The first and only complete guide to

JAZZ IMPROVISATION
by America's leading jazz piano teacher
JOHN MEHEGAN
Instructor in Jazz Music, Juilliard School of Music and
Teachers College Columbia Universitv; Jazz Critic, New York
Herald Tribune.

Preface by LEONARD BERNSTEIN

This is the first comprehensive book to codify and delineate the elusive
procedure known as jazz improvisation. Popular piano methods are completely outmoded in terms of modern music. Most of these
methods are based on antiquated concepts ... have no relation to the realities of piano as it is played todav. The basic materials of
John Mohegan's timely and much-needed book, however, are adaptable to all jazz styles. The text-which runs 208 pages in II
large 8112 xvl l format-includes figured basses and instructions for improvising on over 60 jazz favorites such as "Laura," "Body
and Soul," "Spring is. Here," "No Moon at An," "Stella by Starlight," "Autumn in New York," "Round Midnight," "Pick Yourself
Up," "[eepers Creepers," etc. by leading composers such as Gershwin, Richard Rodgers, ColePorter, Duke Ellington, Jerome Kern,
and many more.
rohn Mehegan's list of students over the past twelve years comprises professionals, aspiring professionals, teachers, dedicated
amateurs, and Sunday pianists. It would cost hundreds of dollars to study the material in this book personally with John Mehegan,
but JAZZ IMPRO\'ISATION makes all the information available for about the price of only one lesson. The book is handsomely
bound in cloth, with a concealed spiral to lie flat on the piano. .
What Others say: "A highly important and valuable publication.t-i-Lsoxxnn BERNSTE;IK
"Fulfills a desperate need." -OSCAR PETERSON
I'he author has presented his subject from a pedagogic and musically sound approach." ,
-ROBERT PACE, Associate Prof. of Music, Teachers College Columbia University
There has long been a need for a book explaining the basic tools with which a jazz musician works. This is such a book."
-GEORGE SHEARIKG
'A comprehensive work that should be of great significa~ce to those who want to learn the basic principles of jazz."
. - BAIlBARA. CAIlIlOLL
'[ohn.Mehegan is one of the most knowledgeable and articulate of modern pianists. As such hisbook is very welcome."
-CY WALTER
o recommended by the following:
'Although you can not teach a person to be creative, this book represents the finest organization of jazz material that
I have seen." -BIL EVANS
'A great book. I have recommended it to my son, Darius." _:_DAVE BRUBECK

'It cannot be too highly recommended." -SATURDAY REVIEW

'A most valuable volume for both the scholar and the musician." -ANDRE PREVIN

'Mr. Mehegan's book is an important critical document." - MUSICAL COURIER

"By the end of the present volume, the serious student should have a sense of musicianship hetter than that of cl great
many graduates of conservatories." -NORMAN LLOYD (Instructor at The Juilliard School of Music)

Book I-Tonal and Rhythm Principles £5.5.0

Book II - Keyboard styles from Teddy Wilson to Horace Silver;
A schematic history of Jazz rhythms and melodic im-
provisation from 1920 to 1960... . ... (In Preparation)

[i]
SAM FOX PUBLISHING COMPANY (London) LTD.
Sole proprietors: KEITH PROWSE MUSJC PUBLISHING CO_'LTO" London,W,i
 Book Two

1ST
by
John Mehegan
Studies In The Art And Practice
Of Jazz Improvisation.

CONTENTS
Page
Introduction 2
1. Open Position - Axis of the Seventh - . . . . . . . . . . . . . . . . .. 3
"BALLADE" in G 4
2. Open Position - Axis of the Third - . . . . . . . . . . . . . . . . . . .. 6
"RONDO" in F . . . . . . . .. 6
3. 12/8 Time - . . .. .. 8
"ROCK 'N JAZZ" in D 8
4. Chromatic Scale-ToneChords - Axis of the Seventh - .. . . .. 10
"PRELUDE" in C 10
5. Syncopation - Right Hand - 12
"PASSACAGLIA" in Bb 12
6. Altered-Chromatic Scale-Tone Chords - . . . . . . . . . . . . . . . . .. 14
"CHROMATIC PRELUDE" in C 14
7. Ad Lib Jazz Harmony - . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 16
"RHAPSODY" in Eb 16
8. The Diminished Seventh Chord - . . . . . . . . . . . . . . . . . . . . . .. 17
"TOCCATA"inC , 18
9. 12/8 Time (March) - 20
"JAZZ MARCH" in Eb 20
10. The Sixty Jazz Chords - . . . . . . . . . . . . . . . . . . . . . .. 22
"CHROMATIC IMPROMPTU"in C 23
ll. Syncopation - Left Hand - . . . . . . . . . . . . . . . . . 24
"NOCTURNE" in Ab 24
12. Ragtime - 26
"RAG" in C . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 26

