of theory to take a guess at the chord type (especially when they have the root and a note from

the voicing),
and then check that against the recording.
When transcribing solos, start the same way (transcribe the tune or head first) and then progress down the list:
Sing along with music until the melodic lines are internalized.
Time signature what is the time signature?
Form what is the form of the piece? Blues, AABA, Rhythm Changes, etc.
Roots what are the roots of the chords? The first note of each bar is often the root of the chord for that bar,
especially during the initial presentation of the melody.
Chords once the roots are established, listen for the chords, often the top note of the voicing is most easily
heard. From there, the inner voices might become more apparent. The student can also use their knowledge
of theory to take a guess at the chord type (especially when they have the root and a note from the voicing),
and then check that against the recording.
Notes start with picking out single and longer notes placing them in the form.
Patterns are there patterns such as a scale in thirds, scales, scale triads or sevenths, 1, 2, 3, 5 being played?
Licks does the player use particular recurring musical ideas (or rhythms) throughout the solo?
Phrases - are there recurring phrases, where do they start in the bar, are they longer or shorter?
Notation or not? if necessary, start the transcribing process with just noteheads, solid for faster notes and
circles for longer notes. Add the rhythm in later, but be sure to add the rhythm in eventually.
Articulation slurs, accents, staccato, etc.
Nuances effects like false/alternate fingerings, time variations, scoops, slides, growls, ghosted notes, etc.)

Hints and Suggestions

Computers and slow down apps make it easier to figure out faster, more complex licks. Resources that were
unavailable at one time, or if available, very expensive, can now be downloaded onto phones for free or very
inexpensively. IHearit is a very good and reasonably priced slow down app developed by the Saskatchewan
born saxophonist Trent Reschny.
If at first a particular lick is eluding successful transcription, get the first note, maybe the last note and move
on. Come back later, try to find the second note of the idea, or a longer note in the middle of the lick, or a
note that is more present in the recording. Can the student use their knowledge of theory to help them
guess at the missing notes. This is also where the previously mentioned slow down apps come in handy.
In some cases the rhythms of some licks may be very challenging to notate. It may be helpful to just use dots
to notate the pitches and figure the rhythm out later.
The entire solo does not have to be transcribed in order at first. It will probably be easier to start with single
notes, and move on to licks and phrases. The form should be laid before the transcription is started so the
fragments of the solo can be put into the right place in the solo.
Play a section of the solo for a class; a note or lick that sounds good and is accessible for the group
everyone sings that lick or note. Sing the note play the note. Can be done individually, in pairs or groups, or
with the entire band.
Given the right start and encouragement, students will probably surprise the first time transcription teacher
with how good they are at transcribing.
There are many, many transcriptions available for free and for purchase on the internet, there are many books
of transcriptions available as well. Though still valuable for study and practice, it is far more valuable to do the
transcribing oneself.

36

Jazz Theory

 In a large class setting it might be helpful to start with just the melody (or a portion of the melody) at first.
Play the melody over a few times and ask the students to sing the melody. Come back to the start and sing
the first phrase of the melody. Then play the first note, add the second and so on. It may be necessary to go
back to singing the melody to refresh, especially if the students start to mix their ears up with a number of
wrong notes.

Jazz Theory keyboard

Tritone Substitution
Understanding tritone substitution is not listed as a requirement in the Saskatchewan Instrumental Jazz
Curriculum, but occurs often enough in standard jazz literature to be included in this booklet. If only so that
teachers can help their students understand what is happening if a tritone substitution is present in the music.
Tritone substitution occurs with dominant 7th chords and it works for several reasons. Consider the II-V-I
progression Fmin7 Bb7 EbMaj7. Replacing the Bb7 chord with a dominant 7th chord a tritone away would
mean inserting an E7 chord. Replacing the Bb7 chord with an E7 chord still gives the chord progression a
strong root motion II-bII-I. Chromatic motion of the roots is very strong (our ears like it), almost as much as the
movement in fourths of the original progression. Another reason tritone substitution works so well is because
the guide tones for the two chords (Bb7 and E7) are the same - but reversed in position. In a Bb7 chord the guide
tones are D and Ab (3 7) and for E7 the guide tones are D - G# (or Ab) (7 - 3). In most cases the scale for the
tritone substitution chord is not going to be in mixolydian mode from major. Better choices may include the
fourth mode of harmonic minor (giving a flat 9, natural 11 and flat 13) or a half/whole diminished scale from the
root giving flat 9, sharp 9, sharp 11, natural 13.
Tritone substitution can also occur during a series of II-V chords. There may be a progression of chords: Fmin7
Bb7, Ebmin7 Ab7, Dbmin7 Gb7, II-Vs moving downward by steps. An arranger, rhythm section or soloist may
chose to substitute by a tritone all the dominant chords in the progression to create a chromatic bass line. With
the triton substitution chords the progression is now: Fmin7 E7, Ebmin7 D7, Dbmin7 - C7.
Guide tones

7
3

3
7

IImin7 V7

7
3

IMaj7

7
3

3
7

IImin7 bII7

7
3

IMaj7

Possible scale choices for the tritone substitution dominant chord.

