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PESCCCTC CT TS TTT ST TESTES TEE EEE EE ETESEESSEFESFSETFESES Table of Contents Block Chords Shell Voicings Diatonic 7th Chords Cycle Progressions UI-V-l's in Major and Minor HIV Cycle Progression . Modal Fourthy Voicings “So What” Voicings Modal “So What" Voicings Fourthy II-V-I's Tri-Tone Sub II-V-I's Polychordal Il-V-t's Cycling Altered Dominants Polychordal Blues Voicings Fourthy Blues Voicings Major 7th Blues Voicings Minor Blues Voicings . Dominant 7th Polychords . Dominant Polychord Groups Diminished Substitutions Semester outlines and grading scales . Published by JAMEY AEBERSOLD JAZZ « P.O. Box 1244 New Albany, IN 47151-1244 www.jazzbooks.com he, 13 24 33 47 51 55 59 63 67 al 79 83 97 2401 121 135 141 145 152 introduction ‘This text is designed for either jazz piano classes or individual study. The purpose of the book is to help a pianist gain useful skills. These skills are necessary for success as a writer or player. Therefore, the goal is to achieve control of each skill at a minimum tempo. A judgment Should not be made about the quality of the performance of any skill, Rather, each skill should be viewed as either perfect (leamed) or imperfect (not fully leaned). Playing wrong notes and/or hesitating during execution indicates insecurity and, accordingly, an unlearned skill | have Used this method with a high degree of success for many years. The student's self- motivation is an important factorin this success. Ina field such as musical performance, the ultimate {goal is the ability to perform atconsistent high levels. An artist is not awarded letter grades of B+ or A- for a performance; it is simply expected that the performance will be accurate and musical. Therefore, in private study or practice, the student must become his own teacher. This method gives him clear, tangible evidence of his progress. Passing each skill proves thathis ability is increasing, In a typical class situation, the student can determine his own grade by the number of skills passed rather than by a subjective evaluation by the teacher. Placing responsibilty for progress on the individual is a course of action that must occur at ‘some point in every teacher's efforts. This book initiates that approach and offers the student a healthy environment for learning, one in which he can challenge himself and know he is succeeding. Dan Haerle Practice Tips 4. Voicings in this book are notated in the staff to make them easy to read. However, many voicings will sound better if played an octave lower than notated to be in a fuller register of the piano. 2. Try to see relationships in voicings and progressions. (intervals, voice-leading, etc.) 3, Play some things out of tempo to give yourself a chance to familiarize yourself with the problem, 4. Work at slow tempos first, using a metronome while you play 5, Do a practice run, at tempo, of a particular skill lo see your current stage of progress. Set more advanced tempo goals if you wish; speed generally is one indicator of security. Be sure to play the skills without mistake or hesitation! 6. Practice the various skills through all keys using other types of progressions such as half steps, whole steps, and major or minor 3rd's, Also, drill them around the cycle as they would be tested. 7. For variety, use different styles to make things more musical and fun to play. For example, play each voicing with a repetitive swing or bossa nova rhythmic pattern. 8. When working with progressions that connect smoothly, try not to look at your hands any more than you absolutely have to. In fact, concentrate on the feeling of various voicing shapes and try to let yourself play them without looking rather than making yourself play them! 9. Be sure to wean yourself off of the printed page as soon as possible. 40. As you progress, you may want to start doing some sight-reading of simple chord progressions, using the voicings studied. Block Chords The goal of this section is familiarity with chord structures. As preparation for learning voicings, one needs to solidify the spelling of the chords first. Consider some of the following possibilities: 1) Play the block chords as written (with the root in the left hand) or play them as block chords in both hands. 2) Arpeggiate the chords up or down in quarter notes or up and down in eighth notes. Keep the same harmonic rhythm of four beats to each chord. 