œ
3
3 bœ
3
3 œ œ 3
3 bœ bœ bœ
œ
œ
œ
#
œ
œ
œ
œ
#
œ
b
œ
Ó
bœ œ œ
&Œ
J œ bœ
60
b
b
b b
F 7#5
Dÿ
G 6
E È A 7 G7 AÈ œ D7
œ # œ œ œ œ b3œ œ3 œ 3
œ
œbœ bœ œœbœbœ
œ
œ œ œbœ#œ ˙ Ó
œ b˙ ‰ bœ œ nœ œ
&
DÈ
Bÿ
G7
C6
GÈ
63
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C7
CHAPTER 12
Shorter-Type Changes
Blues
Blues
The Wayne Shorter-esque harmony in this chapter is modal, somewhat along the lines of
the Joe Henderson example in Chapter 6, and what ii-Vs there are, resolve deceptively.
b7bof7 the language that bI7 have
b7tune
AA Much
F mi7F mi7
b7 written for this
b7 focuses on over-the-barline
B
E
B
E of the harmonic movement.
B
phrases thatBsmooth out the deception
This is a technique I often
use on this type of modern harmony. It can make harmonically awkward movements seem
very natural. I think of it as the improvisational equivalent of contrary motion in
counterpoint. Going against the grain, so to speak, can be aesthetically satisfying.
4
&&44
4 ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ Ó Ó
BBmaj7
maj7
11
33
3 3 1 1 # #œ1 œ1 # #œœ # ˙
#
˙
#
œ
2 # œ œœ
2œ
œ
JJ
C7C7
&& ŒŒ. .
Ex. 62
˙1 b b b
ÓÓ
3 4
Œ Œ ‰ ‰ œ œ œ œb œ b œ œ
J J
˙
bbb Ó
œœ œœ # œ œ # œ# œ # œ# œ # œ œ
#œ œ
#œ œ
b
G1 6
AE7
mi7
# œ1 œ1 # œ4 n nœ3 n # œœ3 . 1
Ó
nnn
œ
1
Blues
7
7 that
The7 chord progression in measures 3-5 is Gmi7f5-C7-BMaj7,
ii-V
A 7 resolves
E7 miminor
A
E
mi
1
4
deceptively:
FF7 to
b7 BMaj7 instead of Fmin.
b7 In this example, I have
b7 treated the C7 as1 an augmented
4
A
mi37
E the super Locrian scale.
B The resolution note, the M73FAs
sound, withBpitches taken mostly from
1
of the BMaj7 chord, also functions enharmonically as the f7 (Bf) of the C7—a negative guide
b6 without
b an7 over-the-barlineb effect
b
tone. This creates
the BMaj7
b
G
1
Ab mi
D72 7 as the C7 flows smoothly into
6
1
2
7
4
G11
A mi
D
1
1 4
the need for an
emphatic resolution.
2
3
1
2
&&4
&4 ’ ’ ’ ’
6 D
D
∫
œ
œ
∫ œ œ b œ œ1 2 ˙
bœ œ ˙
b bÓ Ó
Œ
‰ œ œ bœ œ
’ ’ ’ ’ Ó
J
n
œ
˙
œ
œ
œ2 œ1 œ œ3 œ b œ1 b œ n œ2 n œ œ1 œ œ n œ ˙
bbb b
Ó
&b b b b ’ ’ ’ b’
Ó
n
&A 7sus b ’ ’ ’ ’
A 7#11 b 2
E7
7
1 D7
1
1
œ
4
G7 #7 œ3 œ1 œ1 3 œ1 b2A`2 7`3
˙
#
œ
3
7 #˙œ
b
œ
œ
A
b
∫
œ
b
œ
œ
œ
œ
D
b
œ
4
G
# œ3 œÓ1
œ
˙
&&bÓbb bb ’ ’ ’ ’ ‰ b‰œ nbœœn œ œ œ Œ œ ∫ œ œ Ó b œ b œ
Ó
& b G mi’7(2b5)’ ’ ’ C 7
3
F
min
F mi7
7 (b 5)
7
C
F
min
Ex. G
63mi
œ
œ 2 œ œ nœ œ
bb
F mi7 œ
œ
1
1
4
œ
Ó
b
œ
3
˙
∫œ 6 œ
œ
œcontain
4
&Measures
’ ’progression
œ n œ2a whimsical
b b bb œ’9-12’of this
7
3
1series
7 of chords—colors
œ
œ
really:
œ
œ
A
b
œ
Ó
#
œ
E
mi
D œ
˙ to smooth
∫
œ
#example
œ # œ 62,6 this
& F 7 sus’
’
’
œ
œ
œ
7’
1 the unusual
7Af7s11-Gf7sus.
