Beruflich Dokumente
Kultur Dokumente
We should pay more attention to the way we end tunes! It’s important to
consistently end our interpretations of jazz standards in a way that
provides a satisfying sense of rhythmic, melodic, and harmonic closure. A
well-constructed ending should always fit well with the overall musical
mood and character of the song in question.
With this in mind, I want to address six of the most common ways to end
a jazz standard that every jazz musician should know. Practice these
endings in all 12 keys, and try rehearsing them with other musicians
during a rehearsal or jam session so you can get used to how they work.
The most important factor in pulling of these endings is communication,
so it’s important to practice quickly, subtly, and efficiently explain to
everyone which ending you want to use, and then get some practicing
cuing the endings and cutting off chords cleanly. Of course there are
innumerable appropriate and compelling to end the performance of a jazz
standard, but here are a few essential endings to get you started:
A lot of jazz standards end with the root of the tonic I chord in the
melody, and you can hit that note and then quickly pivot away to a major
7th or 9th or the #11 to avoid having the “crunchy” sound that results from
having a major 7 in the piano or guitar voicing clashing with a root played
by a melodic instrument (often a minor 9th above). Or, you can simply skip
playing the root when the final chord arrives and simply jump onto a note
from the chord’s extension (such as a major 7th, 9th, 13th or the #11). Here’s
an example using the last few bars of “All the Things You Are”:
Further, by making it a bII maj7 (#11), you have a rich and colorful chord
with another important common tone (the #11 of bII is the same pitch as
the natural 5 of the I chord). Since some tunes melodically end on the 5th
of the I chord, and the #11 of the bII is the same note as the 5th of the I
chord, this ending also works great on tunes which melodically end on the
5th of the I chord. Finally, since the 3rd of bII maj7 is the same as the 7th of a
V7 chord, you get a satisfying sense of harmonic resolution of you resolve
a bII maj7 into a I chord because the 3rd of the bII voice leads convincingly
down a half-step to the 3rd of the I chord.