10/6
© Copyright MCMLX by Sam Fox Publishing Co. Inc.• New York. N.Y.
Sam Fox Publishing Co. (London) Ltd .• for Great Britain. Ireland and Colonies
Sole proprietors: Keith Prowse Music Publishing Co. Ltd .• London. W.I
 Book Two

1ST
by
John Mehegan
Studies In The Art And Practice
Of Jazz Improvisation.

CONTENTS
Page
Introduction 2
1. Open Position - Axis of the Seventh - " 3
"BALLADE" in G 4
2. Open Position - Axis of the Third - . . . . . . . . . . . . . . . . . . .. 6
"RONDO" in F " 6
3. 1 2/8 Time - . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 8
"ROCK 'N JAZZ" in D .. . . . . . . . . . . . . . . . . . . . . . . . . .. 8
4. Chromatic Scale-Tone Chords - Axis of the Seventh - 10
"PRELUDE" in C 10
5. Syncopation - Right Hand - 12
"PASSACAGLIA" in Bb 12
6. Altered-Chromatic Scale-Tone Chords - . . . . . . . . . . . . . . . . .. 14
"CHROMATIC PRELUDE" in C 14
7. Ad Lib Jazz Harmony - . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 16
"RHAPSODY" in Eb 16
8. The Diminished Seventh Chord - . . . . . . . . . . . . . . . . .. 17
"TOCCATA" in C 18
9. 12/8 Time (March) - 20
"JAZZ MARCH" in Eb 20
10. The Sixty Jazz Chords - . . . . . . . . . . . . . . . . . . . . . . . . .. 22
"CHROMAne IMPROMPTU"in C . . . . . . . . . . . . . . . . . . . .. 23
11. Syncopation - Left Hand - . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
"NOCTURNE" in Ab 24
12. Ragtime - 26
"RAG" in C 26

10/6
© Copyright MCMLX by Sam Fox Publishing Co. inc .• New York. N.Y.
Sam Fox Publishing Co. (London) Ltd .• for Great Britain. Ireland and Colonies
Sole proprietors: Keith Prowse Music Publishing .Co, Ltd .• London. W.I
 3

1. OPEN POSITION - AXIS OF THE SEVENTH

. INTRODUCTION The scale-toneseventh chords studied in # 11 and #" 12 of Book 1 appear in CLOSED POSITION
see Fig. 1.
These studies are based upon the materials explored in
Book I and represent many characteristic devices found In con-
temporary jazz piano.
I i tl I
In this book the basic tools of jazz harmony are completed
as well as further explorations of many rhythmic idioms peculiar
to jazz.
Fig. 1.
~ iI H
II
I
In
II
IV v "
VI VII I

As in Book I, each study is accompanied by explanatory

material in addition to occasional reference suggestions of re-
cordings by outstanding performers in the field. The same chords in OPEN POSITIONappear as follows:

Unlike Book I, some of the material considered here re- ~

quires the use of the sustaining pedal to insure smooth voice I
I
- '"
,. I
f·

.. -
~ ... -
~
~
leading and facility in phrasing. t t- :t:I oo&-
-&
.u..
u
-
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Fig. 2 cr
)
The use of Figured Bass in describing the correct function of
each chord is a means of avoiding the inept sheet music device of
j
,
e: ....
,
.. - ."
- .. -=
zz
."
."
--
-~ ......
-
-& "U' -& IILJ

IV v VI VII I
lettered chords. Numbers describe as closely as is possible the II III
I
"pre-hearing" technic used by all jazz improvisors to determine
where they are "going" on the basis of the DISTANCE from
where they "are".
The THIRD and SEVENTH appear in the right hand, the ROOTand FIFTH in the left hand an octave be-
It is hoped that these jazz studies may reveal to the student low. This position is called the AXIS OF THE SEVENTH, since the seventh is the top voice.
some of the not so mysterious beauties of jazz.
This device is used extensivelyby jazz pianists in "comping" (accompanying)vocalistsor other instru-
mentalists.

