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Portugal

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;r~TERI\'EDtATE CO~JCEPTS EE - ADV.ANCED COi~CEPTS

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lJSlNG THE LEn HAND ,. ,.... • .. .. • .. 1...,.13

CHAPTER II.

lAaIx\": l...wt5:

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$tytes of LriI·tyr·cS Acx::oT1piinimtnt.. .. .. .. .. .. .. .. .. 1-18

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P\AHl$'TlI: APPROACHES TO SOLOtNG. """ 1-204

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JAZZ UIIIPAOY1SATIOH fOR K.FfB.OARO PLAYERS VOLUMe TWO: INTERW£OSATE COHC£PTS

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JAZZ tMPROVlSAT10N FOR KEYBOARD PLAYERS VOLUMe "THREE: AOV~O CONCEPTS

Of VE Lr:s'J NG M.E. LOOt ES •••• ,. ~2._.J

OiAPTER I.

fACTORS AFFECTING SCALE CHOICE

u.on 1: ImpI~ of Oord SyrnI:x:WI

T'he E f1was of Olotd Func::;ion lnson 3: l~ic:arions of IN Mriocty

L_on 4: The Et1ecu of Ccn1.at Ind TONII a.\irno-y

APPROAOiES TO HARMONIC COHCEmOH ~ Harmonic o..rity MeicchcalJy

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f..eIIon 7: Uotion In1D .-1d Out Of the .~ . ; • '.,~ ..• "',. LeMon 8: P'laying Ovt:sidc 01 the ~.,.,

MELODJC lMPUCATJONS OF TR'·TONE SUBSTTTVTIOIfS l.-cn 8: SaN Rel~ • Tri·Tone ~t1

u.on 10: ~ ~. Tn.Tone """",..,

SUPf RIMPOSITfOH OF SCAL! FOAMS

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OtAPTER IV.

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"'f~ s.. •• th Choral, 2-11

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---~-----_ .. __ •... " .. _ - ...• _ -'

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D&FF£R£HTTR£ATMEJCTSOf TH£ IJ·V" 'ROGR£SSJOH 2-%1

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VOLUME ()NE: BAS'le l.:ONCF.PTS

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.. Page

CREATING MELODIES 1-3

CHAPTER I.

Lesson 1:

Lesson 2:

Lesson 3:

I mprovising with Chord Tones ..

Improvising with Scale Tones .

_Implrovising with Chord Tones_ and Scale Tones ..

·0----· CHAPTER II.

USI N G TH E LE FT HAN 0 ' ..• ~ '_- .

Lesson 4:

Lesson 5:

Lesson 6:

- - -~

. Voicing Chords, .

Stvles of Left-Hand Accompaniment .

Rhythmic Treatment of the Left Hand o ..

CHAPTE Rill.

PIANISTIC A?PROJ~CHES TO SOLOING. .

Lesson 7: - The Single Note LI near Solo ~ ..

Lesson 8: Octave or Double Octave Unisons .

Lesson 9: The Chord-Stvle Solo .

CHORD PROGRE~;JONS FOR STUDY .. i ' ~ ••• - ••••• 0.- .

CHAPTER IV.

Lesson 10:

Lesson 11:

Lesson 12:

Lesson 13:

The II .. V -I PrOgression .

B lues Progressions .- ' , '

Cycling Progressior.s of Fi fths ..

Chrornatic Progressions ' .

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1-5
1-8
1-11
, 1-13
1-15
1-18
1-22
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1-25 .
1-25
1-27
1-27
1-30
1-34
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, - .. ~ ~ =r » ,_ •• ' ••••• _. ~ ,', I mprovlsation.alrriost -i'losf art-in SOme styles 'of mifsic;-lslhli""freest' form of .

.' .. expression of the human spirit. ~~n lmproviscr. who is actually a composer, can create

his own melodies, harmonies and rhythms, and can instantly change the mood of the music he plays to anything he desires, Moreover, he can choose to improvise in .any

style, such as classical, folk, rock or iazz. .

,. .",,"'" p.- •

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, Ustening isreallv the best way to gain an ,tJnderstanding of various styles of music. _, .Therefore, the books in this series concentrate primarily _on the materials 'and- devices

. - . available to the keyboard player who wants to improve his skill as an improvlsor. The volumes begin with basic concepts and proceed through intermediate and advanced levels.

_,

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All the examples and exercises in these books are intended to be played. Under-. standing each example is important, but the hearing of it is of equal importance. Therefore, everything in the bocks should be played carefulfy and as musically as possible.

, -

The serious student may wish to examine t"NO other books by the author as supplementary to these volumes. iihey are JAZ:~ROCK VOIC1NGS FOR THE CONTEMPORARY KEYBOARD PLAYER and SCALES FOR JAZZ 1~,1PROV1SATION, both published by Studio P/R, Inc,

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DEC)lCATJON

To my wife, Kav, for her hard work in helping to prepare these manuscripts and her loving encx>uragement throughout.

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Copyrig,t €)1978 by STUDIO 224.-224 S. Le~:>n SI.. Leba~. IN 46052

AJJ Righu Reserved Intern.at~ Copyright Secured Printed In U.S.A.

So4c Otstf.butonh'p: STUDIO P fRo INC~

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I. CREA1.·'NG ~/ELQOJES

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_, Before beginning toImprovise your own melodies, 'you should look at melodies of

all types to see what goes into-them.-- Generally speakin9.sl1 melodies are ,based on skippinq motion through chords or step-wise motion through scales. UsuaUy_a .melody is composed using a combination of the two methods •. Since an improvisor is really a composer, he must be thoroughly acquainted with chords and scales so that these materials are immediately

available to him. ... ,"~ -.--,.--.-.--.-----.- ... ---,.-- , _-._.,_ .,

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. Play the following melodies'andnotice that they --are baSedenttferyOilSl<fppfng motidn . through the chords which accompany them.

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motion are combined. - ._.,._...... ,"'--' -r-: 0. , •• _._.' _

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The previous examples have used very simple chord and scale materials and are intended to show the principles of melodic motion, The same principles may be used with more cornplex altered chords and with many different types of scales .. These will be. discussed in the intermediate and advanced books of this series.

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tones of a seventh chord. Play these examples.

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TIle three chords shown in the preceding three examples represent the three main chord types: minor, dominant and major. They are comrncnlv used together in the progression on

which you will improvise shortly. '

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First. begin by improvisinSI oi'! each chord sepa. tely. Inthe following' exercises, play _ the written.chord with your left hand and improvise nelodies with your right hand using

- ,only the chord tones shown,. This disciolinewillhelp you learn chords bener and quicker • . . - - - -- - The slashes in each measure indicate the number of beats of duration of each chord.~-··-

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Exercise 1

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r:~ercise 2

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As you play exercises 1, 2 and ~t, try to sing along, either out loud or in your head.

Later, you will find that this helps you to play what you hear more easily. It is very good practice to try to imitate melodies that you hear 011 the radio or on records .. Developing the ear is an important part of becorninq a good improvisor. To be able to express yourself easily, Y9U must be able to instantly transfer into specific notes and rhythms the ideas you hear inside your head. Practice singing chords and scales of all types and learn to recognize any Interval up or down from a given pitch.

Now try the first three exercises again and use a metronome to help you develop a goOO steady beat. P1ay the exercises several times using the following variations:

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1) faster and slower tempos

2) different note values (1 /a's, triplets, 1/16's)

3) various styles (classical, folk, jazz, etc.)

4) different meters (3/4, 5/·~, 6/8, etc.)

5) dvnarnics and shading

6} different articulation (1~J3to, staccato, etc .. )

After experimenting with these variations for a while, you should be ready to proceed to the next exercise. The same variations should also be applied to exercise 4.

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. I n playing' the next exercise, you -will find that now your melodies '~ava ttl connect from one chord, to another. ~A.n important hint to· remember is this:' n!,'~l seventh of a chord usually wants· to rnovedownward step-wise. If ttl! seventhofthe chord is the last , note you play before changing .tD the next chord,' itwoutd be a good idea to follow this

_ rule. Example 10 sho_ws the principle bei.ng appHed.· " -

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Now play exercise 4, still using the metronome and still using only the notes in each chord. Again, use the' variations that you used with the first three exercises. At a faster tempo, make each chord last twice as long; at a slower tempo, only half as long.

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, ,lmef'Ovising With Scale Tones,

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'Nhen' voubulld a seventh chord, 'you take the 1 st, 3rd, 5th 'and -7thnotes' of' some scale form- to construct it~--_,For example, to build a major seventh chord, you take the' 1st, 3rd, 5th and 7th.'notes~·of,a major scale.' SinCe each chord comes from some scale,

naturally that chord and scale w,ill sound 9Q~ together~_}\ctually,. most.chords __ -~hav~~= -.·_

more than one scale that sounds good with them. Following is a brief listing of.some.. -, '.' ". basic chord forms 'and scales that sound good with them:

- ... ~-+ - - .. -

Dominant Seventh

Appropriate Scale Form Major Scale

Lydian (Major with raised 4th)

Pure Minor Scale .. , - - - -0- -

Dorian (Pure Minor with raised 6th)

Mixolydian {Major with lowered 7th} Lydian, :, 7 (Major, # 4 and ~ 7)

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The next examples show several types of step-wise motion through scales which are appropriate for each chord. Plav these examples .

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As in Lesson 1, the minor, dominantand major chords are again used here. Learning to use scales with these three types of chords will make it easier for you to play many different chord progressions. _ Very often, entire progressions use only these chords

transposed into several keys. ,_ ' ,

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- Now play exercises 5, 6 and 7 u$jng only s~wise-·fnotion·'throiigh·the scales shown. - Try to avoid any skipping motion but do emphasize-the chord tones whicharefound in the scale. Usually it is a good idea to have chord tones occur on the beat or .in a strongly .. -' accented position. 'Also notice, ill exercises 6 and 7, that the 4th scale step of those two

scales is very dissonant and should not be ernpbasized, . , - . .

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E"xercise 5

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G 7 ( G mixo/ydiBn sals )

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/4s before, play with the metronome and trv several" variations such. as you used in lesson 1. Be sure to discipline yourself to use.2!~ step-wise motion and be sure to use the correct fingering for the scales. Try moving up or down the scale farther than just the one octave that is notated.

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Now, proceed to exereiseB, still '.L;~'·.~ng the rnetrononie and still using o~ly step-wise

. motion. As in Lesson 1, your scale! meJodies now have to connect as the chords change. '. -- Remember that the 7th toneof thEr seals (w_hich is also the 7th' of the chordlwents to ':e'

o move downward.ste~wise when the chord chan~JeS. .. -~ ... -", ---,-.':_-;-.-~,-~,,,-------:-~--~ .. - -.~--

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Again, with exercise 8. use the six variations of the first lesson. As before, at a faster

tempo, make each chord I~t~~~.as long; at a slower tempo, make e~_ch chord 1~ __ haJ~.

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You have probably noticed that all three scales used in this lesson are really a C major scale which starts on different notes. This is because the progression is in the key of C and these scales help make that key feel~ng even stronger. Alsop: the dorian is one of the best choices to use with a minor chord and the mixolydian scale is the first basic choice for a dominant 7th chord.

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_ As shown in examples 5. and 6._most melodies use both skipping and step-wise

motion. In ,this Jesson, "you will combine the two, to create your own melodic im-

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provisanons,

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, '--"At this point, two general types of improvisation should be mentioned.--They

are what I ~JI the Flowin!rMelodic"and the Motive Development'afJ"p-roa-ches- to: ' - improvising. The second clpProaCh will be discussed in Volume Two of this series. In the present lesson, you'wi'll be concerned with a Flowing Melodi~ approach .

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Exarr" Ie 14,' which is; based on the same chords used in exercises 4 and 8, shows a 'Flowing MeJodic type of solo •. As you play this example, sing along with your right

hand. - " '

Example 14

D mi7

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As you can see, there is no repetition or development of ideas but rather one continuous flowing melodic line. A continuous stream of running notes is not essential to this approach but short, rhythmic ideas lend themselves more easily to the Motive Development approach. .

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Notice also that the melodic line in exampJe 14 is very singable and could almost

be the melody to a song. It is not necessary to create a tune-like melody in all of your improvisations; many pianistic styles are not at all vocal in the sense of being singable. But a Iyrical,_ melodic kind of thinking will make your playing very- musical. To 'check yourself, see if you can I"pre-hear" or vocaJly sing your ideas before you play them!