3) Play four inversions of each chord on the root, 3rd, Sth and 7th. Double the harmonic rhythm and play the inversions in eighth notes. —————————$—————— Block Chords J. 120 Skill 1: Major 7ths cA FA pba ebA Aba pba ee Skill 2: Dominant 7ths c7 F7 Bb7 eb7 b7 vb? \ SSSUSSSES SETTLE LE LLL EL ETTTT TT TTT STITT sit... Block Chores = 120 Skill 3: Minor 7ths Cm7 F m7 Bbm7 Ebm7 Abmr Cfm7 6 | 7 ' _ ° aac mana 8 Ls sis = =e Fim7 Bm7 Em7 Am7 Om7 Gm7 = i —— 3 = i ——— = SS ee eee Skill 4: Half-Diminished ,°? ie Bho Ebo ate cho oop ty SE = 2s . Ss i= pS op FEO Bo Eo ne De Go = f- 7 6 == = { oe Ste = 5 2 ee] Block Chords d. 120 Skill 5: Diminished 7ths co7 F 07 Ago7 Dg o7 Gf o7 chor Skill 6: Dominant 7ths sus4 C sus7 Fsus? Bbsus7 — Eb sus7 Absus7 Db sus7 Se ree [bo | 7 | | | | b | \ s oe — e- = —— oO . - t S F§sus7 BB sus7 E sus7 Asus7 D sus7 G sus7 9, ep : 6 Ee ¥ SSS ps e ‘= ° = I i I | i i to = =o 2 = —— —=e = wo Shell Voicings The goal of this section is familiarity with voicing types. As one begins to leam common voicing shells, it is good to take advantage of the nature of rote leaming. That is, though itis important to learn what notes are in a voicing, it is also important to learn what a voicing “feels” like. The hand assumes a certain spacing of the fingers or shape when playing any voicing. The feeling of this shape doesn't change significantly when one or more fingers are on a black note instead of a white note, for instance. Therefore, try the following suggestions with your eyes closed concentrating on the feeling of the hand. 1) Play the voicings as written (with the root in the left hand) or play them in both hands without the root. They will eventually be used in both hands for different reasons so it's good to prepare the feeling in both 2) Practice moving the voicings up and down chromatically with eyes closed and concentrating on the feeling, 3) With confidence, gradually try moving up and down in slightly larger intervals (i. e. whole steps and minor thirds) still keeping your eyes closed. 4) Try playing a voicing with your eyes closed, lift your hand a few inches from the keys and see if you can put your hand down on the same voicing again without error. As you think less about making yourself play the voicing and begin to relax with the feeling of it, you may be surprised at how high you can lift your hand and still play the voicing correctly. ESFTITITIS TESTIS Voicings @=120 Skill 7: 3-6-9 Major a abs ebs A de 120 Skill 8: 3-6-9 Minor 6 6 6 cms Fimo Bbms Ebms AbmS cms Voicings = 120 Skill 9: 3-7-9 Major Cag Fag Bbag Ebag Abag Dbas $f: == -8—— =—3-—— hg 5 = = 2 3s | | | | 7 — r = SSS Es ——S Gag = 120 Skill 10: 3-7-9 Dominant ce Fs abs ebo abo phe = i — — eae —— pes aS —— lee \oicings de 120 Skill 11: 3-7-9 Minor cm F mo Bhmo eEbmo Abmo cHmo Fimo Bmo Em9 Amg Dmg Gms d 120 Skill 12: 7-3-5 Major cA FA BbA ba AbA pba Ge@e@ ee @e ee 6 es oes oe oe x Vvoicings = 120 Skill 13: 7-3-5 Dominant c7 F7 Bb7 eb7 aby ob7 oe SS SS obs bs | | k o— 7 T 2 = as - Fi7 B7 E7 AZ D7 G7 : g = ettR 38 =S- oo ES — | o— =o B — = = d. 120 Skill 14: 7-3-5 Minor cm7 Fm7 Bbmz Ebm7 Abm7 cfm E E Fo Eb 8 5 aes: oO ~ oe oom omsaiace ci » \ La : ©. + a SS F {m7 Bm7 Em7 Am7 Dm7 Gm7 : ; 8 ] = GE = SSE ° : es iS oS = —— —— Voicings d= 120 Skill 15: 7-3-5 Half-Diminished co FO Bho bo abo cHo by f FB =| —_—— L - = = S. af jo FRO Bo Eo Go ge Be eB ho—o= gE | ° ao Ete SSS = | : oe — | @=120 Skill 16: 7-3-6 Major cata Fat3 abats Eba13 Aba13 Dbai3 : — —— = i == = eo Se ‘S — | oS a a © 3 oe a S x i = = on : —J Feats BaAI3 AMS Da13 Gai3 = =o —- = ue = i f Alte _ 7 7 + "rrr FPP eeTSEFSSECS Voicings = 120 Skill 17: 7-3-6 Dominant pcis F13 Bb13 ebia Abia Db13 <= = = eo ron Pe. ° be ° pa $8- bs Des — te — | Fe13 B13 £13 AIS D13 G13 So o— =. : cs aie cs E s—— =o 7 ———| | = 120 Skill 18: 7-3-6 Minor cmi3 Fmt3 Bbm13ebmia.— bmi chmi3 oO. = t T —= as = 33 a —| 3s 8 z = les | bo I = BE cs tro . = 5 = a= +o Fe mia Bmi3 Emi3 Am13 D mis Gmi3 pate : ; 2 e = = o— =———| SSS SS eo lo te — =o = = = = Voicings @=120 Skill 19: 4-7-9 Dominant sus 4 Bbic Ebi Abrab Dbeb cbiab Bcf — —— a 5, oF oy E/Ft AB DE GIA cid FIG / = 120 Skill 20: 7-9-4-6 Dominant sus 4 BbAc — EbAr abdish — obveh "ch Avab BAe oe — ae a ONE GAA cAD FAG vuweeeee SESEESELEELELESSSSSSSISISISISOOOCL Diatonic 7th Chords The goal of this section is familiarity with the diatonic seventh chords of all major keys. Many pieces are comprised of chords which are the various diatonic chords of the key. Most often, these are the Il, V and I chords but frequently the Ill, IV and VI chords appear. Occasionally, the VII chord appears as a substitute for V. Therefore, as you play these skills, keep in mind the following: ‘) Try to visualize the key signature on the keyboard just as if the non-scale tone keys had been removed from the piano. With practice, you can begin to See a particular scale as though only those seven keys were present in each octave. 