Roman numeralsindicate the position of each chord in the scaleor key.

DRILL: ExploreOPEN POSITION- AXIS OF THE SEVENTH in other keys.

 4
5

1. BALLADE

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JOHN MEHEGAN ~ "11 ~ "11
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 6
. 7

2. OPEN POSITION - AXIS OF THE THIRD

Fig. 1 illustrates the scale-tone chords in e - OPEN POSITION - AXIS OF THE THIRD.

1;
II

u
Fig. 1 IV VII IV VII IV III __ III VI III VI III II __ II V II V II I_
o.

I II III IV V VI VII I

Here again the THIRD and SEVENTH appear in the right hand, the ROOT and FIFTH in the left.
Since the third is the top voice, this position is called the AXIS OF THE THIRD.

The AXIS OF THE SEVENTH and the AXIS OF THE THIRD are used interchangeably in advanced
playing so that equal facility with each axis is important for the student.

DRILL: Explore OPEN POSITION - AXIS OF THE THIRD in other keys.

VII __ IV III_ VII VI __ III 11 __
V IV VI V ---
RONDO is a study employing the OPEN POSITION - AXIS OF THE THIRD with the FIFTH omitted
in the left hand. (By omitting the fifth, greater speed can be obtained in passing from one chord to an-
other.) The chromatic design in the next to the last bar of RONDO will be explained in #6.

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JOHN MEHEGAN
Moderately bright

II . __ V __ 1 _ IV __ VII __ III __
III III VI VI
VII VI _ III 11_ VIV_ II I_ V IV_ I VII __ IV VII IV VII IV III_

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 8
3. 12/8 TIME 9

The eighth-note triplet (12/8 time) is an important device used in both early marches and blues. The
eighth-note triplet has become the characteristic sound of "Rock On Roll" as in the first section of ROCK
'N JAZZ. The rhythmic and melodic monotony of the first section of ROCK 'N JAZZ is relieved by a jazz
treatment of the same elements in the second section.

Recordings by pianists Ray Charles and Horace Silver offer excellent examples of 12/8 time.

3. ROCK 'N JAZZ

JOHN MEHEGAN
>i'
Moderately

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• NOTE: The use of the 4/4 time signature and notation in this study and else .#9, is for ease in reading.
However, for the jazz performer, "the feeling of 12/8" always prevails. These rhythmic patterns
should be read and felt simultaneously.

Ped. :......J
10
II
4. CHROMATIC SCALE-TONE CHORDS
AXIS OF THE SEVENTH
Much of the richness of jazz harmony involves the raising or lowering of scale-tone chords a half
step. These chords are called CHROMATIC SCALE-TONE CHORDS.

Fig.l ,
These chromatic adjustments

tlII ##1
~II
involve the root -

#1;lu &&tl
#II #II V
third -

I I ~nnll I'tH
~v
I
fifth -

H 1,"tR
#V
&. b
&
seventh of each chord as in Fig. 1.

1
II
VI ~VI #VI ,., ~III II

The "spelling" of b" as C# E G# B is for convenience in reading instead of Db Fb Ab Cb, Also C#

minor is the" of B, the "I of A and the VI of E - all sharp keys. Again in the case of #", Eb minor is the
" of Db and the VI of Gb; it is of course the "I of B and the VI of F#. In this case as we will study in Book
3, either spelling may prevail.

The spelling does not in any way affect the chord. It is understood that the quality of a raised or
lowered" remains minor; a raised or lowered V remains dominant.

Not all scale-tone chords can be both raised or lowered, for example: #111 becomes IVm, #V" be-
comes 1,.,-.

PRELUDE, should be pedaled for best results.