Now you are ready to play exercise 9, using both chord tone skips and step-wise motion through scales. Having removed the disciplines of Lessons 1 and 2, you should be able to play flowing, singabJe melodies ..

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1 Exercise 9

D mi 7 (D dorian)

'G'7 (G Mixolydian) C Maj 7 (C Major)

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,..,_~~ ~-,-,.--, .,, __ .. ,.- . ..'. '_- ... :_-:. - The variations of the earlier lessens are again listed below to help st.rnulate your

y;~,:.-=~~ imagination. As before, apply these to exercise 9 and try to make music out of whatever

"'~"-l' - _. - you do. Repeat t_oe progntssion a number of times ~o give you~lf:~.~.~n_~._~9. __ fjlJ!!ly --

-,_ .. _-. - establish the style or '·feel'" of what you are playing. Also. by playing over the chords "- .... _~

Y_";. - several times, you' have a chance to experiment with diffetent kinds of-motion; different q-.

r~'- ' rnythrnic feelings. etc. Don't try to pla'f' too many fast notes at first but instead try to ..

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.' l 2) different note values

3) various styles '

4) dlfferent meters

5) dynamics and'~;hading

6) different articulation

_ ~l •• _ _-

-

_ _~. ..4

After you feel some confidence about what you are able to do with exercise 9, move on to the next exercise .. Exercise 10 is exactly the same chord progression that you just finished playing but is transposed to the key of F. After you have played this exercise, transpose it to the keys G Major. Sb' Major and 0 Major. The left hand will alwavs play the root position (1, 3, 5, 7) or the nearest inversion of the chord.

, ,

:xercise 10 \

\ . G mi 7 (6 dorisnl

C 7 tc lT1ixolydian)

'- F !rtaj 7 ( F Major)

\

\

fJ ... ... - • .. ..
I ~ • ::. ... • I , \ - -, -- 7j-, ... I ~ n
'.I ... [' ~J ... , .. ~ 1 ~: I \ A. -,- --- ,. --- • I
, r, ""' v\.. .. • -- ~ 1 ~ J : 1 , - -. -.- 1'_ T ... • .. f
; '-'" ~ .. - , .. \ J \. --
ltJ \ .... i· ..
I
1 f"'I
, ~~~ r~ ~. ~
~ 1"1 ~~
, L'. _. ~, ,., ~
- ". l ,. -- ... ...... ___._ -- ~ """" •• ... ~ C.1I ... ... ... _. . .t-y..o .. -- .. ...
I ..... \. . ",... , ~ ...... -po _. .. ..- ..... .. ... .. T , r II"'" r
., V l -

-

.J

•

- I

-/

1

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-

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::I

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•

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>

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\- -

I -

I

, '.

~ '~~ ..... : "

.. " .

',! 1

,_

.lo .•

, - ··r-· ......... _

- - ... - - -

~ . . . , .. - - ~ - -.-_. -"":"" ..:: ~ ~' .. -. ""; ~ - _. -- - .. _. -~. .~ .. ~ - -

II USINGTHELI=FTHAND ,- .. -, .... _. -. ---"--'.,.'-"

, '. ~~'-.' ... ':'.' .'. ... "._. - ,. ._-'._----- .--,'_:_:------'-----._- --~--

l-: ,

..

-.

._ r _ • ,

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

---. ."" ~

........ ~..... • _. ~ • I. I .. _ ••• _------~-":"~-'. -- .---~---

-~-. -- ~--.::--:-. _.-.-._, -

'. -

........ -,. - ... ~&~.-~--- _. "_ ... --_. __ ._-.--. __ .... _ ... ,." ..... 1· _ ..... -----

- .. -.~ ',- • .• + • •.

. The left hand 'supp_Jies' an important part of the total sound in impr-ovisation on

keyboards and it contributes heavily to the interest of the total expression. Some of

- the ways in VVhich it contributes are harmon.ic information, _r~~h"1I~~ne[gy~-~.~i~_~~~.·.

__ . ~~pan~~~.!Lt_;- a"'KI·!O~ti~~_~~n'(, part ,C?~r~~'- melod ic irnpro,visa-tio~, .-- 'c- _ 7

-~l ..... ·n-.-~". - ,--_... :""" -,' .. '_ ," .

. In the days of ragtime, booqle v.-oogie, and old stride styJes of piano, the left hand

- was very active because it supplied the aspects of a missing rhythm section; that is, it rnede up .for the void_ left when, there was no bass player or drummer present. I n the bebop era, the piano usually never appeared in a solo capacity and so the pianist 'NOuJd simply supply a very simple shell to give the barest outline of the harmony which was then completed by his right hand, The bass player and drummer 'Here providing time and harmonic fo'undation.ln more recent years, the left hand has become used in a

.: -.:- ." more sophisticated manner and we again find it providing more of the functions of . ~ bo~h bass and drums in the sense of creating harmony and time .

In this section the basic and conventional uses of the left hand will be explored to ,,:.Ze how the pianist needs tel be prepared to create his total improvisation.

_--- ........ -

'1

1

- ,

..

Lesson 4 Voicing Chords

..

,

I

j

-~./xample 1

Example 1 shows a short improvisation in which the left hand is using voicings of each chord rather than root position black chords.

D mi 7 (ij)

G7 (V) .

C ?rlaj 7 ( I)

• ...
• • ~ ._ -
&I • ! l l I -
J , I ..... 5l ,
1 """"
I _,
~ , .. , , .#

..

l.
! E ~-. -- i -"'- ;
~ • - J 311 -- • ....
.... ........ - , ~ • .- ,
_j - -- J 1 ! ! ""' I
.. j' ..... _-- L J 1 I
!
3 ~
... .
•
- •
~ .... ,. --
r: - )E' !. __ ~.~ .L ~
-- .£""II..
~ .. - - .- '\ --
6! • r~ g ( 4.">
1 _L ! ... ..... 1 r !
I ' i t ! l
I r I j J, '"~.

-,. r».

• #'

!

• - 'I '_

In the preceding example, notice that the vcicinqused on the II chord is built on the 3rd of the chord. The voicing on the V chord is built on the ith and' the voicing built on the I chord is again' built on the 3rd. This is typical of a majority of the left hand voicings used by pianists. Voicines built on the 3rd and 7th, which include one

or both of those chord tones, tend to achieve the strongest feeling of the harmony with the fewest number of notes. AJ~;o, they tend -:0 work well together, as in the progression above, to provide a smooth easy connection from one voicing to another. Other voicings may be used, of course, but the voicings we will begin using exclusively are the following four voicings, shown in exampJe 2.

Example 2

i tJ
-F r
r 11 .L"'Yt..
I I_I. ~ ~ t:~ --
""_v 'f i. ~ :J .l. __)_
~ 7~ 70
-I ~# 9-e-
}
en
, 'll. '{ .- { .-
- I. - --
I
~ ,. D ml7'

G7 -

C Maj7

1
~ I~ 2 11
~ • L"'Io. 11 ilJ ,
_v X -~ _,..
9u .., -
3U au 7U
~S e.oe ~R 9 !
3u 8 -~
1 -- 7 - -
"""'" - 'f I.:' 'f I. ~ ~:;,: ,~~:<~:" .:;', .: >' or' " ',;-- ", '., •. ' '""" .. : _. , • I i

~ 1St,'" , F he "'-"?"". ,r. !i!'"..,.,.. .. ,.;;:;;:- .... 0'4_ w, ¥ ',,""'- "' ... _,. .... _.,""¥.e-,-.,.,.._'$""' .... r.,...y .. rq • .." _- ....."."j ... _.:

_ ~ + ".~ ~ ,\' ;:~_ _~~. ~~~~~r~~~.. . ·~'!!'~~~~rs:~~"1 ~·-i.:"'-""~.{.-I'~.t~ :.'·,\:'~~·._.·tlm."""_;t"-''l.''~-e. - .... '. I ~t': ~~~:.. ·;t.~, ... ~~~~, .. v~rr"''-';';;~:~~'''''l :

• •••• r • • • • I • ... .... r • ... ~ •• ~ • ~ j •

~

_ J

Notice that, of these four voicings, two' are built on the 3rd and two are built on the 7th. There "!Te some gUl:de'lines for the use of these voicings but, generally ,

, speaking, any ot.th,"~ fc?ur. V\?i(~ngs may be used with ,~y of the three main families, . .

,of chords: major~'-I,'inOr; aoddcmlnent. The' student will be surprised to discover ., ':: ".,' .. ,,'" ._

l ..... , that entire' progressions mavbe played very satisfactorily using only these four_voiclngs..· '

. - .r >: "' ••• -- Other voicings may be supplemented according to musical taste but these.voiclnqs. win~·· _

. _ meet the needs of the proqressicn in soundinf} the harmony .with claritv_a_,,_d_witn._a .; __ .~. _

minimum of ~ifferent choices required.' .. ' , ..

\ \

\ )

,

i

; ,

- .

. , Inexercise 1 ~ YOu are' now !)oing to play the same progression found.in .exarnple.J, __ .. ".,._"_"",,~~ ._. __ =_-"_' .. ··_l..'Sing the same vaicings b'u.~' ~a~,':lg y~~. own Ichoi~es as to how to rh~~f'!li~~.I~ypt~~~~~.~~·.·· them. Try to concentrate on toe left hand so that It feels good and contributes to-the'__ ,_"

total sound. Play exercise 1 several times and vary the treatment of the left hand each

time. Use both staccato and sustained chords and vary the rhythm so that chords occur

both on the beat and in. a svncopated position.

1

,

- ,

1 i

;

,

I

_ J •

xercrse 1

\ D mi7 ( eva oa donal .J G7 C ~faj 7 ( sva oprional J
.. . .. •
-- \" ,-
-J - -~ - 1
-,._ £# I. \ .. . , ..... 1 - j -:; ! Iw I ___ \ ... .~ ... ~, '1
I_~ \. I • i ... , -.. - ; ,£ 1 ': i _... .- .... I ~ , I .. I
\"'" -..' 1 -:. I ~ • ........ 1 :. J .. • --. 'T ,. T - • ..
. '-
\ , , . \ .. '- . \." -.. '-.
,
- .
~ -& .0 • .0. I
n r.... --
'" __r",. -- -- "'"
,-r~ -- _... ... .. .... -- ... __.,,_ __.,,_ ~ t.. ... ... __. ~ -I: ""'J ~ ... ... _..,_
\. r .. ... P' -r _. .. .. ... ...... ~ po • .,. .. - -

"

Notice that, in exercise 1, the J I-V-I progression involves progressions of 5ths.

In a situation such as this, you will find that voicings will tend to alternate between a voicing built on, the 3rd and a voicing built on the 7th, or vice versa. This provides a good smooth harmonic flow with the greatest'ph'{sical ease in playing. One general rule in using the left hand is to always use the least possible amount-of motion in connecting from one voicing to another.. If your left hand jumps around in a very disjunct, angular manner, the musical flow will be affected in a bad way and it will simply be harder to play and concentrate on your fight hand improvisation. Notice, the effect of this kind of poor voice connection in example 3 •

I _.

..

\ \

I

D mi7

G7

C Maj7

• - \
- B - • - • ..... ~:!! I' -, '""
" -.l • I I : ; - : -:J! • , tJ - --. -
\. I ., ; I - . I I t r ' , I -- ~. .. --- - ~ --
; 1 ...; 1 I - 1 ! I ! 1 -- - I I ""'" •
1 ! ...... 3- 6 . , J '- --" , ( ! -) 1

, ......
I - -
,
f •
, ~ :l •
,
--' - $
" , ......
-e- ?5" 1_ ~- .. -Cd T .n
-
~ I - - • .. ---
.x I j ~ ~~ r: j -, C:~
-- J : ~T ; r
t I
- . , , -

..

. In playing this example, l'rn sure thal: you discovered that it is uncomfortable and unsatisfying' to move the left hand in the ~vay notated. Now go back to example 1 and play it again to see the difference in a smooth connection of voicings.

,_

, "r' ,_

-

,

t-· . -

-_ . .,..

;;~~~.;.. :0..

t.