2
As
with
line
attempts
EMaj7-A7
#
œ
∫ œ œ4 37
D
A mi
G
2
œ
Db œ the œ1
the
Ef
melodic
minor
sound of
transition from
the
A
Mixolydian
sound
of
the
A7sus
to
7
˙
7
6˙
2
b
œ
D
b
Ó
A
mi
G
# Óscales that only
œ Fs pitches
n b Db7
1 have D and
& two
Af7s11,
œ
3
œ
1 in common.
Ó
bb ’ ’ ’ ’
b
œ
2
˙
&#
b
b 7
b7 œ4
6
œ
n
b Gb b
D2
Ó
2E 6 b1 1b
AÌ
D7
4
1
& F minÓ A mi
n
œ
˙ ’ ’ ’ ’G m
1
1
œ
3
œ
b
1
2
œ
œ
œ
2
bÓb b b Œ 1 ‰ œ1 AÌ
Fbmin
b œ œ4 1 4bD7œ n œ œ œ E 6b ˙2
b bmib7 n
G
Ó
Ó
b
œ œ #œ œ 2 4
&& b ’ ’ ’1 J’ 2
œ
4
2
b
b
œ
1
Ó 7 b bb œ œ
& Ó G 7 Œ ‰ Jœ 2 A b`2 7œ œ1 œ4 # œ 3 œ œ2 œ4 b ˙
D
1
b
œ
œ
˙
3
bbb
∫œ
bœ
œ
2
œ
b
‰
n
œ
Ó
62
64
&
’ ’ ’ ’
2
1
1
b
3
1
2
4
3
2
4
4
3
1
1
7 ( 5) Music Plus Order 4117782763.
1 copy purchased by David Grech
on Jul 13, 2022.
G miSheet
C7
F min
1
2
1
4
F mi7
&4 ’ ’ ’ ’
A7
&
œ4 b œ2 œ1 œ4
1
’ ’ ’ ’
œ # œ2 n œ1
2
b
A6
œ
1
1̇
œ
J
Ó
E7
# œ œ # œ4 œ3 3 1
#œ œ
˙
1
Blues Ó
1
1
Ex. 64
b7
b7
b7
F mi7
B
E
B
64, an A super Locrian scale descends stepwise from
C natural.
7 There is only
7
œIn7 example
œ
A
#
œ
E
mi
D6
#
œ
œ
œ
the line resolves #toœ Af6 œwithÓa chromatic Œtoggle∫between
one skip,
F down to# œCs, and
C
and
B
1‰
F
bœ
œ 4œ
& ’ ’ ’ ’ ’ ’ ’ ’
4
4This M3 (C) on the Af6 chord has already been heard twice over the A7; itsœJfamiliarity
natural.
bœ œ
A
&
helps to smooth out the unusual resolution.
b
BÈ
b 7
A mi
b7
D
A maj7œ2 1
bb b b b 3 b œ1 œ3 œ # œ œ # œ œ3 œ# œ1 b. œ1 n œ2œ3
& Ó b ’œ ’ ’ ’
&
J
2
1
3
13
3
b
b Ó
3
b
Eœ1 7#11 œ4
˙
2
n œ2
Ó
b
˙
G11 6
œ bœ bœ
œ ∫ œBlues
1
˙2œ
E7
# œ œ #Óœ4 œ3 # œ3 1n n
œ
1
1
˙
bEx.b b 65
œ
b
Ó
‰
n
œ
&
’ ’ ’ ’
œExample
7œ(b 5) 65 contains a longer
7œ
A 7 to connect
line
than usual.
In this case,
#
E miF7minI’m attempting
D6
C
7 G mi
#
œ
7
œ
œ
# œ of negativeb7guide 4tones. These
1
F b 7 non-functional
Fguide
mi
7
#œ
bœ72 œ1by way
4
∫
œ
three
negative
1sounds
A separate,
F
mi
3
œ
3
2
œ
4
B
E
B
b œœ theœ1 ˙2
n œ Gsœon œthe
b4b bG natural on the Bfmi7 and Ef7s11,œ and
3 AMaj7.
1
tones are
One couldÓ also analyze
b
Ó
œ
b
˙
∫ œb œ œ œ
& over’the ’
’chord
’’ as ’
œ
material
Bfmi7
coming
from
the’C minor
pentatonic Œscale, while
the
AMaj7
Ó
‰
œ
&
’
’
’
’
’
4hails7Afrom
b6 scales,
œ
b 7 Cs minor
through these pentatonic
even
tatonb 7ic. The line ascends
material
J
7 pen 2
6
G
1
mi
D
1
2
A mi notes of theD1chords
G contrary motion.