4. PRELUDE
JOHN MEHEGAN

Slowly

IV III ~III II
I II #11 III

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.2
5. SYNCOPATION - RIGHT HAND
13
I
PASSACAGLIA is a study in "OFF BEAT" SYNCOPATION as first treated in #10, Book 1. Familiar-
ity with #10 is suggested before studying PASSACAGLIA.

One of the basic problems of all jazz playing is the developed ability to "play against the beat"
which these studies explore.

PASSACAGLIA is a conventional 32-bar form with a "tag" ending. Keep a steady quarter note
foot beat - no pedal.

s. P ASSACAG LIA JOHN MEHEGAN

Slowly

i
,~
 15

6. ALTERED-CHROMATIC SCALE-TONE CHORDS

We learned in #4 that scale-tone chords may be RAISED or LOWERED. We also learned in #12,
Book I, that a scale-tone chord may be ALTERED from one quality to another. Here we will combine
these two devices to form the ALTERED-CHROMATICSCALE-TONE CHORDS.

Fig. 1 illustrates 'common examples of the ALTERED-CHROMATICSCALE-TONE CHORDS in C.

Fig.1 -, H uU ,~"tH
II IIx ~IIx
I I ~~I llU I i
V W ~W VII
m~~ti
VIIm ~VIIm
I II d'II'l~jnl
IV IVm #IVm
I
IVm IV~ III II1~ bIII~ Il~ bIlx I bVIx bVIIm

In Fig. 1 II is Minor
IIx is II Dominant
bllx is flat II Dominant

V is Dominant
VfI is V Half-diminished
b VIIt is flat V Half-diminished

VII is Half-diminished
Vllm is VII Minor
b Vllm is flat VII Minor
IV is Major
IVm is IV Minor
#IVm is sharp IV Minor

The spelling of the next to the last bar in RONDO is as follows:

Vm- bVrI-IVm -III-blil-II- bllM

Piano recordings of the great Art Tatum offer excellent examples of altered-chromatic harmony.

6. CHROMATIC PRELUDE
JOHN MEHEGAN
Slowly - (rubato)
3

III ~Illx II
I #IVm bVIIm bVI~ bIII~

~IIx I #lVm
 17
16
7. AD LIB JAZZ HARMONY
A-rhythmical playing, is a device that every professional jazz pianist must be able to utilize.for
introductions, accompaniments, etc.

The recordings of Art Tatum, have no peer in the area of AD LIB JAZZ HARMONY.

RHAPSODY, should be pedaled; two-handed chords should be broken and held at will.

7. RHAPSODY JOHN MEHEGAN

ii'

Slowly (ad lib)

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8. THE DIMINISHED SEVENTH CHORD

The qualities for the scale-tone seventh chords in any key ~lre:

Combination Scale Position Quality

3rd 5th 7th
M P M I -IV Major Seventh Chord (M)
M P m V Dominant Seventh Chord (x)
m P m II -III-VI Minor Seventh Chord (m)
Ped. ~ m o m VII Half-diminished Seventh Chord (!!I)

There is one other chord -- THE DIMINISHED SEVENTH CHORD - used extensively in jazz har-
mony. This chord may be formed at any point on the keyboard by building an interval combination of
a minor third, a diminished fifth and a diminished seventh. The diminished seventh interval is lowered
twice from its scale position and is usually written as a sixth for reading convenience, i.e. Bbb (A). The·
diminished chord has no "natural" position in any key.

Symbol Key: o -- Diminished Seventh Chord

There are twelve diminished seventh chords (not three) moving in three series:

Co - Ebo - F#o - Ao
C#o - Eo Go - Bbo
Do - Fo - G#o - Bo
Ped. ~
 18 19
TOCCATA may be used as a model in altering any scale-tone seventh chord to a diminished chord.

To alter Major to Diminished: To alter Minor to Diminished:

M- P - M (I-IV) m - P- m (II-Ill-VI)
to to
m-o-o m-o-o

we must lower the third, the fifth and the seventh twice. we must lower the fifth and seventh.

To alter Dominant to Diminished: To alter Half-diminished to Diminished:

M-P-m (V) m-o-m (VII)

to to
m-o-o m-o-o

we must lower the third, the fifth and the seventh. we must lower the seventh.