1-15

... - .~ ~ .. --

. - - -.~ - ~. - .\' - . - ." -. '-~.' _..... . '. . '. - . -\:. - :'. ~'~.' :'

~_._. __ ~_ ,.,. '_~~ _-:, There are a few conSH~~~~10ns ~r~ thE! choice of these four volclng$. that should be _- ..,

l=:~" ,'.'-:- 'observed. First of all,ifa minor 7th chord isa tonicfunction, or the I chord in a key;"~'-

,.., .--' ' .... ,-~_:_. any 'of the four voicings· rna" be used. . However, if the minor 7th is a' II function and -- .. , '.

__ . _ . __ is to be. followed bya V chord, the dominant 7tta I~ a 5th below,.then it would .... _.'-

--'1 . be best to avoid eith_er of t~Et" vo~cings that has the 6th in it. ,The reaso~ is that it --

, - - . '. prematurely :suggests the resolution to the V chord or confuses the feeling of the . ,., __ ,

~ -:_ . _"' .. ._,_ ~_.' .. - " resolution since the 6th .. -of that chord _ is the 3rd of the V chord. _ Example 4 .shows _,- <: - .

.', =- .. -- -' - -._" ~."_.--.. . how th is creates a pop r 'effect. ' - u_ ' , • -. -- -- -- -'-~-- .--- -" .. --- - - ~- •

1-"'~-"'. -',.---"' ,-,. --', ," ",'" '" '.'_" --.,~. -- '" .- .'-."'- '- . .. ,"-,-.-,~.,--~-= '~-". - ~~ "",,_, __ .C,

-'

Example 4

: .

D mi7

G7

1

,

-~ _. ... •• - - -~ .. --"_ ..... ,. w __ • ~ -.~ , - .
... ..._ _..
I ., 1 - 1l. - If ~ 1 I JIll! ....
I " <W 1 "l • I T I I l 1 -
Ll ~ \.. J , 1 . ( V I , 1
,,"' j l - 1
tJ - -
•
,I 9 -e- (no 6th) 6 ~
~
~~ 3T5
--
I ! ~1=: ~ - .-
................. - .... I
--
-
- 1

1 __

However, in this type of harmonic situation, when a voicing without a 6th is used, a much stronger feeling of progression from J', I to \' is achieved. This can be clearly seen

when playing example 5. .

Example 5

-,

11 ....... - .... ••
~ --
I .I "1 "lI'" ~ • it! ! - , -- •
_". ,. .., 5' I , I j 'I ' l -- r
j f t"""'\_ \ I ' r , , "1 ., • i ' 1
."- ~ 1.1 ~ I """"- , I

tJ .. - -
.
-
I 9 ' 6 ..e-
j' "7~ 3-n'
t.~. n __ - ..-
i -I· n v -- • -
_1_ \
\ , r. "'I

- .

. ,I

Because of the strong nature of dominant 7th chords, there is one important consideration. A dominant 7th usually implies a strong feeling of a V chord 'which needs to move onward and resoi!ve. Therefore, it is nota good idea, generally speaking, to use the voicing without a 7th in it as that particular voicing is noncommittal. A 3-a.9 voicing could imply either major or dominant and' for that reason is somewhat arnbiquous.. So whenever a dominant 7th is encountered, it would be best to use any 'of the other three voicings but not the one without a Zth in it.

With major 7th chords, an)' of the four voicines may be used with good effect.

The major 7th is a rest chord and normally does not need to progress. Therefore; there doesn't have to be any particular concern over, whether the 7th is present or not as is the case with minor and dominant chords •

. '

- •. 1

...,..".-~ J • . ...... ~

. -, . ~

. '. ,.

One additional chord family occurs cornrnonlv and that"is "',: a half .. diminished chord, '-

:i=s~:::~~::~:·"~'~···::·'· Many voicings used with minor 7th-chord rnav be simply edapte i to haff .. diminished chords -1::;~'7~~"~~~-~-'::'-':~-:' since a half-diminished chord ,is reallv a minor 7th chord with a iQwered 5th. : For example, . .-.~.-: ,... _

_ -' _' " the 7-3 .. 5 voicing may be used as ~reJJ as 3-7 ... 9. However, the loweredSth which is char- .: . :'

.. - .. --._- ,- - .. acteristic of the sound may be addled to make a clearer picture-of the harmo-nY.-A~-~~··_'~ ,'.'-" .. _ '-.,

.- "1-.·. surprising thing about half-diminished chords is the fact that a root position voicing ---- ... - -.

.. (1 .. 3-5·7) sounds very good because it really- is already an Inversion. The half-diminished

,'-,' chord traditionally has a function of being a VI J chord. The VI J chord is a substitute for

. -,' '.'_','~, __ '. ~:: _~~_' V so realty the VI I-chord sounds .like 'an incomplete V chord or a V chord in·inyetsio:n·:-~··'-:-~~.~·~.~~

l- .~ _'.:..o.,,;~ _. See example 6 .. _'" .'. , :'-'" .',' .:w.,- •. _,,,,, _-. " , - '.- ,.-"._. _- . __ .n- •• , - -- ?" -.~~:..~:,-.""~ ~- .~., '.

• • :'1": ...... _. <>, ::, 1·:Jo-:- .• ~:-:~.·.1·r:,.,~-.".tIf.~._,~.~._..~.t.a~;'C'CU7't" ..... ~;.....a.a X ......

- '" -, Example 6

_--1·

'C Maj 7 ( 1 )

G,7 ( V)

C Maj (I)

11
I~ ,
~ _r
rr n 7 4 • ! Hi ,. ....
,"'\/ ~ 4 )_ 7 • " ~
-t) 3V g~ .e.
I'U
-- - .~ _ ....... ---_. ._-
. , .. - . ~
•
• 1
J ~: t.~ -

..........__..~.
• •

-

- -1 I

\

I I

J

So, in addition to using the four voicings listed in example 2 with half-diminished chords, it is a good idea to use the root position block voicing as well.

, .... 4_,

One other troublesome family of chords is the diminished 7th chord. It always seems to be a problem as to how to voice it and make it sound other than a traditional classical music chord. The simplest solution in voicing a diminished 7th chord is to simply add into the voicing at some point the note located a major 7th above the root of the chord. Thus, it is an added chord tone that colors the chord in a very contemporary way removing its traditional sound. In actual facti' a note may be added a whole step above any of the chord tones of the diminished 7th in voicinq it to get a very contemporary altered sound. See example 7.

Example 7

I 11
'I_ I ~ .
! r· I I ! ,'" i""'!rro. ! - ~ ...... -.... ~
I ,~ '1 ~ " 1 12·' -~ ,..... ! 111 j ,.... ., ~
I \..~ J • 1 j t ~ ~
!J ~~~ ~~ 4.J .. ~
t.,j '-oj" r.
~~
t.. ~ ~.3!~
c ~ • ~ >< ., -,,::'
- I. H
\ I ~
" ....
. Typical Voicings:

Added Tones (C$ 0 )

j

-

•

•

•

t

I

--.- ~ .-

~ ,

,-

.... . ~.

-:: ~ ._- ...:.~. , .... - ..... -,

.' . .., . - ~. ~ . '

, For further ideas on "fOicings, the student is referred to the author's bock. JAZZ/ROCK VOICINGS FOR THE c.o~\(rEMPORAf~YI<EYBOARDPLA YER, also published by Studio P/R, Inc. Now you are 'ready to Improvise a short proqresslcnusinqlefthend voicings, In exercise 2, the voicings have been' provided but the improvisor must still supply the articulation, rhythmic spacing, andstvle of.use of ~e voicings. Notice again that the voicings

. '. . - connect smoothly throtighc>utthe -progreSsion., Also rememberto .keep.your right hand -.- '_', ~-._ :~:_.,.' improvisation very simple while "concentrating on. theuse of-thesetetthand voicings,: _,.

.--"." " '" ,_.,"o._ ,~~ .... "'!""'~_:"':d~~'" ' _;_"':~~':':~_'~~"~~"::~":"'.,: -_', ;·,~~ .•. _,';."_~ .... ~,.:~ ... " ... "".," .. , ... ,.: .... _ft r ,,,,,,,-~_.~--'~.,-~,-, - ,.' -

: • _ '. ~ "". ~.....;~ • ._...;...:...Lt..- .... rt _.... .._ - ..... ~ ••.. _I .... '.·

'~ "'-'. ·1 ••

1-'

~ ...

_ .. r_.,

I j

I I 1

-= J'

- I

"""

I

r

-

-5 B mi7

-9 E7

I

I' .......

+ 4'"'

Exercise 2

1 \

r I IS' • 9 ~ ~5 -& v

~ __ ~I~~3~#~) ~l-~7~1~#· 3.~f ~~_

i. ~. \ ,- .. \ ."'ii "{ n-i_~-:------~~J~....,:!{ ..... ..,-i---------~ --" , .------

i ~ _ I. n _... ---, .... :;;....... . # ~ _.... _.... _... r- #-\) ! ~-:;.--_...--_....;t_--_...-

\ .,1 \_ -. rr P;V.. .... r.,.. ! ~+ p jV ...

~ .......

D7 I

+ .J

_i".. •. "" _._ - -

A mi7

_. I

.. . ..

, r:

-

" ....

-

'\ I

1- D mi 7 .. .L G 7 C 1Iaj 7' ...

\ ,--/) ... ,"".L__ ~_ooIp~----- ... , . .,...L_ r

'-#-,r~ .... ~r--- ..... / ...... , :~"~ .. _-'_-- --+_.,_I:.-+}_: __ , _!.,__ __ ! _i_: · ': . ~ • T >-:!

-

-

\ ~ !

I

, ...... _'-- u • '"' -, ~ .. ...... '\ ~ - ... ... ... .... \.f n .. ~ ... _... • -

• - I

L_ ... P' P''' .... - - f ... ---... .. ... /.

_l

Play this exercise several more times rt3ferring again to some of the variations that were suggested in Section 1 of the book, Try to make your total improvisation musical and melodic and make .sure that the left hand is an integral part of you r total expression ..

-

-

-

-

1

\

j

I

,

I 1

I -

_J

-

-

......

•

-

\

•

-

I

-

I

1 j

I

__I

-

, .., ~ ~, ~ ~. ·~,t·· .. -. ~~

StyleS ()f Left Hand ~4.ccompaniment

I j

. -, ~ .......... ~r.-: __ ... -

00(:8 a general understandin'g of voicings and their smooth connection is understood, ,

-- _, therithe pianist must learn tousethe left hand and these voicines in- a musical 'way to help - -

create the style of the irnprovlsaticn. The left hand can 'imply syncopated swing feelings, various 'types of latin rhyth.ms, and waltz, rock and ballad styles by the style of accompaniment it uses. In'this,h~o,n-:':severalstyles of left hand accompaniment will be shown and -

- ~ _' ... ., ,'_' the student wiU_.:~, .~~~ ... t.~,~.~p~len.t.each of the stvlesln an exerc;j_~~~~T~~':lgtL_~~~~_·" .... .. .. l--------- examples are in no-~y-exhaustive.-tb~y will show typical types of left hand.accornpaniment,

Example 1, is similar to an example from Lesson 1 in that it shows a free rhvthmic punctuation of the melodic line by the left hand .. , The main requirement in creating this swing feeling is that the left hand emphasizes syncopated beats or off .. beats.

- ,

-

___J..

,

-

, , .

-+-

=t

--;-

-

D mi7

G7

, C Ma] 7

- n " • -
• ,
- ,
- ... - 1 - --~ ..
I 'L I I - " ........ • .--. ~ ... ..... .- • r
I L £. , I '!.:=- - ., -- ..... .. -- ,... - t:6 -- -- - q
l";" ....
~ \. • . • I , - -- ! _. - ~ - , - T!
: .. -- ~ i
-' """',~ I • • r ! -- , , -1
-. 1
:) I j ,
r -
-
• • f
;' " • L---i'Q • I
- -1 ....... ...... ... ..... . .... .11_. L
.... .... -s, I
-.at' z· ..-_""""-"'-" '- __ . --- "
~. :.-_. -- .. '-- !.- • .. ~ _____., ..., - - ,1
~ l_. r. - - , fW - --,.- 'li fI""'J M. V. - i
- L \. I I t r 1 t - t : V z: f • ...... -' , Ij
,. I .-Z 7 • ' I ! TJ II
t r r j r •

J

1

. - ,

1 j

I

i ;

J

rercise 1

In exercise 1, try to simulate this same type of free punctuation 'of the melodic line with the voicings provided.

- I

- I

-

I

-

_.1,;

i~_.