Both these scales keep the scale closer to the original key of Eb Major than would an E mixolydian scale.

Jazz Theory

37

Remember that scale choices are often dictated by the melody notes occurring during the time of the chord.
Tritone
Substitution
in a seriesIImin7
of II-VbII7
chords IMaj7
IImin7
V7
IMaj7
Bb7*

Ab7*

Gb7*

E7*

D7*

C7*

IImin7 V7
IImin7 V7

IImin7 V7

IImin7 V7

IImin7 bII7

IImin7 bII7

IImin7 bII7

Guide Tones
Guide tones are the more important notes of a chord. Guide tones are the notes that give a chord a particular
quality (major, minor, dominant, etc.). These notes are generally the third and seventh notes of a chord but in
some cases can be the fourth or sixth. Guide tones are not the root and fifth of the chord, the answer often
given by young jazz students, who usually start with the assumption that the note named in the chord would be
important (it is, it is just not a guide tone). In the examples below, the root and fifth of all six chords are the same
each time. The other two notes (typically the 3rd and 7th) may be different than the notes first chord (GMaj7).
These are the guide tones and when the guide tones change, so does the sound and function of the chord, even
thought the root and fifth stay the same. This is why these notes are important to improvisers, they help the
soloist make the changes (chord progression).
The guide tones in a series of chords; the root and fifth remain the same, the guide tones change.

7 - F#
3 - B

7 - F
3 - Bb

7 - F
3 - B

7 - F
4 - C

6-E
3-B

6-E
3 - Bb

The guide tones in a II-V-I

7 - Bb
3 - Eb

38

3-A
7 - Eb

7 - A
3 - D

7 - Bb
3 - Eb

3-A
7 - Eb

7-A
3-D

Jazz Theory

The guide tones in a Blues

7 - Ab
3 - D

3-G
7 - Db

7 - A
3 - Eb

7 - Ab
3 - D

3-G
7 - Db

7-A
3 - Eb

What Scale Form to Play on Dominant Seven Chords?

Four simple steps.
1. Know the key of the song.
2. On I7, II7, and V7 play major from intended tonic (mixolydian). Gives extensions 9, 11,13).
3. On IV7 and all dominant seven chords with non-scale tone roots (#II7, #III7, IV7, bV7, #VI7, and bVII7) play
melodic minor from chord fifth (4th mode of melodic minor). Gives extensions 9, #11, 13.
4. On III7, VI7, and VII7 play harmonic minor from Intended Tonic (5th mode of Harmonic minor). Gives
extensions b9, 11, b13.
If necessary to adjust the scale for a note in the melody of the song, use melodic minor from intended tonic
(5th mode of melodic minor). Gives extensions 9, 11, b13.
For clarity, the following is the above rules stated in F major.
1. The key of the song is F major:
Remember, starting from F chromatically there are twelve possible dominant chords shown below. Only
one, C7, is actually from the key of F major (see scale sevenths).
I7 b bII7 II7 #II7 III7 IV7 #IV7 (bV7) V7 bVI7 VI7
bVII7 VII7
F7
Gb7 G7 G#7 A7 Bb7
B7
C7 Db7 D7
Eb7 E7
2. On F7, G7, and C7 play Major from intended tonic (mixolydian).
These will have the following extensions: 9, 11, 13
3. On Bb7 and all dominant seven chords with non-scale tone roots (F#7, G#7, Bb7, B7, Db7, Eb7) play melodic
minor from chord fifth (4th mode of melodic minor).
These will give the extensions: 9, #11, 13
4. On A7, D7, E7 play harmonic minor from Intended Tonic (5th mode of harmonic minor).
This will give the extensions: b9, 11, b13.
If necessary to adjust for a note in the melody use melodic minor from intended tonic (5th mode of
melodic minor). This will give the extensions: 9, 11, b13.

Jazz Theory

39

The rules above always give way to the melody of the tune. The chord and the extensions must match the
melody. Sometimes for a young improviser, it is difficult to think of the above rules on the spur of the moment
and they are not yet hearing the changes clearly. The soloist has the changes, the challenge then is to figure out
the notes in between the notes of the seven chord (9,11,13 or 2,4,6). In a pinch, while the notes of the seventh
chord may not be changed, fill in the spaces between the chord tones with notes from the key of the song. You
will find that most often the scales arrived at this way will match the rules given above. There is an example
below of a D7 chord in the key of F. There are the chord tones (D, F#, A, C) which are given. Fill in the 2, 4, 6 with
notes from the key signature which are E, G and Bb. Which gives 9, 11, b13 the same as the fifth mode of melodic
minor.

40

Jazz Theory

Jazz Articulations

Jazz Theory

41

Bibliography
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html

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