8. TOCCATA. ,
JOHN MEHEGAN
Brightly
,
fl
-.
..• . - ••- ,,
, h~

. -• ~ Go Gx Fo FM Eo Em Do Om O~M
•"" ~ro
, ....
- ... .&

.oi-
'!I
.&
.1 ,=
L-V •
...~
•
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.-
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.1
.'"' v
,v ..

-
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.&
'.1

- ...~ I'"' ,-
•
~

. .. - •• I
_
v ol

... L •
•
.- hb ..
-- "I., L . .-
fl
,, •.•- . . --• - .,
-
. -...... . --•
•
_
. ......
.-..
...
-• . .,
IJ
. ,
. . ... OK

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

-
v
~ ~ v'"'
-
l..-

...~ • .&
.,
OK .&

-
" .&
... " ...
K
... ...
.&
,
.&
... -:l
... ...
.1 -.1
...
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... .1 .1 .1 K, .1

,
, 1
.I ro -:1: .l.
• -
~ ol •
CM Co DIn Do Em Eo FM Fo ,

~,
< ....
.I
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...
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...
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... ...~
I...
... J.
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.-- ....
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.
...
...
lOC

...
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f. .
...
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\

, •~
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.,
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r
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•
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.
OK

...
K .
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.....
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I h ....
•
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I h ...
-- ...~
Ih.
,
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CM Em DIn FM Em Gx FM Am Gx

.1
I 'I" I

~
~
I f. . ~f... I -, bl I ~~j ~~~j ~
I
I
t
\
-
L ....

.I
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- .
...
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\
.&
,
J. .&
.1
.&
,
...
...
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.
Gx Go Am Ao Bo CM Co Co Ao

Am CM Gx Co Ao F#o 0#0 Co Ao

G#o Bo B~o Go Eo C#o

F#o 0#0 Do Fo
 21
20
9 12/8 TIME (MARCH)
One of the basic influences of early jazz was the French marching bands of New Orleans. These
bands played marches, one-steps, hymns and the schottische. One of the characteristic idioms of these
bands was that of 12/8 time studied in #3. The feeling of "three" superimposed over a beat of "four"
creates an exciting pulse of "swing".
An excellent modern treatment of this idiom can be found on the recording (Blue Note 4003)
featuring the Jazz Messengers.

9. JAZZ MARCH
JOHN MEHEG~
Moderately

i.

(octaves in R. H. optional)
22
10. THE SIXTY JAZZ CHORDS Serious study of CHROMATIC IMPROMPTU is recommended for automatic sixty chord facility. 23

From previous studies we can now combine all jazz harmonic factors into the following:
10. CHROMATIC IMPROMPTU
Combination Quality
JOHN MEHEGAN
Bright
3rd 5th 7th
M P M Major Seventh Chord (M7)
M P m Dominant Seventh Chord (x7)
m P m Minor Seventh Chord (m7)
m o m Half-diminished Seventh Chord (+7>-
m o o Diminished Seventh Chord (07)

Five qualities - twelve tones in the octave - THE SIXTY JAZZ CHORDS - see Fig. 1.
CM EbM GbM AM BbM GM EM DbM DM FM AbM BM
"
Fig.

*note

i I II
CM Cx Cm C~ Co DbM Dbx C~m 'C~~ C~o

I I Cx Ax Ebx Dx Fx Abx Bx Bbx Gx Ex Dbx

DM Dx Dro Do EbM Ebx Ebm D~~ D#o

II
EM Ex Em E~ Eo FM Fx Fm F~ Fo

t)
I I Cm Ebm F#m Am Bbm Gm Em C#m Dro Fm Bm

F~M F~x F~m F~~ F~o GM Gx Gm G~ Go

I II
AbM Abx G~m G~o AM Ax Am A~ Ao .I

I i I
BbM Bbx Bbm A~~ A#o BM Bx Bm B~ Bo

DRILL: Practice the five qualities on twelve tones with both hands. These series should be played without con-
stant reference to the printed page.

*NOTE: Transposing to sharps on m, ~ and o is for ease in "spelling" these chords. Also, C#m belongs
to B, A and E - all sharp keys; C#~ belongs to O - a sharp key; C#o belongs to no key but is
most easily spelled this way. Co Ebo F#o Ab Bbo Go Eo C#o Do Fo G#o Bo CM
 25
24

11. SYNCOPATION - LEFT HAND

This study represents the counterpart of #3. NOCTURNE employs "Spanish" rhythms also an im- r. 1

-
I

portant influence in early jazz. Much of the early drama of jazz can be heard on the recordings made .I I ....