D mi7 G7 C ~taj 7
• - --..... f
- , I
.- , :--II.. I
• - ", ..... -- J , ./ ....... , I I T -I
I .~ , &J • - .- :=!l -- ..._ t eJ -- - ~ i -lSI - ... -I
. J T t I ..- ~ -., , -- ~- 1 - .." - - --
, , i f ! i _. . 1 1 __..
T I T T, t J •
- .'
.
•
- I
I ... 1 .... \ I.L -
..... , .l -- \
--- -
- .
".... 1 ~ ... ... _.. ,,-. . .... .... -II. ...._ .. I .... ..... ~ .... ..._ _.._ .- ....
.. ...... -,. .. ........... p0- P" ... "'P' r --p -. po -- .... P'" - v

I

In example 2, the swing feeling is produced by a regular rhythmic pattern in the left hand. Again, as in example 1, this rhythmic pattern concentrates on emphasis of the offbeats, or syncopated beats, to achieve the swing feel. .

-

1 1

I

:ampIe 2

} C7

F7

C7

•

•

•

•

•

•

•

•

•

_

-

-

. '.

'l:_ .

I

T J Exercise 2

In exercise 2rl ,'U should try to simulate a regular rhythmic pattern similar to that found in example 2~ Reme,mber to emphasize the off-beats th9u9h some chords could

fall on the beat.

1-19

1

.. .".,- .. .. .... ~~ -, .. ~-.--~ ...... ~ -~-- -.- ..

-_._- --,,"-. ~

. '._' .. _ ~ .... , ', ~- .. -.--~"C, . _ ... _ ._ ..... - .. - .. - •.. ' - . _

". ~ ...

I

r

_l

!

,., C 7

:F7 ;.

, .

...... ~- -:- _.....

. ' .. :.:. : ... ~ .. , ... --~ C 7 . ~ ..

" .... - ...... - ._- ,_- ----.-- ._&_-~ . .,.~ ......... ~--- .. -~-.- ... --. --.

f1 • , , ~ - 't' •
.. -- - -- -
I ~ ~ -- I 5 - J '-" -- t , ILl - 'I -- Ei I .- II
- t ! ... ~ •• aI •
r" i. I , I f - I I I ~ .... ~...._ -"- ' .
rr r"'\ 1.. i t I " : I 1 . III ..... dI . I T . .l!.- ~- ........ l
'\". .r T ;._ 1 I -- I T T . • 'I 1 : I!
...... __ I I ., - 7· , . .. . ... - ~ - .. . . ~--. ~.~ . ! I
.. tJ - ... .. :
,
t
... ~ ....... -~ & .. ~ ... ,_ ~ r __ • ~ I , ... . " . ... - ...... ~ ............... .._. . ~~ .. ~ ... 1 ... _ t- .... +~ ~:O"" ..... ':,:.~_.;i,.;.:- :z.,...!.I-'.'~'IIG'_.I.t:,:::"~;':"~.""-tL.. ,~ ,
. ~ " .. ........ - . -. r; -=- .~.I· ~ 1( .... ,"". .. ~.- -~"'''";.'''''_r.~ ... _ ". - ,
, ' !
,
t I~~\ I ~f ,
.I. .- f
, ' -. .. \ I
". , I , i
-- ",. r. . } .. ~ ..... ..... ~. , .... JIlL ~- ~ ,= I ! -""'" ~ ...... _..."" ... ...._ ... ..
r "- .. -.. ... -... ·r .. ... .. .. .. .. ".. -. -- .... --... I .
\ ,. I , ' ExarnpleS shows a typical rhythmic pattern used for a bossa nova. Notice again . .- .. ~ -. - . -. - .. -- .. that a regular pattern is used to create the style. This is not necessary, but will help

for at least a period (_if time '::0 help establish the srvle before treating the left hand accompaniment more free!',/,

-_ Example 3

".

C ?\laj 7

,F 11aj 7

c ~raj 7

-'

!l I I -
'- I
III J# 1 , - I I • , .
• ~ ,. , : , .- ~ - '.1 - ,. - - -, - ,
1 !!"\ \. ... ..... ~ -- 1 - , it ~ - - ~ - -- ----. --"~ t
,"'-' - --- : : 1 ; : - ---
,
tJ , I i . , :
i I •
,
I ~
"
• • •
• I;
~t· ~ ~ • .~~ Jl_. ~~ ~ ~ . ~~ ,... . ,
'! r. ~ ~. t'- • __.r. -:r ?t I:
~ ....... ",. I • " ". ~: J' • Jt 7_) _t: • I!:' O'"J I
-- I. r# _Ij t • .. ,. jl· III • '"J • t • _., ....L_ ,
1 .... , I \. I' ! T 1 . , f
I' ,. I ! ! I ; J . ) f 'j ~ t.
I ~ I j I r r -.

In exercise 3, use the same rhythmic pattern as is found in example 3" but of

course apply it to the different voicings shown in the exercise,

•

Exercise 3

C Maj7

B" 11aj 7

C Ma] 7

,

B' 1-Iaj 7

f1 ¥ .-.. .......... .. ,
\
I L ; ,,, .- I ~ i ~; ~ t , l .- :
, -" ri , Jii .- • . __ , ... _ - - ,
, r~ \. _. - I i - • - - ... - --
, -
; ,"' IJ - dlr.
I I I , - • -- ,.. , -- _l._}_
tJ L I 1 1 'T
, I
-
I
i I ,.L, /~\ / +\ 1
I"-~ .
... ,
,
L ,. 1 • I , J ~ 1
- ,. /. '\ J j .. ... ... .... .. -1111 -1111 ~ .. \ • I .... _.. _.. ~ ~ ... ..... .... ....
L \ -.,,- -- .. ... ,--.. , .. .... . ... -~ "7'
.. ~ ----... ----.- .". .. ".-
\ ...
. Example 4 shows an almost traditional treatment of the waltz' beat. In a slow jazz waltz, almost of the ballad type, a very simple straightforward treatment such

as this is very appropriate and allows the right hand more freedom in the melodic line ..

_:Example 4

•

-

•

G mi7.

C 17

F 1'!aj 7

-

, fl
I -
- 1 , •
l , , I' J ! .- .- ,,-. T I I JI\. t
.LJ.. ... LJ f V .. ,
.- - I • - , ~ I 11 t ,
1 ",...., v: h _. ,_ I f T t: -- - •• .-I I r
'''V '-.I --- ! r i ! -- '"1. T
tJ y - - {
-
4 , ,'.
I ~ ~ ~ :> ~
\ , ...
L "la.. l] , - r , - , ~
- If . lJ r --.7 .~ ~ : r r---; -;t' ,... f
I "'- 6. 0.,# i
, v: 4_ _,. ..
• 1
p.# 9-
- -
-
~. • . i -

-

t ~.

i . -

1.

1

.1-20 -,

l' :xercise 4

-'

In exercise 4, use the same rhythmic ~,~ , of waltz accompaniment as is seen in the previous example in playing this exercise. ' ,.~-

, -' --, ' "

-~ ~- -- " _ .....

~ ~ •. ~ ~. .- ... ". :-, _. I' •••

. ~ ~'-:-~- ." -~-: ","" .':~. -~. ~

-._ -_ ...

~ ..... ----- - .... -_.........~- .-

... ." •. ~ .. r'.... -

. - ... - - - ..

.... ~ .... -- ....... ~ ~ ... -- ................. ----. -~- ~ ... -- -

" - .. - ~- .. - - " ~. -~ ..
,- "';'~~-.-~ o-
j : ,-- " .... ' -
!'J ~ ....... , f
i ~ fI!_ ."') e _- ~t
;- ~ .,....
-,., • l..l .- •• ~ ~ ~ , --
]I i:I
" ro.r. Z I -- , ,., 1 ?- t ,....
,-' J ~ t J 1 I J 1 i J 1 !_
tJ J.. I , " " ..... j
. " , r
-
- ,0 0,. " --0 -- _.- . ~ ..... ,~.--. - _o_
- - ... ~ _. ~.-....--- .... ..- .. ~- ._--- .--~- .... ~ .... _" ~ - .- ... ,0 , ..
0 , - " ..... ~ .. ~ .... ~ .--_ .... - ... -.~- ... ---~ ... ~ .. , -~--- .
.c 0 0, " .J.. -.==-'-_::~ - - ._-_ .. "'_'.'. r·' " - . -
-_ ..... -. __ ... _-_ .. t ,-- .... ~ -~ ..... _ .. ' ... : , .-::""\, . I~ ... '"1-' ok ..... ~ 1 .... -r-_ •......... -~ ......... ~tItC.A,. zcu::: .
., JlIC2' "="+--c..t«~ _"tI:.r" .. ~ ~:~\ ~~ ... -.' "
•
I.· " ~. c
,I __ - I
(_~. # 1\ . .,-. ....,-
--r. -" t I ... _.. -""-- v ... .- ..... .".- .... ... .. a· -- ..... ~
7 1 J --.- ... .... .... ----.... -,.. f .. .. ~ ! ..... .. ..
~ ~ '). oj 1 ..... t ! \
\j / \ I 'T I \-J
. A mi7

D7

G rvtaj 7

C Maj7

r

The next example shows a simple form of left hand accompaniment which could be used to create a rock style .. ~"'Agatn, notice there is regular pattern and that the emphasis in this case is partially on the beat and partially syncooated.

_i I

cample 5

,

_;

D mi7

G7

D mi7

G7

•

tl • - - I - - 1 -
'._ .- , •
--- :# ~ - .- - .- ...... ~ I T T I ~ , '"
,- ~n -- -- • -- aJ - - • ' T , • &J 1 ' I ! I r
r,..-..r 1.. T I I : 1 i '1 '* tI:::Z .- D ~ • , .- •• _. J:I - r:
, .
,,1; i i I ~ ." I -1 'J ... I ... ---
tJ .. • . ~ -
• •
• • • • • • •
-- , •
I .......... ..... ..... .... $ $ ... .....
.... ... iF 11: '7 w-
-L'. '" ' __ .- " , - p ~ . ~ .__ .. -~ .- - '\ ,
--- ---,. ri , ~ " - , , ,- ~ , - eJ - r I - .., - ,
7 \. r: 1 i . r r _I ,.. I T , 1 r I ~ , 7 I I r
~ l_j_ ( '..J I I ~J
I r I r T I

-

In the following exercise, improvise your own rock style accompaniment either using-

the same pattern or a new one. -

.xercise 5

C7

F7

C7

,...--.. F 7

1'1 • . • • • _., •
-- .- ..
,# 5 ~ =» ...... - • I ~J. ~ , • •
Ir\. n Q I 1 e,j ~ ~ • Qj -t ~: ,. D I , .J I . i I -. 7
l~ \.. I ! . 1 I I I I T r I , I r ,.-
Vl J T ...... T ..... I ....:. ... '_ I

" l T ~ 1 t ~ , ' J -, --- ........
~
~
-
'~\, I.L I ~f 1 ~ \
..._
, "'. - r _!l_j l_
J. r. \ _. I ~ ... ~ ... ~ 6_ I ... ~ ~ _._ ~ • _.. ... _. ~ '.'1. I .. ... .... ~
T \. .. ... .. .. ,:\ r ~ .,_.... -- T r r r r " .. .. ... --,..
The next example shows a faster or swing fueling waltz. Notice again that, just as in the 4/4 swinq feel, the emphasis is on a syncopated beat to achieve the swing feeling.

llple 6

-

•

•

C Maj7

-

B 1v1a.j 7

C Maj 7

B ~1aj 7

-

,.. .: ~ : ....... •
I ~ - ,
1(_ .) --- -- t J , i """'! I _._
(.,1 ,.. -- • - -- I 11,- M I : T - • ..
'" I 4 - ! ! - IIIIIIL "!'- -F ... -. ~. III ! . • rJ
, .q. I t I I - ; 1 ' . .... I I I I
\ T I f J v -....... J
'~ •
" ~
~ • - - • ...
.. • - •
.L ~ • .... .L .....
.. + .... +
'--- ..... i..& A
• I"J ~ . ,_ lI- : : ~ : if 1 - • .
'-.--. ---u -AI .. f • :.....~ ~ .. i , ~ '-- . '- f
1 ? 1 r - : 1 r: - -_. ~
'U. i J 1 j I 1 1
. r t ,. • j r
.. -

;::ti " ::ij

l'EX~~~ise- 6~Ma7

----- - -

_l

_ J--

In the following exercise, usethe same rhythmic patter.' {ound in the previous example with the new voicings shown to achieve vour total irnprovisa 'In.

t-

-

. _ • +~ r

.. ~ ~ . - '" ~ . ..