2) Think about the quality of each chord and its functional position in the scale. For example, if you know that the Ill chord of any key is a minor 7th, the Tecognition of that sound (or a mistake) will confirm whether the right voicing has been played or not. 3) These skills provide an excellent opportunity to use one thing to reinforce or help another. Your security with a key signature helps you play the diatonic 7th chords; your security with the functions in a key (and their related types of chords) helps you to learn the key signature. -13- Diatonic 7th Choras | ie 120 Skill 21: C Major CA Dm7 Em7 FA G7 BO CA BO Am7 G7 FA Em7 Dm7 cA de 120 Skill 22: F Major FA Gm7 Am7~ BoA C7 Hy ES Dm7 C7 BbA Am7 Gm7 FA “14. Diatonic 7th Chords Ja Skill 23: Bb Major BhA Cm7 Dm7 EA F7 Gm7 AD Ba A® Gm7 F7 EbA Dm? Cm7 BbA ph. + { _ 4 — e—4—; oe Ps Le = @=120 Skill 24: Eb Major EbA Fm7 Gm7 AbA Bb7 Cm7 DO EbA DS cCm7 Bp7 ADA Gm7 Fm7 EbA PUTTTTTTTTTEL LLL LL LUL UL bab ace b uci | l i] | x Diatonic 7th Chords Skill 25: Ab Major abs Bhm7 Cm7 Dba &b7 Fm7 GO Aba G@ Fm7 eb7 Dba Cm7 Bbm7 AbA Skill 26: Db Major DbA ebm7 Fm7 GA Ab? Bbm7 = CB DbA | = =——— CO Bhm7z ab7 GhA Fm7 Ebm7 dba Diatonic 7th Chords | @=120 Skill 27: F# Major FRA Gim7 Afm7 BA C47 Dim7 Exo FRA 1 g.¢ ¢ ectatyt == ; =e S oe | elie ¢ | Dae =f SS 4 f t t = EfO Dém7 ct7 Ba Atm7 Gtm7 FRA f eee eee eee ry B a | | Fe fp 6. + {— e- = 2S SS = 120 Skill 28: B Major BA Ctm7 Dim7 EA FH? Gtm7 AkO Ba bs == : + 4 2 g = 2 f 4 Lp + 7 : BS =F = AYO Gitm7 FH7 EA Dfm7 CHm7 BA Diatonic 7th Chords 120 Skill 29: E Major EA Fhm7 Gtm7 AA B7 Chm7 DR® Chm7 B7 AA GHm7 FEm7, Skill 30: A Major Dgo AA Bm7 Chm7 DA E7 Fim7 GRO AA po ee S53 4 a é ¢ ——+ AA GEO Fkm7 £7 DA Chm7 Bm7 — 7 7 T= rrr ree SELCEEEECEEELE Diatonic 7th Chords @=120 Skill 31: D Major DA Em7 Fkm7 Ga A? Bm7 CRO 7 | 2 — Bes LH t CHO Bm7 AT GA Fim7 Em7 DA HE E — - 3 4B 1 oe t oe {i = ¢ 2 pa! == t i: + 120 Skill 32: G Major GA Am7 Bm7 CA D7 Em7 FEO A f-# 4 | ppt r t ; = i i — }— = =F } v8 g 3 3 2 a | = = Am7 GA g eB I S i i i ! — = = foe eo PPO SUS SSDS ESSE Ssh ES Seb bbe Cycle Progressions The goal of this section is to begin connecting different inversions of voicings in an idiomatic way in typical progressions. Common progressions represented are LIV in major or minor, dominant 7th cycles, II-V in major and V-l in major and minor. As you play these skills, observe the following: 1) ‘In Skill 37 (a and b), by lowering the Sth of a minor 7th and carrying that tone into the next dominant 7th as a flat 9, it becomes a series of II-V's in minor keys. {n Skill 37 (c and d), you can add a Sth to the minor 7ths and follow the same Procedure as in a and b. Experiment with both the major and minor Sth on the minor II chords, 2) Notice that the two inversions involved in these cycles are built on either the 3rd or the 7th of each chord, 3) Notice that the voice-leading or connection of the voicings is very smooth involving step-wise motion and continuation of common tones for the most part -21- Cycle Progressions is 120 Skill 33a; Major 7ths cA Fag BbA ebas aba bag FHA BA = 120 Skill 33: Major 7ths cag FA BbAg EbA AbAg Dba FRAo BA EAQ AA DAg GA cAQ , ; ; | eS gee - ee) DEE SSS — -22- FEVFFETSSFSESELESEEEEEEEELELEESESEITIIIITS. Cycle Progressions | @= 120 Cm7 Fmo Skill 34a: Minor 7ths Bbm7 Ebmg Gim7 cme Fm? Bm9 4 ‘O22 oe Skill 34b: Minor 7ths Bbmo Ebm7 — G¥mo ckm7 — Ffm9 Bm? i = = 23- Cycle Progressions J = 120 Skill 35a: Dominant 7ths c7 Fg Bb7 be Ab7 0b9 Fi7 Bo @=120 Skill 35b: Dominant 7ths Co. a7 abo &b7 abo vb7 Feo B77 -24- FEFDFEFEFEEEFSFEFEFEESESESEFSSFSESSESESESSEESESSSEEELEEGESB. Cycle Progressions =120 Bhic DIE Je eb/E GIA Skill 36a: Dominant Sus 4 abiBb bie Fiich Bick FR AB Skill 36b: Dominant Sus 4 Bbc ebe abiab beh Gbiab chob = EFH AB = = ee g = a ¢ 43 j eo DE Z + =| DE GA co FIG BbIC ~25- Deena eee eee ne EEEEE TEEN Cycle Progressions @= 120 Skill 37a: Minor to Dominant cm7 F9 bm7 bo Abm7 bo Fdm7 BO t 3 =a a = — — — J =120 Skill 37b: Minor to Dominant Fm7 Bbo Ebm7 Abo chm FRO Bm7 EQ ‘ oe ~ o FE 5 oe 7 + + oa 4 Am7 bg Gm7 cg Fm7 ~9 = . y ~— gb ay or a = a 3S ——o ~26- SSSSSSSSTSEETTTELLLLULLULUUUiirc aggre. Cycle Progressions = 120 Skill 37¢: Minor to Dominant cmo F139 Bbma eb13 aba bis Fimo B13 Emo A13° Dmg G13 Cmg AE 120 Skill 37d: Minor to Dominant Fmg Bb13— Ebma bis Chm FIs Bmg E13 Fb be te Amo -Di3 Gmg C13 Fmg OTe Cycle Progressions d. 120 Skill 38a: Dominant to Major C13 «FAQ bis ebAo = abia-_ Dba Fis BAg de 120 Skill 38b: Dominant to Major F13 BbAg bts. Abas ~—sob13. Gag B13 EA9 | — | x C3 1 gS a F o oH | 2 bo es ie | | = oo é A13. DAQ G13 cAg F13 Be PEVVTTTT TT ULLAL ELL LEE LLL LLL LE SEELELELELLLELE . Cycle Progressions = 120 Skill 38c: Dominant to Major co FA Bho EbA abo pbA Fa BA J = 120 Skill 38d: Dominant to Major FQ BbA ebo aba obo aba Bo EA p = | ie —~— pF = i ——— 7 t = 2% Re f ————_— B : = = Ze t 4 Age DA G9 cA F9 -29- Cycle Progressions = 120 Skill 39a: Dominant to Minor a7 Fme Bbi7 Ebmo GH47 CHma F447 Bma E47) Amg D4+7 Gmg9 C47 oF % ee ——<—_— ca eo bt sem 1 Diz 2 SS [e J. 120 Skill 396: Dominant to Minor F47 Bbmo — Eb47 Abmo CHa? Fema B47 Emo A+7 Dmg G+7 omg F47 -30- FITITITIFSIFSFTIEFESESESEERESESEESEEEEELE EELS — - Cycle Progressions @=120 Skill 39¢: Dominant to Minor 78 Fz Bb7'2 Ebm7 G7? chm? FE7h9 Bmz7 pe | . j : - , t Se ig ig : ree —A— = ~ pK tr t 3| E79 am? 78 G@m7 c7s == —— } => o ¢ = —> f ie ee rc } | = == = Skill 39d: Dominant to Minor e 72 pbmz —eb7h® abm7 cf 7h9 Fm? = B79 Em? 4 a | $e——- 8 2 - by ae =] — f ro # ae be es fo | = — = : ar? pm7 G78 Cmz F7b9 -31- PHFFFFFFHHHHSEEEESESESISISISISITITISIIISCT. lI-V-I’s in Major and Minor This section is the logical extension of cycle progressions which moves on to playing complete II-V-I cadences in major and minor keys. In learning these Progressions, observe the following: : 1) Notice the starting position of the II chord in either format. For example, in Skill 40, the following traits may be observed: a) The first voicing is built on the 7th of the Il chord and is a 7-3-5 voicing. b) The first voicing is built on the key center. C) The first voicing is the IV chord of the key in second inversion. 2) In any format, notice the horizontal motion of the individual voices as they Move from chord to chord. For example, in Skill 40, the following is true: a) In going from II to V, the top two voices are common tones and the bottom voice moves down a half step. ») In going from V to I, the bottom voice is a common tone and the top two voices move down step-wise in the scale of the key 3) In Skill 43, the b9 on the half-diminished Il chord may sound dissonant when played as a sustained chord. In actual practice, this chord might be played with @ short duration to minimize this. This sound is part of the bebop tradition and would reinforce a soloist’s use of the harmonic minor scale when improvising over the Il and the V chords. 4) The goal is that the voice-leading or connection of the voicings is very Smooth involving step-wise motion and continuation of common tones for the most part. This results in a smoother musical effect and is easier to play. 5) Skills 44 and 45 combine the II-V-'s in major and minor into a common logical progression which involves a major key and its relative minor. Notice that all of the voicings are diatonic to the key (Iree of chromatic alterations) except the leading tone of the relative minor. It is valuable to reinforce the relationship of these two keys since many pieces move freely back and forth between them. For example, if stretched out to eight bars, this progression is roughly the same as the first A section of “Autumn Leaves" or “Fly Me To The Moon’. -33- I-V4 Progressions J. 120 Skill 40: Major Keys - Format 1 Dmin7 G9 cA Gmin7_ C9 FA Bbmin7 eho Aba Ebmin7 abo DbA PaaS wwe were eT ee PeeSSESSSSSISISISSSISISISSELECE ' II-VI Progressions Skill 40: (continued) Fimin? Bg EA Bmin7 £9 AA —— = — ete fe = — — i — : a Emin7 Ag DA Amin? D9 GA & = r ; i ° te Pe 4 a er 1 -- oo = = = =I — = # 2 Skill 41: Major Keys - Format 2 Dms G13, cs Gms 13 FS % Ss : = = —s- = = = Pe —pP be 8S | SOE ~ = Ea 5 i i a oe a cma F13 BbS Fmo Bb13— &bs f | = == 4 © 4 a S eo ) = = : ; i 1 = = ; bd be J -35- II-VI Progressions I Skill 41: (continued) i Bhmo ebis abe ebmo Abia obs peepee sr oo 2 Fkm9 B13 E9 Bm9 E13 Ag a et Emg A13 Ds Amg 013 Gs -36- Il-Vel Progressions @= 120 Skill 42: Minor Keys - Format 1 DS G79 em G2 078 Em — 4 == = SS re sag be a i SSS = —— E Z zt tf =i cS e7>9 Bbmz FO ph7bs Ebm7 ' | Se Bb2 eb7)9 aber D¥2 Gt7?9 chm = : ; —— 1 x ; a ; os eae ty ae s | i - = a = rE aa a ie S = -37- II-V4l Progressions Skill 42: (continued) FEO 379 em7 Bo £7°9 Am? —E® a7?9 m7 A® 07°92 Gm 4 ——— = as d ie ne | 4 p |? vo I | Lo — e * == t = os 7 | , @= 120 Skill 43: Minor Keys - Format 2 p® G79 cCm9 e° c7P8 F mg | a + = 7 + 7 — Be SS : | | | Lie + a + c® £72 — Bbme FO pBb7r9 ebmo -38- II-V Progressions Skill 43: (continued) BbO eb7?9 Abmo DEO citys Cime x : pH jae He : FE HOA = t ! SSS SSS a T GE2 c¥79 Fimo cy Fh7b9 Bmg | aS ae BE f i i $ re pe + = =| FEO 879 emg BO &7>9 amg F ti PSS SS ES A7?9 Dmg A® 079 @mo c= SS= e 6: -— ou -39- II-Vel Progressions de 120 Skill 44: Major & Relative Minor - 1 Dm7 G9 cA FAg BO E7PS Am FIFFFFFSESFEFSEETEESESESEEFSEEEEESELEEEELEEELLEEEE -] II-V-I Progressions Skill 44: (continued) Fim7 B89 EA Ado to Gt7>9 Cm io CHm7 FRo BA EAg Ato #749 Gm = oe care Fs | OB Ebmz Abo Dba chao co 7/9 ebm7 Ss = — = oe ¢] 2d ; pe | | i __ SS = SS “41. I-V-I Progressions Skill 44: (continued) Bbmz eb9 abs bas Go 79 Fav Fm7 Bb9 EbA abAs Do G79 Cm ———_—-- ——— BbA EbAg AG 0759 Gm ; Sara ——__ = -42- FIFIFIIFFFFFEPIATITEESEEEEEE EES SESE EELEBE SE. ~] eV Progressions Je Dmg Amg Emo Bm Skill 45: Major & Relative Minor - 2 Gis cAo FA BS E759 Amo D138 GAo CA FEO B79 Emo Ais DAs GA CHO FH7b9 Bama