- -
,
~
at the library of Congress by Jelly Roll Morton. These recordings are available on Riverside Records.
/ .... I
h
v • I
v

~
NOCTURNE should not be pedaled! A strict quarter note foot beat should accompany this study.

----
I
,.
- -- - - -
-

-
l l - ~
,
-
, ••
...
I rl, '"""-
l

...
--=o
....-1_-.. -.
- --- - - ...- ...-
- - -
l l l 'r

11. NOCTURNE
\
... OI
V

-
.-I
l
I
_]

.....
.-I .-I

I
I
-
JOHN MEHEGAN
Slowly

II I I
•
.
cl I o...
- -
-
/
~ o... v ",.~~v
... I
V 11
-
... ,_,.,
~ '_ll ~
_"6'
,

- --- I
-

r I

----
l

-
- ritard.

-
I
f':\.
shake

-- - -- - - - ~ -.
l I l
" -, ....
I l --' --' I

- -- ........ r7

.
-.' I IJ, h
~\ I o...
v ,v
-
_,I
-
,
v-
;
I L.<.-I

• '1-~
I
.-I
I
-
.-I
1 l'
I u
26

12. RAGTIME
Along with blues and marches, rags constitute an important influence particularly in jazz pipno.
Recordings of James P. Johnson, "Fats" Waller and Willie "The Lion" Smith in addition to available
sheet music by the great ragtime composers, Scott Joplin, Tom Turpin and James Scott, will aid the stu-
dent in recreating the rhythmic excitement of ragtime.

12. RAG
JOHN MEHEGAN
Bright - no pedal

I~~~~~~~~~~~
t~~---+---------II,________.._-t---------W~----+--:------a~·

•"
fi
", ....., - ...~
,
I

--....
I
I
~
~ --
_ -
-- --
L- .-I
I I ,__
-- _,
I
I
..
.0\

--
.-I
I I
,~
~
I
---.... -- --....
- ......
,....
_I

'-
I I I
..
A
I

--
_,

~
_J .... ~
.........
~ -Io- .. ... \q~J
~
.. _J
.. J
-
~
-::=
-
~~
- -r::=
- - -
J

.
I '-. ,..
,,' I I
I I h.-l
J I h.-l v-
v-

•
I

• ~ ~ ~ ..... tf*
 John Mehegan began playing the piano at the age of
five in the town of his birth, Hartford, Connecticut. The
study of another instrument, the violin, took up his interests
for several years but eventually, he returned to the piano
which was to be the core of his life's work. He studied
locally at the Julius Hart School where he majored in com-
position and theoretical subjects. During his formative
years, Mehegan gained immeasurable experience playing
with various musical groups in and around his home town.
In 1945, he became assistant to Teddy Wilson at the
Metropolitan Music School in New York City, and in 1946
became head of the school's jazz department. The follow-
ing year he was appointed jazz instructor at the Juilliard
School of Music and in 1958 jazz instructor at Teachers
College, Columbia University - positions which he still
holds. He has been the private teacher of many celebrated
entertainers and professional musicians.
Engagement after engagement has seen his career as
jazz pianist, lecturer and teacher reach unique proportions.
Since 1957, he has been jazz critic on the New York Herald
Tribune and has established himself as a constructive music
critic by his regular contributions to many modern music
magazines. Mr. Mehegan's recently published "Jazz Im-
provisation" has been hailed as the first definitive text to
codify the principles of jazz. His outstanding recordings
and lecture-performances have brought him international
as well as national acclaim.
26
2~
12. RAGTIME
Along with blues and marches, rags constitute an important influence particularly in jazz pigno.
Recordings of James P. Johnson, "Fats" Waller and Willie "The Lion" Smith in addition to available
sheet music by the great ragtime composers, Scott Joplin, Tom Turpin and James Scott, will aid the stu-
dent in recreating the rhythmic excitement of ragtime.

12. RAG
JOHN MEHEGAN
Bright - no pedal

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