.:.. .... -.. ~: - ,

... --- -'P""" ..... ~

, .

. - ~ ..

- .

Din

, ,

c~ta 7 --~ ... "-,-._.:. '--' .~-" .~- ... __ .. -.- .. _- ...

", - .. -- .... -- . .. . . -
- , r "-'l1lI f -
I r t 1 u_.. f • 1 -- I f f ,
, - 1"""'" ! M. ....... T
I" t J -- I I Ul!JIT ~__.. 1 - ... - i
--- :II ]I ~ _. ....i JI v- ;-,., -'"
I ! I -",.- 7~ - • -
If ~ .. - .....
,"' LF -~ I - J 1 1 -- ~
tJ ~ , - r -. wi .
.......
. yo·. .._:. .- . - . , - .
... • +~ - .. - ~
__ __...,._ _ ..... - .. - ...... ----,
., ••. ~: ' ... , , • t-" .. ~- .. ~--- ---~ "--"~----
". - -' - .,. _., ... " - ~---- ~ .<;
.. '- '. .. ,,- -- .. -_ . - ... ~- -""""~ - - ..... - .- .... .- ....... ..- -- -.~, .. - - .
~~:y 4
... .- . ." . _. ... - .... ..:~ - .-,~-~p If' 'b ... ' ,
h.·_ .~ .. .... ,.. ....... It" .. .. - . #~ ....... ~...-:: .~~ .. ~.:..~ ............. ,w~~.~ ,
- . ,. . ;. , tI'-'~, 11.,;,.: .... ' .--.,;r.,; '":;,r- ~ • ..
~ \ TI
L'. , ) 1 \
..._ ... "\ .II J __. -- -- --.- -- - __.
l - I. '{ J \ • J _. - -- ...
.. ,. .. ...... ...... ~ .,. r- , .. .... ,-
~ A
\ ~ ~ The ballad style of accompaniment offers probably the most possibilities and the ' greatest challenge in terms of achieving a complete or full sound on the keyboard.· The

--·following example shows several methods used in the style of accompanirneru.. .Thev are =-- __ .; .

- I

--- --' _ .... ~ .. -

I

_.I

I

-

J

..

1) an arpeggiated chord

2) a root sounded in the low register, followed by a three or four note voicing

3) a light texture created by the use of a voicing without a bass note

4) a voicing followed by a bass note or an arpe~iatjon down to the bass note. ~

Example 7

+9 D7+5

G mi9 C7
~
I - ,
I • __!- ...
. ... _ , ~ -- 4.')1
•• .,- ..0lIl -
I t .- -
r 1 •