E13 Ado DA GEO cH79 mo ll-V-I Progressions Skill 45: (continued) Fimo B13 EAS AA DEO at7bs cma CHms FHI3 BAg EA Ag® DH7>9 Gime Abmg Dbi3 Ghag chAF® Bb7>9 Ebmo H Ebma Abts dbas GbhA CO F7>9 Bbmo FSESSFSTSESSSESESESSEEEEFEEEEEEEELELCEELLELELELL EEE. 1I-V Progressions Skill 45: (continued) Fmg Bb13. EbAg ALA DO -G7h9 Bbma eb13 abag DbA GO C79 Fmo op Bz et = —— o gH ig = BE = = = = cs og a cma bit Cmg9 FAI3 Gmg p | io SSS Se ¢ oO Gmo cia. FAS) BhA ED ATS D mo -45- FITFIFIFIFTFEFFATAAAALALAIITIFIFITIILTCT. | Q I-IV Cycle This section involves a common cycle progression which moves from the key center to the IV chord which, in turn, becomes a new key center. Since the IV chord in a key is a common temporary key center (for relief from the tonic), this is very common progression found in many pieces. Also, the first four chords of each key occur commonly as a modulation to the relative minor. In learning these progressions, observe the following: 1) Notice the starting position of the I chord. For example, in Skill 46, the following traits may be observed: a) The first voicing is built on the 7th of the | chord and is a 7-3-5 voicing. b) The first voicing is built on the leading tone of the key. ©) The first voicing is the Ill chord of the key in second inversion. 2) Notice the horizontal motion of the individual voices as they move from chord to chord, particularly which voices move diatonically and which involve chromatic alterations in the key. Observe that, beginning with the half- diminished chord in the second measure, the bottom voice in the right hand moves down chromatically to the leading tone of the next key. 3) Experiment with different alterations of the dominant 7th chords but be consistent in playing the same alterations through all keys. -a7- Ito lv Cycle J 120 Skill 46: All Major Keys c4 BO £79 Am? D9 Gm7 ce FA =O A7>9 Dm? Go Cm7 F9 BbA A® 07°29 Gm7 co Fm7 — Bb9 1 ebA DO G79 cm7 Fo Bbm7 — &b9 4 ¥ - coe ea g i 1 ke oie 4 [i =o ———— p ot = = 4 a Ito lV Cycle Skill 46: (continued) aba G2 c7?9 Fm7 Bho ebm? Abo ee = He pba 62 F7>9 Bhm7 eho — Abm7 BA AO D¥7?9 Gim7 Cho FEm7 Bg e108 Ito IV Cycle Skill 46: (continued) EA pte a7 Chm7 Fo = Bm7 £9 fe ok AA ayo fv? Fim7 69 Em7 Ag GA FEO B79 Em7 AS Dm7 G9 Modal Fourthy Voicings Like the diatonic 7th chords, this skill involves fourthy voicings which are moved through a dorian mode (diatonic key signature). The interval structure changes slightly but the voicings located onthe 1st, 2nd, 4th, 5th and 6th steps of the dorian modes are built of perfect fourths. The voicing located on the 3rd step has a tri-tone on the bottom and the voicing located on the 7th step has a tri- tone on top. In leaming these progressions, observe the following: 1) Try to visualize the moda! key signature on the keyboard just as if the non- scale tone keys had been removed from the piano. With practice, you can begin to see a particular scale as though only those seven keys were present in each octave. 2) Think about the structure of each voicing and its position in the scale. The recognition of the correct sound (or a mistake) will confirm whether the right voicing has been played or not. 3) Like the diatonic 7th chords, these skills provide an excellent opportunity to use one thing to reinforce or help another. Your security with a key signature helps you play the modal (diatonic) fourthy voicings; your security with the fourthy structures helps you to lear the key signature. -51- Modal Fourthy Veicings Hs 96 Skill 47: All Dorian Modes DDorian = = S | GDorian CDorian Sa aS DE — = = —— — FDorian 1 aa } | 4 i E 7 Hip ie aii. a = = — = ——S} -52- FETT TS TTT SETEEEEIIIIIIIIIIAIISITIFSASAIAILIIEL - - Modal Fourthy Voicings Skill 47: (continued) Bb Dorian -53- Modal Fourthy Voieings Skill 47: (continued) Ff Dorian BDorian 2 =e o E Dorian nl I ssa ons! | aan 4 aie tt o sh -54- “So What” Voicings This skill involves a particular fourthy structure probably best known from its use in the Miles Davis composition "So What”. This is a very versatile voicing since it can be superimposed without alteration in several places on different families of chords. Observe the following about these voicings: 1) In Skill 48, the voicing is built on the 1st, 2nd and 5th notes of a dorian scale and relates to a minor 7th chord built on the same modal center. 2) In Skill 49, the voicing is built on the 3rd, 6th and 7th notes of a lydian scale and relates to a major 7th chord built on the same modal center. 3) Notice the structure of the voicing which, from the bottom, is a stack of three perfect fourths and a major 3rd. The major third on top of the voicing seems to create a brightness and warmth that one would not normally associate with a fourthy voicing. 