4
2
as the bass
n
œ
˙ D7
1creating
1
œ
œ b œ3 descend,
3 1 1
œ
2
œ
œ
œ
2
˙
bœ nœ
n
#b b bÓ b
œ œ4
nbb b
Ó
n
b
b
Ó
&G 7susb ’ ’ ’ ’
b ’ ’ ’ E7’
E 7sus
b
1
2
1
7
F min b œ3 b œ4 2 13 b œ1 AÌ
D7
E6
4 b 2 71
œ
4
2
˙
#
œ
3 G mi
7
b
œ
#
œ
`
7
b
œ
A
3
D
n
œ
b
œ
˙
œ
# œ œ1
& bÓ‰b b G Œ ‰ œ1 b œ2 ‰ œ4 n œ1 4œ Ó œ ∫œœ œ œ b ˙2bÓœ b œ Ó ˙
b
b b b Óœ œ
œ œ #œ œ 2 4
& b ’ ’ ’ J’
A `7
G7 4
1 b
G66
mi7 ( 5)
Ex.
C7
3
1
D7
F min
œ œ œ œ3 n œ2 œ4 3 1 7
bb œInbthis œexample, I have used
7
œ
œ ∫ œ œD 6 œ
classic
jazz chromaticism
over
the highly Ó
modern
harmony.
œ
A
#
œ
E
mi
˙
7b
#
œ
&
’
’
’
’
œ
œ
#
œ
1
F
œ step, from the P5 (Df) of the Gf7sus to the f7 (D) of the
The resolution is by#half
∫ œE7sus.
œ4 b œ3 œ1 ˙2
7
7
6
2
D1
A mi
G
b Ó
& The
3 for students to improvise
1
language thatœ I write
around on modern, modal progressions
D7
B
b
œ
2
˙
4
b
œ
n
#
b
b
6
like this—as well
as on progressions7 that
key centers,
œ jump around to distant
G1b1b blike Coltrane
mi7
b
Ó
2
4
& Ó Aconstructed
changes—is
to smoothD2out the
deceptive,
disjointed
chord
movement,
n œ ˙ ’and to’ cut’ ’
1
1
œ
3
œ
b
1
2
œ
œ
œ
against
grain and provide
a AÌ
contrast: simplicityD7
is a difference, in
bagainst
œ n œ complexity.E There
7
F min
6
bthe
n
1
b
G
mi
b
b
Ó
n
my&
mind,b between
to
simplify
a
progression
like
this
chapter’s
EMaj7-A7susb ’ resolutions
’ ’1 that
’ b seek
2
2
œ
classic
jazz
language
seeks to œadd œdissonance
and complexity
to bab b
Af7s11-Gf7sus
and
the
œ
4
œ74 œ1 that
Ó
Œ
‰
b
˙
Ó
œ
b œ œ
2
b
&
œ
J
common, functional
ii-V-I or
cycleAof`dominants. # œ
7
7
2
4
D
1
G
b
œ
3
œ
˙
bThe
∫
œ
b
œ
2
b
œ
œ
b
‰
n
œ
& b Personalizing
’ ’ ’Jazz’Vocabulary method of improvising into and out of the examples Ó
2
1
2
1
F mi7
4
while playing 7the
exactly as written remains the same, even as the language
(b 5) examples themselves
7
G
mi
C
F min
65
and the aesthetic goal of that language2shift.
F mi7
&
bbbb
A mi7
œ1 œ œ1 œ3 n œ2 œ4 3 1
œ œ
63
’ ’ ’’
œ
4
˙
Ó
7 Order24117782763. 1 copy purchased
6
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by David Grech on Jul 13, 2022.
1
3
1
D
G
D7
œ ∫œ œ œ
Page left blank to avoid
awkward page turns.
64
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A
5
b
A 6
& 44 ’ ’ ’ ’
B maj7
&
#˙
3
&’ ’ ’ ’
b
&
A 6
1̇
17
Ó
B maj7
&’ ’ ’ ’
21
E maj7
&’ ’ ’ ’
25
E 7sus
2
˙
&
29
b
Ó
b
B
Ó
’ ’ ’ ’
A 7sus
E 7#11
13
GÌ
A 7#11
1
2
D maj7
b
’ ’ ’ ’
Có
1
3 œ
1 œ
# œ3 œ # œ œ3 # œ1 .
b
œ
œ
A maj7 1
Ó
A 7sus
’ ’ ’ ’
b
E 7#11
b
A 7#11
’ ’ ’ ’
A©
’ ’ ’ ’
b
b œ3 b œ4
G 7sus
‰
’ ’ ’ ’
b
2
œ3 ˙
J
E 7#11
3
3
4
’ ’ ’ ’
1
GÌ
’ ’ ’ ’
b
G 7sus
œ4 b œ2 œ1 œ4 2
œ # œ2 n œ1 œ1
A©
’ ’ ’ ’
’ ’ ’ ’
Œ
3
1
3
4
b
E 7#11
’ ’ ’ ’
# œ3 œ œ1 œ3 œ1 œ2 3 4
bœ bœ œ
’ ’ ’ ’
B È
Œ.