F Nlaj 7

4 T~ ~. __ I t:::::.:=:===t:~l~ili __ ;;;;~'c::+= _ _""rJ .......... J--+--------~__"'''__''

~~~V~ - __ ~ __ 1_~~~ » ' j I __ ~~ __ ~ ~ +- __

t ~ 4i I p

\

~,f.

,~ .

__ ~~~~~D_'~J~·~ , '_~~ ~~~ ___

, e' O·

1

I
h~ b~ 1
I
X --
~ '" I I
• , _ -J
I ~ ,..
-r - -.....,..-
. -
-S- t I ....
..
c ,. I - t
--- I. ri I l ~. -..,
\f J \.. • r ., I
.r '7' ,
. -. • ,. ~ I

17

I

1

Actually, allof these devices may be incorporated in subtle combinations to create

a variety of accompaniment styles in- the ballad idiom. Also, a good. understanding of the .. classical piano literature will help to enhance the use of the left hand in the ballad style:' . All of the pianistic devices that have proven to be valid in the classical literature in slow styles of accompaniment would generally lend themselves to a ballad style in a jazz idiom. The only difference is that the materials used are of a different nature.

- I

.,

- ,

-

1

_ In the next exercise, try several different approaches to the left hand accompaniment using some indicated in the previous example and inventing your own combinations. Remember that a ballad is basically a slow, relaxed, and sometimes lazy style. A Jot of rhythmic activity is not necessary and not really even desirable.

Exercise 7

GMaj7 E mi 7 A mi-7 _

I -? _- __ " .a. ~! I I • f T

D7

I

I~

c ~.

,,-- '\

-- -I. r»

J i") -

....

..

\-_-' \

~} I r

..

'\ ---~ ... p •

..

..

...

..

..

\ 1'\

" -

t'

• • , __ ....... _ 4' .. ~ ._. ~ ...

" . It is suggested that-listening to pianists such as Bill Evans will give a good understanding . of the bati'ad styles possible as he has proven to be a pianist who gives a great deal of attention to a sensitive treatment of the ballad on the piano.

-

3

... .... • ~ ..... _ ...... III 4 • ~ .' ....... - _

-:1. •• _ _ _ -. _. ..,

....... _ .... ~.- ... - ........ - -

.:

•• JI.. ....... -

, I

l~

•

Lesson 6 -

Rh:tthmic Treatment of the Left Hand

_ ..

~. .'-

~1---~- -'--- -.-'~---.-'-- _~cc___., ... -.-.-.--.

1 .' -

. ...

Already some mention has been made of the rhythmic possibilities in cre,!~ing different styles of left hand accornpenlrnent .. However, in a more general sense, we

- -- might point out that, regardless of the style, the, left hand can "be' used for rhythmic interest in a number 01: ways. .The following examples will show differet:lt treatments of the left hand in one of several ways, They are as follov.s:

1) rhythmic punctuation or interjection.,~f_~Qrg~_betvJeen phrases of the

, - right ham;)'.' ,. -~---.. '_,_, _'.~ '-." .' ""._ , . '-'':--_''-, '-'."."--::~. -·'C.'" .,_-.-,"" ....... ~.... ' _." • - ,.,~" - :' .

~". ~.... ._ ... ,..-t.~t'l.I!1: ... _ ... r aw ...... ~ .......... ~-~ ................ _ .• .t-~.,ur. . .._-: -,,,-,,.4 .•. :

2) . rhythmic- punctuation or emphasis of certain notes found within the -

phrases olf the right hand '. ' '; . . ,

3) extensive reinforcement of the right hand improvisation (in some cases complete rhythmic unison with 'the right hand)

T-,--

- j

Example 1 shows <an extremely sparse use of the left hand. The left hand chords are practically nonexistent. allowing for a very open, free feeling to the right hand stv'es of improvisation .

•

-, Example 1

C7

F7

C7

-« -
1 I I -
-:'\_ ;:: ~ ;t2r- 1 l_ ] _......-..... .,;
~._ £. , t 1 I w._ t t Il , i:=!l , _L_ _._ I 1 l I I iJ\.ol-"", L""'_ ,
~ I,. n. 1. ... JJ. .~. ! - 1"" J • __ " Q' , • ,.. J .. ':1. ..",.,_ , - ! "'- -- ,
, .. ..1 -- I ~ _l_ 1 _;., J - - AI - .. j_ I I
'-' ".. - .' , I , • -... -- - ...... t I
_- I!
II
I b:S- b-S- h~ ti
--' ~. 1 , E , ...
- ~.f7!_ - a/. ( - ~ 'JIf_ - - -.( !fIl_ ! '1
I l. 1 _l_ r J , I r:
\ , 1 I 1 .j_ ~,
,. r' f -

-

I

-

J

I

I

A good example of this approach to soloing is the playing of Herbie Hancock during the period when he was the pianist witl, the Miles Davis quintet. In exercise 1, try to

- emulate the ,style of the previous example. Use the left hand as sparsely as possible and allow it only to punctuate! in between phrases,' never occurring in unison with any of the

melodic notes. '

\

-

Exercise 1 C7

\

- ,

F7

C7

. ~ ...

-~ .....
t t ,.._ .
....... ~ --
I: ~ ! _j_ f .. r ur t ...., • .- _. , . .
,. f· .,_ '"'~ if ... , I~ 4! • ~ - • g ioooa.- .-. I
IP ~ _x~ 1 "'-- ~ ~ r E_ ! I • - J I , v:r: I
'\.' .1 - I i _. - ! j J ,
tJ -. t ~ -
- - ,
I
I
Ik_%\ - ~ ..... - . J
I I -'L~ , _h~'l Ji,%' ,
I
t: ~. , I ; t -
--I. r» \ 01 .. .. __.. .... l~j:~: ;; .... .... .... \: OJ .... .... ...._ ..._ ~ _n_ 4 ... ... ...... ... .~
I \_ r r - - • "._ r -- ,.- r r r .. .. - -- ,- r
\ - ! _.

Example 2

•

-

Example 2 still shows punctuation between phrases, but also rhythmic emphasis by the left hand of certain accented tones in the right hand melodic line.

D mi7

G7

D-mi1

G7

f) ,....._ -
- r I I
-' .....
f I :z ._ -- ,..... .- ~ I " '1 i I I
L1. _I__~ a , JjJ_ 1 - .., AI 1 , Ai ]11 _l _. I
t - -
l~ J.. ... _ _j r 1 t t I I • r: _l _. .:J - _".
'\,., .L i r I 1 I f j_ - j . ..., 1
tJ ._.. - j !
- -
. ~ -
.> - •
- - ~:
_$ .,._~ ,~ $ ---

c ". ~. I_.- '- ~ - • ' __ ~. 1
-- ~~ r » f tl -- " &I r: ~ - ~ - _f -- ~ - 1.
.f \. _f i r 1 t - j { r: i • t
\' ., L 1. .~ 1 f 1 _l
r , ,..
- _U

_]

J

.. " .,..~

-,

,

J

~

-

-

1 ,.

--~

•

.....

... ,-.

In exercise 2, try to use the left hand both to punctuate between phrases and to

accent or reinforce certain noteS_.QIJI'I' of the melodic line. --, .. -. - -----------_--_---.--------.

.. , •. ~ , r_ ~ ••. _.,_~_

'-

, .01..' ••

~ --.~. ~-. ---- .&~- ... --- .--.-~--~-. --- -

. ~ ~ . , ..

Exercise 2

-D m17

-': . G7

D mi 7,---~~---·- --

07

.... - '..... ....

'_r·~. .. ~ _~_...... _~ __ ..... ~ _... .

_~ : •• _ ... _. _.~.,!,,""'''' ... ~4 ......... · ... ··~ " ...... 10 ... · •• _

f\ - , ,....-...... ~_~. _~~~.~,~.:...- •••. ::":IIir..- ... ,
"""""'" .-_--- .'
I e .... --- "- .01" I( r- .... iU • tilt -- ...- ...... "-
r r ._ .. - ~ ~ .. - &l 1 t - _..- ,.... ,
f~ ~ \"J _. -. • r: J , 1 i I t • 'f- r- r:
, .. J l l' l I I I I I I
tJ . I _J , f ~
- . , " -
-
J:
:
~, I-Q.., )
tg \ '-<t-~ ,
~ t "'rr J ,I
~,. J _~~ - -- ,
- .2. T· ~ __.. 1 .. .. ..... ~ "\ _, ..... .... .... - ' - ....._ .. .._ .. - ...... ...._ ...._ ... t·
L , .. ... ... ... ...... ... ... - .... ...- - ... ... ... r' ... I,
\ - i_ •

,

..

Example 3 shO'NS extensive use of the left hand actually reinforcing every note of the melodic line. The only change occurs in tones in the left hand voicing as the chord itself changes •

Example 3

D mi7

G7

D mi7

G7

tl - • ...... • -
I L"'~ , ~ ~ -....
;I _.o& - _AI. .L".. 1 I \. • ~ .- L""'_ • '- • j
_L" F' - - f_ "- . ~ - ---- I ~ 6/ I _, • ~ ,.., ( , ,
-In "' '- j fA !_ 1 ! - __"",,;__ L _i r C _._ r r ! 1
_'- " IL 1 , r ... -, , I I 'J
I -.> - • ~ I
< I
- • ~ ......... - • • - -
, t*-" ~ ~ ... ~_ ..... .. fr·
, - $ $ ~ ... $
.. a-' --II" .... .... - 1':1 •
t ..c. ""-- • , __ '--- .~ ._ '.-. ..___ ~ ... -- \._ ' __ , .- .-_ __.___ -,.._ . ,
- ~. f~ .~ .- r ., - - :- ~r - ,._ ~ eJ - _( -- - ~ ,., , -1. '
I \.. 1 r 1 I - I , _£ 1 I I r i I ~ I r: U
\ .- I J f L J ! I , 1
I r t .' ,

In Exercise 3, try to irnply extensive use of the left hand rhythmically coinciding with each right hand melodic note to giVt! extremely strong emphasis to it._

Exercise 3

Dmi7

D mi7

~. . - - .. -

G7

G7

-

/1 r---
I - ....
~ ..- -- ~ L :--.. • ~ ~ ~ r: II -- ~ "'""- '\ 11
_I\_ [I • - -'- ~ - I - _..._. y _/ ~ i , r: &I • .- """_ . , If
I 1~ .l. r _I t ! 1 1 J ; -- -- r: J I ., t I , • -- .., r I
'-' J 1 I ~ I ! \ I ! I , I , I
~ 6 I I . I J I I
-
-
.. I
,-
I-e- -- ,-9-' t~) 1-0-' I
I
J-e- t -0- , _n-
I _.i.._.'-. ~ -- _I .-.
- .If" _f 1 - L -- ....__ .... """"-- - .tfA ~ ---c ....._ ~-~ .... Jill. JIll. .Jill. \ - ' .... ... .... ....
L \. - .... ...- or" """" ..... - .. ,. .. po ~ l/f/I"" r- or"" I
~ ,- • 1 ~ - --. .,

< '.

,., _~, + I ~_ ~ • ._ _

.. ,., ......

._"" •• ',.: - I

- .' .. , ... - - -._-,

-J_. _. _

~ .'. - .v

~ .t " ~ ,

•. 4·

1

- ,

-

- --~-- 1 24

-

•

III. p' '~'NIS-i"JC APPROACHES TO SOLOING

...

Lesson 7

---

The Single Note Linear'Solo

".~. _ .. ' __ ~ _ ~ -_ r"'~__ ._~. --~, - .... --

' ....... _. __ ..... ~ ... _ ... _ .... .. _. _. ....... ~ 4_.__~~ -· __ ·- .. r_,..

•

.

So far, we have seen a 'number 'of examples of the single note linear solo 'throughout

the first part of the book. This is probably the most common approach to improvisation on keyboards. Traditionally, in any medium, we are used to hearing a melody which is accompanied by harmony found undemeath it or in a lower register._So,_.1tjsJogical to hear the melody ormetodic improvisation pl\lyed by the right hand and accompanied by a chord (usually an inversion or a voicing of the chord) found underneath it. However, this same principle could be inverted as some pianists have done where the 'melody occurs as a bass melody and the riuht hand assurnes the responsibility for accompaniment. The

. following examples show both methods where the same exact material has simply been inverted and the melody occurs first in the right hand and then in the left hand ...

..

·1'---,··

-~

Example 1a

G mi7

C7

F 'Maj 7 .-- .

t

•

fJ ...... r- -r- ...L ;- ..... ~ l:'~ 1 " h._
.- I _...
T • .-: r··· .
I ~ -- - i 1 t ; : • u. ~_ • .i \ - 11
, '" ~t::
Ll. :....~ ~ - I j ._ , y--- '.J_ • ei I ~ u
t 1~ ~, . ~ _i , _l . '~ , I ,
'''' ./ 1 ,
~
V I ~ I
.
I
l..~~~ • •
I ~ ~ •
~7~ ~ -11"
_L""\,. --~ - .... . ~ l1li ~_. ~ _'- ~ ...
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The problem with left hand improvisation is simply this: because of the fact that the left hand is inverted in its physical structure from that of the right hand, a melodic con- , ception that lends itself to the right hand .is often awkward to execute on the left hand.

. .

Therefore" if the pianist wants to pursue. extensive use of the left hand in a melodic

capacity, he needs to devote a !~reat deal of time to practicing techniques that will allow the left hand to speak fluently as a 'solo VOiCI~, or develop almost an entirely separate conception for use in the left hand, or both .

_l

, I

_1

In the following exercise, try simply to create a pleasing melodic improvisation and a satisfying rhythmic accompaniment by the left hand. Use several different styles and play this exercise several times. It would be best to start out in the traditional jazz swing style trying to get a smooth swing feel or triplety feeling. Then try the same exampJe in bossa nova or the latin style, rock style, ballad style, and even convert it to 3/4 to play in

a jazz waltz style. •. , ·

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"xercise 1

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G m.i 7

C7

F Maj 7

~9 D7

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.... -- _--.~ Octa",'!! or Double Octav> Unisons

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:xample 1

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. -'1 G mi 7 •

~

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Pianists such as Oscar Peterson and Phineas Nevzbom, Jr. are known wideJy for

their use of double-octave or octave unisons in their sololnq approach. The challenge involved in this approach to soJc~ing is simply that both hands have to be equally fluent in executing the same idea and the harmony has to be introduced J!!_~_ "'fay that fits the

overall flow of the Improvisation, .. _.U~u~lIy, this involves interjecting a_tWo'-tt'a~~'a-chord . as punctuation of the 'double octave or octave unison line. The next example Illustrates

how this might take place. - -

C7

•

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F ?vIaj 7

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In exercise 1, try improvising a solo using octave or double octave unisons. Keep

the melodic ideas simple enough .that they can be easily executed. Also, allow plenty

of space between phrases to insert rhythmic punctuation which will also supply the harmony in the shape of a two hand voicing. Remember that, in this approach to

soloing, the melodic line and harrnonic accompaniment have to appear in an alternating fashion rather than simultaneously. The melodic line is created separately by both hands in unison and the harmony is interjected at different points as punctuation of that melodic line.

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Lesson 9

The Chord-Style Solo

-

Some pianists who are well_ known for their use of the chord stvle solo are Erroll Gamer, George Shearing, and Oscar Peterson. ln listening to these pianists, you will

find thal: they often use moving chords as a simultaneous harmonization of their melodic improvisation. This essurnes two basic forms. The first form consists of an octave unison melody with Chord tones filled in between the two octaves of the melody. Sometimes additional chord tones may-be added below the lower of the two octave melody lines. The first example shows the basic form of chord style solo.

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In exercise 1, a melodic line is supplied. T:,e student should pray tt-· < fine .n octaves and attempt to fill in chord tones between the two octaves. Sometimes L 'o"!se chord tones will occur as simply inversions of the same harrnonv, if- the melodvseern. "0 arpeggiate ' through the chord. Other times these chord tones will be simply pa~ing :':-:,:ale tones