4) In dividing the five notes between two hands, there are two points of view which might be considered: a) Playing the top three notes with the right hand involves playing a major triad in second inversion, a very familiar shape. b) Playing the bottom three notes with the left hand involves playing a familiar structure of two perfect fourths which is commonly used that way. 5) The voicings in Skill 48 could be used with a unaltered dominant 7th chord whose root is located a perfect 5th below. For example, the D Dorian voicings could be used with a G 7. 6) Practice moving these voicings chromatically and try side-slipping around the diatonic voicings by playing those located a half step above or below them. -55- "So What Voicings j @=120 Skill 48; All Minor Keys DDorian GDorian CDorian g F Dorian AbDorian C4Dorian -56- "So What" Voicings Skill 48: (continued) FEDorian , BDorian d 120 Skill 49: All Major Keys F Lydian Bb Lydian EbLydian AbLydian -57- *So What" Voicings Skill 49: (continued) Db Lydian Gbtydian Chtydian E Lydian Atydian Dtydian GLydian C Lydian -58- Modal “So What” Voicings Like diatonic 7th chords and modal fourthy voicings, this skill involves fourthy voicings which are moved through a dorian mode (diatonic key signature). The “So What” voicing is used and, rather than keeping its pure stricture (three perfect 4ths and a major 3rd), it changes slightly as it is moved through the dorian scale. The voicings located on the 1st, 2nd and Sth steps of each dorian mode retain the pure “So What” structure. The voicings located on the other steps change their structure slightly to conform to the mode. In learning these progressions, observe the following 1) Try to visualize the modal key signature on the keyboard just as if the non- scale tone keys had been removed from the piano. With practice, you can begin to see a particular scale as though only those seven keys were present in each octave. 2) Think about the structure of each voicing (what kinds of 3rds or 4ths) and its position in the scale. The recognition of the correct sound (or a mistake) will confirm whether the right vdicing has been played or not. 3) Like the diatonic 7th chords and modal fourthy voicings, these skills provide an excellent opportunity to use one thing to reinforce or help another. Your security with a key signature helps you play the modal (diatonic) “So What” voicings; your security with the fourthy structures helps you to learn the key signature. -59- Modal "So What" Voicings J 96 Skill 50: All Dorian Modes D Dorian C Dorian -60- Modal "So What" Voicings Skill 50: (continued) Bb Dorian EbDorian AbDorian CH Dorian -61- Modal "So What" Voicings Skill 50: (continued) Ff Dorian B Dorian E Dorian A Dorian -62- SESSFSESESSESSSSSSSSESESEESSESEEEESEESEESEERBEEEEELELESEL Fourthy Il-V-I’s These II-V-I progressions use the “So What” voicing studied in Skill 48. The structure is built on the root of the Il chord and on the 3rd of the I chord. Since the voicing doesn't clearly fit or imply a dominant chord, the V chord simply involves chromatic side-slipping up or down to the I chord. In learning these progressions, observe the following: 1) Notice the unusual chord symbol for the V chord. That's because the voicing in that location (in either Skill 51 or 52) is not a V chord but is simply a sound which is on its way to the | chord. It is a sound which is not the | chord resolving to the I chord which, in general terms, is what a V-I progression does. 2) Because of the nature of the “V" chord, it would normally be de-emphasized by playing it short or with a short rhythmic duration. 3) Notice that Skill 51 involves parallel chromatic motion upward. 4) In Skill 52, notice that the parallel motion creates a smooth melodic curve which is kind of tune-like. a Fourthy IFV-1s ae 120 Skill 51: Format 1 pm G7? cA am C7? FA cm F7? BbA Fm7 Bb7?—EbA Abm7 0b7? GbA cim7 FE7? BA BSBEFEFEFETEFESESESESESEESESCSESESESFESESEESEESESEEEEREEEEEL Fourthy IeV-Is Fe m7 E m7 B7? av? Skill 51: (continued) EA Bm DA Am Skill 52: Format 2 cA Gm7 Bba F m7 c7” Fourthy tI-V-Is Bbm7 £57? Abm7 Db7? Fim7 87? Em? av? Skill 52: (continued) AbA ebm ab7? aba cf m7 FE7? EA Bm7 E7 DA Am? D7 -66- pba BA AA GA EEFPESESESRESSEASEESSEEESIDISIASSIISLLELE LLL Tri-Tone II-V-I’s These II-V-I progressions use both the normal Il and V chords and the II-V located a tri-tone away. The result is a deception as though the cadence was suddenly modulating to a distant key. This works because a dominant chord resolves equally well either down a perfect 5th or down a half step. For more explanation of the tri-tone substitution principle, see The Jazz Language by this author. In learning these progressions, observe the following: 1) Notice the starting position of the Il chord in either format. For example, in Skill 53, the following traits may be observed: a) The first voicing is built on the 7th of the Il chord and is a 7-3-5 voicing. b) The first voicing is built on the key center. ¢) The first voicing is the IV chord of the key in second inversion. 