A maj7
b
1
#
œ
1
œ2 # œ œ # œ
J
Có
’ ’ ’ ’
’ ’ ’ ’
E 7sus
&’ ’ ’ ’
b
D maj7
b
B È
Ó
E maj7
9
Shorter-Type Changes
1
’ ’ ’ ’
Ó
4
n œ b œ3 b œ b œ b œ1
2
1
’ ’ ’ ’
65
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Shorter-Type Changes
b
A6
(Mooney Improvisation)
b
bœ
b3œ œ œ b œ b œ œ
œ bœ œ bœ œ œ bœ œ
#œ
#
œ
#
œ
œ
4
J J
Œ
Œ. œ
&4 Ó œ
J
b
b
B maj7
BÈ
A maj7
E 7#11
3
3
3
# œ œ # œ3 # œ # œ œ 3
3
3
3
j
b
œ
œ
œ
#œ œ bœ bœ œ
œ
œœœ œ
&
bœ œ bœ œ Ó #œ œ #œ œ œ œ bœ
5
b
b
A 7#11
E maj7
A 7sus
G 7sus
b 3œ œ
b
œ
3
#œ. œ. œ #œ œ œ œ œ œ
bœ bœ
b
œ
#
œ
œ
Œ
Ó
b
œ
Œ
‰
J
&
œ #œ.
bœ œ
J
9
b
E 7sus
E 7#11
A©
# œ œ #3œ
œ bœ œ œ œ
3
3
3
3
œ #œ œ œ œ ‰ nœ bœ œ œ bœ œ œ œ œ œ œ
#œ nœ œ
&
bœ ˙
A
13
B
b
A6
D maj7
b
D maj7
GÌ
GÌ
Có
Có
bœ
& œ œ œbœbœ œ œ œ œ œ bœ œ Œ bœ œ bœ #œ œ bœ œ bœ œ œ œ œ Œ œ bœ œ œ œ œ œ
bœ
17
b
b
B maj7
BÈ
A maj7
E 7#11
œ # œ œ # œ . œ œ œ b3œ 3
3œ œ
3 j
3
3
#
œ
#
œ
#
œ
œ
b
œ
œ
#
œ
b
œ
œ
œ bœ œ œ bœ
bœ œ œ
J
& Œ‰‰ #œ #œ #œ
21
b
b
A 7#11
A 7sus
E maj7
G 7sus
3 # œ œ #3œ œ
b œ b œn œb œb œb œb œ
3 # œ 3 œ #œ œ
œ œ3# œ œ œ œ b 3œ n œ b œ œ œ œ b œ
#
œ
œ
bœ ‰
& Œ# œ œ
3
3
25
E 7sus
b
E 7#11
3
& œ #œ #œ œ œ œ œ œ œ œ œ
29
3
3
3
3
b œ œ œ3 œ œ
3
3
3 œ œ 3 œ
3œœœ
œ
œ
œ
‰
A©
œ
3
3
œ3 œ œ œ3b œ
œ
Œ
66
68
Sheet Music Plus Order 4117782763. 1 copy purchased by David Grech on Jul 13, 2022.
b
D maj7
b
2
A6
Shorter-Type Changes
b œ b œ œ b œ b3œ œ œ œ
#œ
#
œ
#
œ
œ
Œ Œ . Jœ
33
b
b
B maj7
BÈ
A maj7
E 7#11
# œ œ # œ3 # œ œ œ 3 œ œ 3 b œ œ 3
œ3 œ 3
3
œ nœ œ #œ
#œ bœ bœ
bœ œ œ
&
#œ œ #œ œ œ nœ œ Œ ‰
C
3b œ 3 œ
œ œ b œ3 œ 3
bœ
j
œ
b
œ
œ
‰
&
œ bœ œ bœ œ
b
37
E maj7
& #œ œ œ
41
&
45
#œ.