that move through the scale of the hannony. In some instances,- they--may- be entirely chromatic motion that moves in exact parallel with the melody~---A1Lof_ these pcssi-

biJities work equallv 'M!I1. ,"

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In example 2, the second forrn of chord stvle solo is shown, In this secorvi form, the octave unison with the harmony filled in occurs in the right hand alone. ~rhd left hand supports the total sound with a typical voicing which is played in rhythmic unison as the right hand creates the melodic chord style improvisation.

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:xample 2

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As before, the inner tones between the octave unison melody are simply chord tones, passing tones or, in some cases, chromatic parallel motion consistent with the melody. I n exercise 2~ use the left handvoicines and the melodic tine supplied, fill ing in chord tones and harmonizing the motion of the right hand while keeping the left hand a repetitious rhythmic reinforcement of it.

;:: xercise 2

D mi.7

G7

C Maj 7

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IV.

CHORD PROGRESSIOl\IS FOR STUDY

9

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In this section of the book, several typical types of chord prcqressions will be .. studied and practiced. These are basic types of progressions that occur over and -,---.-,over in most music that has a jazz or jazz-rock orientation. A good understandinq _ of these types of progressions wjlll~~~d to overall fluencv and ease as an improvisor.

~n' dealing with practically any music, encountered. ' . '

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, Lesso n "0 ---" ~- -~- -' .. -,.----------- --- ..

The II-V-I Progression

There are many excellent Improvisation books on the market that help an improvisor deal with the II-V .. J progression. Some important authors of such materials are Jamey

, Aebersold, David Baker, and Jerry Coker. The, serious improvisor is encouraged to look. into 'all the materials available on the~ II-V ... I progression. In this lesson, a basic under .. 'standing of the II-V-I progression in both a major key and a minor key win be explained

and the pianist will be encouraged tOI practice this proqressiontn all keys. '-.- -,

~~xample 1 shows the chord voicings and scale forms for a I J .. V-I progression in a rna; ;;:' key. Notice that the three scales involved are actually all one scale: the major

sea : .')f the key. This is the first and most basic '-Afay of dealing with the II-V .. I progression as an improvisor. Play example 1 several times, applying principles studied in the first three sections of this book.

G7 (vl C ~taj 7 (I)
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In all the chord progressions for study in this section, a serious attempt should be made to give conscious thought to the application of the principles studied earlier in' the

. book.' Exercise 1 is a II-V-I progression in the kev of F. Notice that the left hand voicing.

, is in a different inversion but that the scales that accompany the progression are stil! .

basical1y all one scale, an F Major scale.

Now play the It·V-1 proqression in the key of G and then the key of B~ and 0, graduaJly adding more sharps and flats to the kev signature until you have moved through all keys. Try variations on the II-V,·I progression, either: in a major or a minor key, playing it in different styles and also stretching the progression out in length from four bars to eight bars, simply doubling the lenqth of the chords. At a slower tempo, it will probably' be condensed to two bars. At a faster tempo, each chord may last a measure or two measures, or even longer. Regardless, they will be in equivalent lengths to create a regular. two, four or eight bar phrase, generally speaking.

+cise 1

1 G mi 7 (II)

C7 (V)

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, Example ~ shows the 1,-\r .. 1 progression in a minor, key. Notice that tne ~\"Qn; - used in this c..;e is simply the harmonic minor scale of the key center. This scale adequately so.rnds -the' chord tones of each of the chords of the II·V-I progression

so that it is nctnecessarv to use any other scales. __ .. ' _ .. _ .. _. __ .. ._. . o_ "_ .'

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In exercise 2, improvise on the II-V-I progression in F minor, using the voicings and the scale form Indicated, Then, as before, transpose the progression to other minor keys, eventually piaY'ing it in all keys.

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In Vcrurne 'T;,vo, the improvisor will discover additional possibilities for scales that could he USt-'-; with either the 11 or the V chord in II-V·I progressions. For the time being, the rnr:.in thing to concentrate on is the feeling of the melodic line moving through each of the three chords and leading to the following chord in each case. To achieve this flow, it is not necessary to use three separate or distinct scale forms.

-1

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~xercise 2

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G mi 7 (rr.)

~9

C 7 (V)

F mi$ 7 (1)

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Fa ease and fluency of expression, the prarust must be equally comfortable In terms 'of harmonic understanding in aU major or minor keys since jazz progressions inevitably modulate thrc-ugh practically every key at some point. Therefore, it is a good idea not to delay in striving for complete key fluency with no mental blocks about some keys supposedly being hard. Such keys are simply unfamiliar to the player until they are practiced and played, and then they are, in actual fact, no harder than any other KI!y.

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'Lesson 11 ~lJeS Progressio~

In this lesson.jhree basic form; of bl_ues progressions witt be- shown., They are

as follows:' . .. . - . .,"" ..... ,.-. .... - ... _--. -.-.----------..

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1) the simple three chord I-IV·V blues progression

2) the typical swing era 1'1- V-I blues prc>9ression'

3) minor blues -- -.' ." . . , ., -~ ---- ...... ---.------- ----------- -.-.--~ '--' .

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. _ Exampla 1 shews the typical I-I'J-V blues progression. This is extremely common

in simple jazz forms and a g.~at d_eal of rock and ~)CP music, "

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_1 Example 2 shows a swing style blues progression typical of that played by musicians. -
in the 30's and 40's. However, this basic form of blues progression with variations and . ...
.. • .. .. .. .. .. • .
- - elaborations IS still played Widely today by musicians when plavinq In a Jazz style .

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Example 3 shows the typical minor blues wh-ic:h simply transposes or adjusts th:

farm of the swing style blues to the minor tonality. ---

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Example 4 shows the blues scale which could be used to improvise over any of the three forms of blues shown previously.

4

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root of the tonic chord) is used exclusively throughout the entire progression. It

will be found that this scale closelv fits ,all the chords in the blues progression with

only one or two dissonant notes. 'This accounts for its popularltv in usa over the

blues progression. Also the basic sound of the scale is actually bluesy and contributes to the feeling of a blues progression. This scale may be used over either major or minor blues and in practicing blues progressions, try using it accordingly.

In the exercises that follow, the scales shown are either mixolydian or dorian scales that accompany the chords of the proqressicn, The exception is the harmonic minor scale used over the last portion of the minor blues. This is the same principle that we SiNJ in playing over a II-V-I progression in a minor k~' since that is really what the last part of a minor blues is. Now pJay exercise 1, which is the simple three chord, ' .. JV .. V progression. Use either the blues scale of the key or the separate mixotydian scales indicated.

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1-3~

. In exercise 3, you. NiJl play on the minor blues progression. As before, you may either use ,the blues scat 1 of the key or the dorian scales indicated for the minor chords and the harmonic miner Ind icated for the II· V pr10Ql esslon. ~ .. ----~--~-'---- --_._'_-_._'.': ..

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. After playing all three forms of these blues progressions, transpose them to other keys and again try playing them at different tempos and in different styles such as rock, bossa nova and jazz Waltz. A blues that 'is played as a waltz usually is a 24 bar progression in which all the chords are simply doubled in length.

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lesson 12_

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CYcling ProgressifJnS ofPi~,,~~

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. " In this lessen you' will study- some typical progressions that cycle orproqress around .':"._ he cycle of fifths. Progressions of fifths are extremely common in jazz harmony and even ~ In rock and pop music because they are very $1:rong progressions. Therefore, if the pianist

is able to comfortably deal with' progressions which move around the cycle of fifths, he - ~ viiI be immediately prep~red to comfortably play many p~~'of'music at-sight. --.---.---.-,~-. ""

4 • - • ,,'. ~ ~." •• " !.~ •• ~ .. ,,"." ~=-,. _;::.~-: .,.":; ~~'r~ ,- - ~- ~,.., • ~, - ~ ~_ ,. • .. _ ',."~ ,......... .-- .... " -~ -- .. -.....-- .. ~." ... -""'"- ----..,_-.._.~,-:~ _.'''":' ~ . __ ... ~.,.

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Exercise 1 is a continuous unbroken cycle of dominant 7ths progressing downward n fifths. It should be. easy to see that in practicing this exercise, the improvisor will be

.,xepared to deal with any portion of it that rnav occur in chord progressions. All the scales used are mixolydian scales and the voic'ings used are simple inversions built either on the 3rd or the 7th of the chord. ~ before, exercise 1 rnav be played at different tempos and in different styles. The variations possible are infinite and only limited by

-the improvisor's imagination. -_ , _. __

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- ,~" , .Exerclse 2 is a continuous cycling progression of fifths with alt« ,;o-natjng -minor and dominant chords.. Notice that this exercise is in two parts so that th,-~ alternatinq minor and dominant chords occur in all keys. As before, the left hand voic .'gs are simple shells built on the 3rd or the 7th and the scale for improvisation is the same for each minor 7th

, and the dominant 7th that. fotlows it. This is typical of the I J·V·I progression studied

.. ' _. previously. In this case, only the II and V chords are occurring. _ .. , ,-

: 2a . ' , .. " _. ,_ , . . -- -- --

1-35

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-- , ........._ 110 TV I '- ~ ·V ~ r- ~a ,. ..
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of -

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E ml 7· . , . A 7 - . D ml?
G 7 '- ....... - .. , . . ' .. .-
...
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...... r ~ . .' n
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JI -. D .... 7f,...... .... -u ..-
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.
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,
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... . . -- · ........... . .. '0' .. .'
, . 0- ... .~ ., . . • H • . . ..... , ........... . ........ ....
.-- ..... -: ..... "'_ ... f .......... 4_~ ~ ........... , -'_'~ ... - .. . -.- -~ . ._ ._ .. " .
· ....... ~,... I ~ _" -, .' ._ .. _. + ~ .~ ••.• .... ~ ... _ .......
.- .. ..".,. ..... '-n .. ... " ~,. _. . · ·":.411 .~ . , , ~-~ .•... ~ , . _. ' . . ~
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I

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. _- ' .. ""

, '4,_,

.. r .•• # _ .... ' ..... ~., _

_oJ ...•• _

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• ~~~;:~?/ .. lAf, ··t-.·.,~~ti.:.~ ... ~t"t~~.l·.~.:jij~<n~·":.· ... ~'!--:,t1~.'·.,.:,,-·a~·:~ii'/ ..• ~~;-.:;.}'~},,:~*~')~.~.~ .. ill'i.~t'J~·'.'io·.r:.:·; i '

'. . '. .. '. -.~~~;.n."K«,,~:~~~,~ .. ,. .. J.. .. k-'~,J·~.'~(."'I,.F'"'.Ll~:.;.'~,r~........ ., ~!:('::! .. iJ. ... ~"::' r..:..;:..~ I

, .' _ - r : ,'. '" .-. _ _ --"--.oP\.~ .. ,~..,.~~ .. ,. ~~ ... ~w, .. ~~

-' ,. "'" , .... ,' - .. ~

• • '"..' , - c' ,_. ,-, - "-"', .' _'" • - _ _. -. ' ,_'; !tf.i~ "IrA;

---.-::..:]I"~ ...... ~!...--~ __ -_: __ •

. ' Exercise 3 is still another slight variation of a cycJing proqression using a poruou u,

a J '-V ... I. In this case, the alternate qualities of chords are dominant to major creating a succession of V-I progressions. As before, tnls progressiof":l-rs divided into two sections

so that the dominant and major chords will occur in all keys. Notice that the scale used for improvisation is the same for oo.~tt~he dominant 7th and the maier chord that follows.