2) In any format, notice the horizontal motion of the individual voices as they move from chord to chord. For example, in Skill 53, the following is true: a) In going from I to V, the top two voices are common tones and the bottom voice moves down a half step. b) In going from V to bVI, the voicing remains in the same inversion for the smoothest connection. ¢) In going from bVI to bil, the outside voices are common tones and the middle voice moves down a half step. ) In going from bil to |, the voicing remains in the same inversion for the smoothest connection. 3) The goal is that the voice-leading or connection of the voicings is very smooth involving step-wise motion and continuation of common tones for the most part. This results in a smoother musical effect and is easier to play. Se TiqTone II-V-'s o= 96 Skill 53: Format 1 Bm7 £9 Fm9Bbig AA Am7 D9 Ebm9Ab1I3 GA | 7 Gm7 C9 Cim9 FEI3° FA Fm7Bb9 Bm9E13 ~~ EbA Ebm7 Abo Am9 _D13—-DbA Cim7 FE9 Gm9 C13° BA Cm7 F9 Fim9 B13 BbA Bbm7Eb9 Em9 A13 ADA -68- SPEDE SEFDSDDDASSASEEEE EFAS ESS TSS EEESLLULGCGCEe TiTone t-V-Is Skill 53: Format 1 (continued) Abm7 Dbg Dm9 G13 Em7 AQ Bbmg Eb13 4 Em9 A13 Bbm7 Eb9 Cm9F13 Fem7 BO GbA DA Fim7 B9 Cm9 FIZ EA Skill 54: Format 2 DAg BLAS -69- Dm9 G13 Abm7 Db9 CA9 | BhmgEb13Em7 AQ AbAG 4 io Tr-Tone IeV-1s Skili 54: Format 2 (continued) Abm9 Dbis3D m7 G9 GbAg Fimo B13 Cm7 FQ EAD ——+— = Fmg Bb13 Bm7 E9 EbAG Ebmoabi3 Am7 D9 DbAS Cfm9 FH13 Gm7 C9 BAG Bmg E13 Fm7 Bb9 AAG Am9 D13 Ebm7 AbQ GAO Gm9 C13 Chm7 Gb9 FAG e708 BESESIFSIFESFFEFSFAFSEEESESFFFFFIFFSESEELLLELEB Polychordal II-V-I’s These II-V-I progressions involve polychordal structures in which the left hand plays a conventional inversion and the right hand plays some kind of triadic structure to create extensions and/or alterations of the harmony. In learning these progressions, observe the following: 1) Notice the starting position of the Il chord in either format. For example, in Skill 55, the following traits may be observed a) The first left-hand voicing is built on the 3rd of the Il chord and is a 3-7-9 voicing. The right hand is on the triad of the key in 2nd inversion. b) The right hand moves chromatically upward in paralle! motion. c) The top voice of the left hand moves chromatically downward. 2) In any format, notice the horizontal motion of the individual voices as they move from chord to chord. 3) The goal is that the voice-leading or connection of the voicings is very smooth involving step-wise motion and continuation of common tones for the most part. This results in a smoother musical effect and is easier to play. -7- Polychordall IFV+'s | @=120 Skill 55: Format 1 b Dmg G7bs. CANS Gm9 io" a b b bmg 0b 73 abAis Chm FHS BAts -72- F¥YTTITF FFF EET EEE EF EF EFF FEE FES EFEEEEEET LL ELL. Polychordal ll-V-'s \ Skill 55: (continued) ‘ Fimo 8753 M13 Bm9 E73 AAIS ee Skill 56: Format 2 Dmit ,G788 CAI3 Gmt1 78S FAIS be gho 2 se A mit F7#S , BbAts Emit Bb7#s bats by b -73- Polychordalli-V-'s Skill 56: (continued) Bbmtt eb7i8 abAis Ebmt1 Ab7#s. DbAts abmt1 ob7#s Gb Ais Chmit Ff7s8 BAI3 lo 2 x Fimtt B783 EA13 Bmi1 E73 AAI3 Emit A7#8 DAIS Ami D7#8GAI3 -74- SABDADVPAPDDADasas sas saaasaasaaaaasaeasensananeanaae Polychordal IEV-t's d. 120 ir Skill 57: Format 3 im DO G75 Cmi3 GO cvs Fmi3 abmis F® Bb7i COFr7 AgOvg7t2 cma ogo at72 cms ato of 78 Fmis oye FEE Bm3 -75- Polychordall-V-'s Skill 57: (continued) 8 Ems BO ev FEO art b E® a7bS omis A® v8 amis @=120 Skill 58: Format 4 ‘ D@9 G7#8 cmao GO9,07!3 Fmag b CO9 F743 Bbmag FO9 Bb7#8 Ebmag -76- EVBRVDVBVBpaaeeereeereeeeeereeeeeeeees----~-~ ~~~ -- SESSA ADAESESESTESESESESEESESDSADSPSSESEEEELLLLEL Polychordal I-V-Is : Skill 58: (continued) ‘ aoe of7i8 Gms D4oo od7#s ChmAg 8 aos cers Fimo zoo Fives BmAg r « FHO9 B7IS EmAg BO9 E7#S AmAg | | : lL 2 2 ! (a SS SS SS T T ~ * EO9 A7#S DmAg A@9 |D7#8 ~— GmAg —S ——— ——_ ——— oe bee } so -77- Cycling Altered Dominants ‘These progressions involve polychordal structures in which the left hand plays a dominant structure and the right hand plays some kind of triadic structure to create extensions and/or alterations of the harmony. In learning these progressions, observe the following: 1) Notice the starting position of the first chord in either format. For example, in Skill 59, the following traits may be observed: a) The first left-hand voicing is a simple 1-7 shell of the dominant chord. The 2nd chord is a simple 1-3 shell. These two alternate throughout. b) The first chord in the right hand is the major triad located a major 6th above the root of the dominant chord. It is in 2nd inversion. ¢) The right hand moves chromatically downward in parallel motion. d) The top voice of the left hand moves chromatically downward in parallel motion while the bottom voice plays the roots of the chords around the cycle of fifths. 