3
œ #œ œ œ œ œ œ
bœ bœ
b
œ
b
œ
b
œ
Œ ‰J
bœ bœ œ œ œ bœ bœ
b
œœœœœ
#œ œ œ #œ ˙
‰
J
E 7sus
E 7#11
b
D maj7
A6
Có
b
A 7#11
A 7sus
# œ # œ œ3 œ œ
GÌ
3
3
b
3
œ œ3
G 7sus
bœ bœ
œ 3 œ œ œ3 œ œ b œ œ œ
œ b œ œ3 œ œ
œ #œ nœ
A©
œ
b œ3 b œ œ œ œ3
3
œ
b
œ
œ bœ
Œ ‰ ‰ j œ bœ œ œ bœ
& œ ‰ œ bœ bœ œ œ Œ bœ œ œ bœ
bœ
œ bœ œ
49
b
b
B maj7
BÈ
A maj7
E 7#11
#œ #œ 3
#œ
3 #œ
# œ # œ œ b œ3 b œ œ œ œ œ # œ œ œ # œ . œ œ œ œ3 œ œ b3œ œ œ
#
œ
bœ
œ
bœ
J
& #œ
D
3
3
3
GÌ
3
b
53
A 7#11
3
Có
b
bœ
# œ # œ œ œ œ ‰ #3œ œ œ Œ œ b3œ œ œ œ3 œ b œ Œ ‰ b œ n œ b œ b œ b œ b œ
#
œ
œ
Œ
≈
& #œ
œ
E maj7
A 7sus
57
E 7sus
b
E 7#11
G 7sus
A©
3
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Sheet Music Plus Order 4117782763. 1 copy purchased by David Grech on Jul 13, 2022.
CHAPTER 13
And Then?
The Personalizing Jazz Vocabulary method has served me and my students well
in incorporating classic jazz vocabulary into our inherently original improvising voices. But
this method is only a preliminary step in the ultimate quest of the jazz musician: to develop a
unique, identifiable sound.
There are seeming contradictions at work here, as is often the case when one cracks open
the bones of complex, important questions to get at the marrow. Why is it necessary or desirable
to assimilate and personalize the jazz language—which is after all, a collection of tropes and
licks that is by definition unoriginal—if the ultimate goal of the improvising jazz musician is
uniqueness?
Any honest answer would have to begin with; “It isn’t necessary at all.” Our uniqueness
and originality are already there; they are inherent. And yet, as musicians (and as human beings
in a larger sense), we are going to assimilate and be shaped by what we hear, whether it’s the
jazz tradition, or Balinese Gamelan music, or punk rock, or what have you.
Any style of music has a history, and a collection of tropes and customs and recognized
practices that define it as itself, and not some other style. Even within jazz there are many
traditions, and this classic jazz vocabulary—which I have defined largely by giving examples
rather than taking an historiographical approach—is often contrasted by students with free jazz
or “time, no changes,” or the current universe of post-modern and deconstructionist jazz. But all
of these styles, which we classify as “jazz” due to the common thread of improvisation—have
their own tropes, practices, and yes, even licks.
My point is, you can’t avoid the issue of integrating and personalizing some universe
of musical language into your own inherent improvising voice. You can only choose which
series of tropes and practices you want to integrate. In some sense, this is what developing a
unique sound really entails. Perhaps another book could describe a method to accomplish this.
And yet, who doesn’t like to play “name that influence” when listening to someone take a
solo? As we get deeper into the jazz tradition, and assimilate more language, it becomes possible
to identify the source of almost everything that everyone plays, much as when you hear
someone from your culture speak, you can identify what television shows, pop songs or geographic
region influenced their collection of expressions.
There is something transcendent that has to happen, I suppose, for someone to sound like
themself rather than a collection of other people. Or perhaps we just decide as a community that
so and so is original, as back in middle school we agreed who was hot and who was not.
I have constructed my own improvising voice out of a collection of classic jazz and
modern jazz tropes that appealed to my sense of aesthetic rightness, but I suspect I would
lose myself irrevocably if I tried to break down where that rightness comes from.
Then again, the jazz tradition is important to me. I love the sound of classic jazz, and I
know how difficult it is to “master”—if such a thing were possible. So I have made it my life’s
work to continue that tradition and pass it on to students.
Hence this book, which describes my methods, my brand of theoretical analysis, and my
aesthetic choices.
Hopefully it can be of some assistance to students who have experienced a disconnect
such as the one described in Chapter 1, which is perhaps a symptom of a larger disconnect
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between being an individual improvising musician,
while also being part of a collection of
improvising musician communities.
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Sheet Music Plus Order 4117782763. 1 copy purchased by David Grech on Jul 13, 2022.