. , .... '~ - ~ .~ - --. - ~ - ..... - .. ,~

--.~ . ' .. ...-- ....... _ ~-

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

A 0 C Maj7 ~~- . .:.-~:~ F7 -.-_----. B~Ma~7 lJ ~j~--.

----------~--~£o~~~---r-------,~~~~.-----------r--------------A~~~~~y~-,--------~~~~v~~--------

11 ... () 1.:_ D ...

--- ~ .. -

G7

L D v

a -

---- ....... _.

A. a ....

4.~~ ~_r ... _.~_.

-- ~ ". -_ ......... --

., ···- ... m ... p..,....... ..... .,4li.r

b

,

D,7

G b Maj 7 .

, , ... D <II
Jot.- PO 1.._ 70 --- H I ~~.~ ~ ., a I
. -
, J.. .... Q- .. " . , ~- -(1' .--- ~=; ~ 2Z1 ~ 2Q . i~
- ~ ..... \II) - ,9 ~z:t
L .... D '# I
" .... flO r- ....
_")_ b--e- ~b~ ~b~
· .a... ~
C\_ n - -
- "" I
!
j E Maj7

A7

D Ma] 7

+R..

J

C7

F Maj7

a - I ... (J I
... o v - '0 . 'V'l"') .... - ;;a
o .... ........ -0' ..... \.,._ ~l ... I ~- 0 ."
- .J .. ..- _ JtJ --
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•
.. -
- .. . •
. . .
.
~ -e- ..e-
b:g: Jl: ]L A
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} B ¥..aj 7

..

F~'7

b b

I _A '0 4- ._ ~ t,4'+ .!L
-
~~ ... .~ ~ ~- 'J -r~ . .t -, ?f .,.. ...
1 !'-. () -,- 1 - () ..-- , J,,(J r _ -"0 ~ ...
lit:) - ""-_ 7'0 r'I C. iI '" -;.Q: ...- .,
r ;.._ (} -,- ~ .,.
70 ..-v .
.. ,
-
.
_o_ b~~ , .
-e- J~ $--&-
! 0 - ~ - .. ~ 'r C'\
-.r ~ n -;;;;. ~
e ~ - E7

-"AMaj7

G ?'-1aj 7 .- . .:

I ... t . ., ... - I_ (J
- • .- a " - 0 ~ A (} .,. ..... ~
za v- .. W --v .... t'J v .. .7]'
~ I~ a - f5 - " .. t'1 ... D --
-
.... UJ ff"'# - ~ \I V
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- '.
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-,- ..
- .......... - ...

,.

- . ._~.- .. ---.------.--..:_

----_

--~.--- ----_

-- ._---..,._-------..-'

37

I ..

-

-

-

--

-,

I

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--

-

j

~.
:::1: I
--J ' -, I
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t ' _, I
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t.

1-37

E, rcise 4 is a continuous cycJe of minor 7th chords. This kind of progression is less lik l to occur than the previous progressions. but is excellent for practice in that it allov.. the pianist to practice voic:ings and chord for ttlS for minor 7ths in all keys. ~ .,

F mi - - .. - .. ,-~-~,~- .. .: --'""-.-."_':-'~ - . B ~ ml 7

~_. G __ Dn __ i __ 7 __ . __ ~~~~~~-~L- __ -r----C_' __ ~~~1r-7~'_.MD·--~-'_~ __ '_~ __ ~. 7_'-· __ -_·-_·_-_-~_;~~a-r·-~·~~·., .. -----·---··--~I~~W~r-~~~D-b-~---~--lj

-r-~..---"'""h.-- --'a~--~ -I) -1 k.-. a --. "'_-a rtf' _l

•

-lse 4

)

" ..... a_ • .., - 7!l ...--- --........ I

_ ~ - J

C#m17

F $rni 7

\ , , .. bo_ b ... • ... t, $+- .D. - .~ ~-
- -,g , ~_ IfII:1 - .. #t"I. . a ,..... r ill ..... o .,- I
_- 1 '"'- ... o .. 1 l... .... 7U---- W" ... ~ ,. ....
j
\,..... "XJ -- Un - ~ ,_ ~' .., j
~ u ... - ~ ..- ,
- !
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• I
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I
bb--e- I
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f --e- r
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.... , rI~

-,

-

-

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-

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-

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-

". B mi7

E mi7

A mi7-"

D mi7

.,

j-

-

. ~

~

.. ....Q.

s : Moo .... ~
1.. a~ l_ -'" o ... o ~ .... ! j
.. """ ..., _ }.V; .. ... 0 ... ... Q_ .... 1 j
1. -." • .... " ., ~ ... ... :J w- , .
r .... -:.0 -- 11 ,.,. , I
__ "T S WI'
, .
t~ 0 ,~ - I
- n .:') .;:;;. I
--- - -- l
- - t"" TI .~
1 rse5

Exercise 5 is similar to Exercise 4 in that the cycling progression moves through all major keys with an unbroken cycle of major 7th chords. Again, this is not typical of most chord progressions, but vlin prove to be excellent for practice.

G Maj7

C 1{aj 7

F Maj 7

b.a..

I- f) ~- (J - ...
.... . .... n
- o T .... U.,,- 7Y -" 'V't -...- 1
r~ - ,., - ,., ... ....... 0 .... L. ,,- -,,- 1
.
__1L _A_ D -- "" o -,---- "."
- 2
. - - .
- $£ -e- e- I
-e- e- :S:
7l "7"\ --
- .....
- -- j
-. I
1
I

AP 1rtaj 7

D~ 1faj 7

I I {) .. . I Abo
"" "YJ ;., _ J~ v --- • -.... 70 -..-- !
, ""-A Q ! ~- 7'j' "TV ___,.. _.~ ,- .... y.a .. .., ~
-- _ tlD .. " \}fJ----"---' ... _ 'JO ,-- ... _ 77) "ff"7 J
_;,_,_ 0 - I ,.__ D , .... ......
.- iI:J .....
I
-
0 ~-e- ~-9 .. ~~%
:It: •
-
-e- -e-
n n - -
- - B NIaj 7

E Maj7

D Maj7

.A Ma] 7

JA. t? ~+ .JL S .. it'? ..-
_._ If,. 0"--- ~,. 0 ~ _..._ o~ "-
__ ~(J y; ... --..n '1'- -~ -.- --- _J.Q ...
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•

. -

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-... ...., " '

..... ~ , ... ~. ~ .. ~ .. ---.-~-

Lesson 13

-- - -~_ r __ ... :" .-: •• '"":":" • ~ ~.-,-. -~~.~- .... ~._ • _" ..... __ - ~, ,,- .-

.. ~ -.~ . - _ . ....;.: --.:~.'~:--- ....... -~ .. - .~ ... ~;_~ ~..:.- ,~~ - - ~

.. _r .•. "'r. _. ~_ ..... __ ~ .... _- -.-----.---~--~-

, .....

., --. -- . p . . ------,_.,--

Chrornattc r%!esslOflS '--',-'.--~-'-'-'-'_-'-, ~~ ,.' -, -,. .... _ ..

-...

• • _ ............. r • •

+~ ... _. _. -- .... ~ - - -- - - ~ ~

.. ~.-,. ~ .. -~ ....... ~.- ..... _--- ~ ..... _-

...

-' ,

The exercises in this lesson' are Sil1ilply a series of progression.~.whicb..·_:move..th·rc)ugh ,_o •• all keys,- butby chromatic step-wise-motion rather, than moving around.tbeclrcle of fi fths. , The first three exercises involve a singlt! chord type movinq chromatically downward, as this would be the most common 'type of chromatic progression. The succeeding exercises combine dominant and major or minor and dominant in typical types of chromatic

..

prcqressrons.

Exercise 1 involves a 'chromatic progression of dominant 7ths. -- Each scale presented

is a mixolydian scale and the voicings are built on the 3rd of the chord. -

..

! 1

G7

F7

·E7

- .. .. ,-!:to
0 I 1 -
-- -
... a - t I...- VO .- ,... .,0 '" .. Q
~ .... D .... I ~- ~--- ........ o .... - ~ .., I
-{'f - it. _ '77J -y-y - L) ..... -.L ---._ 0 -.. ,
,
- -. .. a .. J ~
...
.n. ,. ~:S: I...Q..
' -&-'
_c_ ~~
-rr \,1 Tr - 'A
- ~ ; ~
I 0
f}
l.
C7

D7

0 - -
-
- '~ 13 _A_ I l.._ -- 7f ..,-
I ;..__ 1J .. -- 0 - I !..- 'I'D .. .., ?Y Oil" J
_...._ ~ .. - ~ ... ,,-- --v ~ ... "'0 ..... I
,",,--- a_ ... ... ~a 1 ... ~ a .. -
;
--, (J -v-
- '-'0 .....
0
- .
b:& b~~ .
~, b*
-e-
_O_ ., -- ,. -- J
.-- "! - f""'t
!
J
- B7

b b

A7

I

A'7

~A t.., .. I - ~ .- ~- " + , ,~ 4-
...
Il ".A o r ... o'U ~ ... o r: ........ -'7 d
___ ~IJ ~- !... ... 0 -v ..... _1) ., I .. _ - ~ ...---- oj
- -,-- D ..., In ·v
. '
-
,
-
$~ . , Lq~
c, .~ n
- .. --- [-) _!7 (T
'" .- \, - "-
__'I_ - .. -- -::. c') :::: n
I ', ,

r-'

,. '

, .. , ~.-

- 'r

.-

• ". ~. I, ,~.:.

~- .. ""'.

. . -

• ~- . .,.'.... •• .- .•• , -,. r",· 'r ~ -

~ ... ~'.~.-~ ... _- ..

'. ., , ,~ ~ ... ,

_,

. ... . . ~

.: .

. t. . ~ . r ... ,,_.

-, '

, ~ .' " .

... -,

", ...

" .

~-

-

-

-

-

-,

_,

-

-

-

_,

-

_,

-

....__.._-

-

-

-

-

-

o::J _

•

•

Exe.tcise 2 invotves al chromatic peT't·, O'8S$Ql of minor 7ths.. The 'CI1es used fer

- i~tion are dorian~;caIes.. . _. -::- ~~- .~,,-, __ .- _ .

1-3f

• Exercise 2
_ l fJ G m17
•
( P" --- D --
J L ~ k..-. lJ --
l~ , ... .... 1l_ .. --
-l '"\.-... _, ....
e) . .- I - ... - ~ . a _

F"m17

F mi 7·-- _'--'-, ._--- --- . ---, .. E ml 7 .

l

:

D

-"'.1_ '-

t J...... 11 --

_.xu -

... ..

'.

...

.

, .• + ~ - "_

-,' '. _._ -" ---: --- -- -;----

: ,.~. ~

-._ -_.-,-------~.-'.-------, ... -

$ ~ -~'_- - _ - , _. - .-~,_-"'.-.~.- ..

.. - £,_"

~_ "tS"'

~ ,

- :":'._.-- ........ - .

-

-

-

.. -

D I:o.i 7

C mi7

11 , _t, tn _J. ~ - _!t ... -
} ....
~, 'I_ ;_ 7U .... ..L • t1r w
,. I ..._ Q .. --- Q -- }.Q r tl v
,
_I~ ~ '!'V_ -- - o
-'- -.. J '-- Cl_ • A 17 ...
~ -..-- . Q --
" •
"
) ~:& .
-&- ". .. , ,%
-e- } (~
, I --- '-. '
1.. ,. !to - _. _" t
, ... Y. - -'~ _2_ _(::l
J
, --
_, - -
\. - - l

..g, ml 7

A mi7

A~mi7

Bm17

" _ l_ ... ~ .JZ.. Q. ... ~A 12 .. ~ -~ ..
~. ~ •
r L () .,.- -- ar , ...... .,0 - ,
T ...._ loa_ v ...._ 'J - .. ~ - t ......... 'V • i,
f' ~ - .. -- SJ - r;}It1 .. !
, ... .J l.
.v j I
, ,
I -- . ;
1
t~ L.5?" _O f~ 0
t::,. - .. -- n i_ ..i..l
- I. - io.. ...- I
", L - .. - --'::1 ~ '0
~ -- -

"

-1

-kercise'3

4

-,~,.

Exercise 3 is a chromatic progression of major 7ths.. The scaies used are major scales. -

. GP_Maj 7

FMaj1

E Maj7

G Maj7

!J ,- ~- I !~ --
1 , fl- . ~~p;~ 1"!L _Q - "- ,,-- Q I
-
j _r L~_ 0 "'" .I......_ -Q_ - I!. :.riJ Y-
or, r\ " a ... _1ot_.._)!Q_ , ('J_ -- .J... ~-- 'J
) :~." _v: ... ...- s; .. ..._ .itI!:l_ _r-
tJ ."
_
, o .Q.. ,~SJ_ -e- ~
-e- j,~ ~ :II: .. ._ i'~ .-
"'lr ....
..-.
c "". --- ~ (")
... ft. .r--. ~
_,I_ _I._
- ,-_,i

E~ Maj 7

D Maj7

C :Maj 7

:h

!;o !

~

7rJ \1

lrr.~~n---------------~~------------ _r~~--------------~~--------------~

•

- • 't~ ... 0'

r· '

rr

B 'M.aj 7

A Maj7

f

AtJ Maj7

B Maj7'

'.fj .. " 1_ t" t ... 1L , ....
... .... ~ ........ . ..... _.. ... _SA 1a ...
f ~ a I ft f1
J r- i '-A. o !" - ~a ~ .... 1J.__r .ft.... -~
l r ;,0 r I.. [] - .A< JJ] - , ~. tJ .. -
1..J1" n. 1# ...... !1 .- ::;lI[J ._
"-" ./
·ttJ o.
I J,~ . • ,,"+ • ~
..." t~ 4·... ... ..... .
, .. ,.. ..... : .. _~~ L" ••• _ •• tJ~ to _. _ ~+ . .
• ....... -4 __ •. , •. j .. ..
"~.~.~'fI4R' ............. ~... ...... .......... ... . " . . - o_ . ..... •. -9-- '. ~ ........ . . " ;0 .
1 -0
iL "-. 'l. (_~ O_ J - -
~ A~ y - .!f_ - -
I~ I -- -- _l._ n (:-1
~ ..- -

_ '. L ..

.. ... .. + ~ ._

-

...

..j

, .1

-

...

..

......

I

•

·

, i I

.. • -

...

'; •

t.

I

I

I

I

i I

"

•

.. ' ,,,,_, ..... ,

- ... ~-

,.

.... " .. ~ - ~~ ' •• '''\w.".,. "-..

40

Exercise 4 is an alternating progr;~jon of min()r and dominant 7tt.·; This progression is a substitute for the II-V progression~.--The dominant 7th is a half step L:.:..Iow the minor 7th, rather than a 5th below." ._ ..

•

~ise 4a

,.. .__ _ " ....... ~ __ ~ _ ., __ , ~_" ~. __ , __ ~_. _--:'"._. _. ~. -_. ~ , __ .. , __ r

G mi7

E7

- _l,o_
T -, a. o , ,~ t -
¥ Q '''''- I J.vl 7iJ --.--- A ;1C} -- ... .A (,J_ I
-
r. 1. ... t') -- t ..:~ 9U .. I 1- o - AD I
- .. - [J ".., ... W1 --- ... 00 ... - .. ~A 15 --. j
- _., ... a ... A. ~a e=
_., .. ----~-._ ... ..
- .. _ •• _ ....... r ... - w ~ .... _~,._ ,~ __ ,. r ~ __ ~ ~ "-_. _ ..... r"
-- - ..... _- ..... - -- .. , . . _ ,--_. -"+-.~ ~-- ... . --~ .. .~~:~...1.~"'Io.
- ..... - -- ~- .. ~ - ~-- -·.u-:'.',~" .":~- "'.~;r;;:;! ... -. -::-~J ..,..;_ .... ...,...,\~,1I.I'\'~-t\..
- ~b:s:
b! ;~ J_g_
b' a l. - A
- ._
.- - :;. C"t
II
1.. I
I cl mi7

b

C7

D7

1- ~ $..- A. ~ ...
- + -
, Q
.. l;, Q i
_ \10 '. ... ~ .... .) .- -
-- -_. __ .. - • \..- 0""'" _ a. - .p(1 ,,- A .. v i
" .... "" JIG .... - . ~ .... (J -v-
_._ .
, "' .... ~ ...... .. :';'0
w --,. . ... -~
- o !
I
!
- I
bO ..g.. # o I
,0 j
,3:£ -eo- '"(5"' ,7"'
v (') # .... 1
., - [''\ 7'"'\
•
•
. B mi7

A .. ,.,

.:'1 ml ,

"h ~_ .... t .., ..- II_ I"! + A Po ..
- I
.. ... Dr _'VtT ... I} '~ __ ,I(} .. ,
-"" :t.-j ... "' ... -?Y --. _ Q ... I ""_ -~ .......
I
- - ... Q - riO ... r
,
I
.
- t~ t.~ .b 0
0-
• ~ -- _n --., C't
• -
-- - r-. ("\
I ise 4b

F$ mi7

F7

G7-

- I .. b" + .... 0 J" ,
A
, J,.__ "'0 ... . I') .., • ;1'\ v~ ,J">. _~V, I
L_ ... J ... trJ ..----~ ... I') -... ... ::..0 r- ""l ... v ~
\.. 00 ... , - J ... -t_ # ... o " - lJ ...... J
],0 ~ ':J ~

- ~b~.
0 1~~ '"
- ,~~
..Q.
~ - -{}0- r t) -e-
..e- n -- -
...... -
,,. -
•

- E mi7

~7

. D mi 7

rf7

_ • - 0 fJ ~~ j ... 1 ~
_ llJ v , .__ 0 -., I .It'] ...
...
.. ... o or ryn ..- ... a ... L_ 7;'5 ..-...,
__..._ .0 .., .~~ ..., -v - V TIl' -, "'_ .'J ~
- "-'" 0 , Vo "w
1:8: ;~ :S: •
- ~,::
4-
-Q-
n C\ --
-
- .....,. C mi7

B~ mi 7

,

p

A7

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[ rcise 5 is an alternating progression of dominent and major 7ths. This prognrssion

is a sur..titure for the V .. I progression .... -The major 7th is preceded-by a dominant 7th a .-

half .. stfV above rather than a 5th above •. -

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As before, the student is enC6lJraijed to practice these exercises with a variety of treatments, using both different tempos and different styles. Also, as before, any of these progressions may be stretched in length, doubling Of quadrupling the length of each chord. In actual practice, the progressions may be extended or squeezed to any size. A.s they are presented here, they are regular and of an average chord duration.

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It wiJf be found that different portions of Section IV would be a valuable part of the daily practice routine. Possiblv. a different exercise might be included in the practice session each day with a regular repetition of this cycle when all the exercises have beer: completed. Serious practice in this section will lead to ease and fluency in all keys and, most important, the ability to improvise on many chord progressions at sight.

..

After gaining a good undemanding of: the concepts presented in this book, the student is encouraged to examine Volume Two in the series. SUbjects covered in that book include the development of melodies, further use of the left hand, basic scale choices for improvisation, rhythmic conception, and different treatments of the II-V-I progression.

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