2) In any format, notice the horizontal motion of the individual voices as they move from chord to chord. 3) The goal is that the voice-leading or connection of the voicings is very smooth involving step-wise motion and continuation of common tones for the most part. This results in a smoother musical effect and is easier to play. -79- SAAAAAAAADAAASAAAASEESEALEEESAETATELETELELL Cycling Altered Dominants ees Skill 59: 13b9 to 7#9 Aja’? p78 @1a?9 — o7#9 F138" Bb7#9 ebrab? —abr# -80- Polychordal Blues Voicings = 132 Skill 61a: Blues in C, Format 1 C13 FQ 13 C13 F9 Bb13 © © e a ig fo 8 bs eS | Skill 61b: Blues in C, Format 2 ce F13 co co F13 abe -B4- SEPIDAIDELDAFDADALDIFDALFELLEFASESAFESISSLLLLELLLEL Polychordal Blues Voicings | = 132 Skill 62a: Blues in F, Format 1 F13 Bbo F13 F13 Bbo Ebts Skill 62b: Blues in F, Format 2 Fo a Fo Fo Bb13 ebe 2 af BB ee © tp 4 bs 3 bs bs Ls 8 yobs. 2 2 pO ———} or 49 F9 D785 Gm? o13 F9 C13, 2 Pass Polychordal Blues Voicings J. 192 Skill 63a: Blues in Bb, Format 1 Bbis Ebo Bb13 Bb13 ebo Abi a 2 2 bo Bb13 G79 om Fo BbisF9 Skill 63b: Blues in Bb, Format 2 Bbo eb13 Bho Bbo eb13 abo Bho a7is om? F13 abe F13 -86- EESEEESEF FSF FSS SSDS FS SSSSSSFSSSSSSSSESEEE EEE Polychordal Blues Voicings = 182 ebi3 ebi3 eb ebs Skill 64a: Blues in Eb, Format 1 Abo Eb13 Ebi3 c7#9 Emo Bbo Skill 64b: Blues in Eb, Format 2 Abia Ebo eb 2 b& c7#8 Fm? Bb13 aie abs ebis Abia e Ebe obi Bba pbe Bb13 Polychordal Blues Voicings Ae 132 Skill 65a: Blues in Ab, Format 1 abia ob8 abis Abi3 obs bia e 2 2 3s bs 3 8 + = Abia. F7#9 Bm? EP Abia &b9 e ° ° e Skill 65b: Blues in Ab, Format 2 abo pbis ab? abo Dbi3 abe abo F7#S bm? Ebi ab9 Eb13 -B8- SACRA AF HMMA FM@AMMFM@MAMeMeWeeeeeWenWWeWABWF®A®AA9- ~~ SEFFEEFEFEFFSFSFFSIISDIODSSSSSSSSSSEESEESEESEE EEL Polychordal Blues Voicings = 1382 pbts Skill 66a: Blues in Db, Format 1 abe pbis pbis == Bb7#9 ebm abo bo Skill 66b: Blues in Db, Format 2 cbis_ be obo 2697 abs pbi3 B13 abo Bo Abia Polychordal Blues Voicings J. 132 Skill 67a: Blues in F#, Format 1 FHI Bo FHI FRI Bo E13 Fiis—R7#9— aim? oH Ffis of Skill 67b: Blues in F#, Format 2 FY9 Bis FR Fe Bi3 E9 748 atm? ti FYo chi & s we ee ewe meme memeeeaaararacaaaacacaaaaaaraaaa-— BEPESISISFSSIAADIIIASDSASASIIISISAIIIIASELELELLES Polychordal Blues Voicings | o= 182 Skill 68a: Blues in B, Format 1 B13 E9 B13 B13 E9 AIS a 2 2 2 8 os a B13 GH7*> chm? Fo B13 FRe 2 2 Skill 68b: Blues in B, Format 2 Be E13 Bg Bo £13 ag Bo at7#s chm? Fs Bo Fea ss Polychorcal Blues Voicings = 132 Skill 69a: Blues in E, Format 1 E13 ag E13 E13 ag D13 E13 ch7#9 Fm Bo E13 Bo Skill 69b: Blues in E, Format 2 e9 AIS E9 e9 A13 be 2 2° E9 ct7ts Fim? = B13 E9 B13 -92- we ttt tte em meee eee meee eaeeaaaaraacaacaacra~— FFETETE ELE LASSE LEA EEEEERELESEEESIELELL ELE Polychordal Blues Voicings = 192 AIS Skill 70a: Blues in A, Format 1 oe A13 A13 2 2 Skill 70b: Blues in A, Format 2 D13 Ag ag Bose pe 013 o9 E13 Polychordal Blues Voicings o= 132 D13 D13 pg pg Skill 71a: Blues in D, Format 1 eo D13 D13 B7#9 Em9 ag Skill 71b: Blues in D, Format 2 Gi3 bo bg 9 B7is —Em9 A13 -94- ao D13 G13 bg C13 Ag c8 AIS we ameaeeaeaeaeereaeeeceeeeeaeeaeteazerzeeeezaeeaeaecoooee-< BULLE LEEPELELELELELESLELIESIELALELLELLLLELEELE Polychordal Biues Voicings i 132 G13 G13 Skill 72a: Blues in G, Format 1 ce G13 G13 Skill 72b: Blues in G, Format 2 eo c13 er) ao s i Pose co eo a Fo PUTT TTTTTTLEEELEELELLELELELEEELEEEEEEELEEEEL Fourthy Blues Voicings ‘These blues progressions involve fourthy structures in which the left hand plays a conventional inversion and the right hand plays a structure of two perfect fourths to fill out a two-hand voicing of the harmony. In learning these progressions, observe the following: 1) Notice the starting position of the 1st chord in either format. For example, in Skill 73, the first left-hand voicing is built on the 7th of the | chord and is a 7-3-6 voicing. The right hand plays a 2-5-8 voicing. Another way to think of this would be to build perfect fourths down from the key center. 2) In any format, notice the horizontal motion of the individual voices as they move from chord to chord, For example, in going from bar 1 to bar 2 of Skill 73, the right hand keeps all three notes as common tones; in the left hand, the bottom two voices move down a half step and the top voice moves down a whole step. Also, observe that in bar 7, all voices move in parallel motion up a minor 3rd to bar 8. 3) Notice that the fourths used on top are generally unaltered chord tones. The ‘exception is the VI chord in bar 8 which uses tones that create extensions and/or alterations. 4) The goal is that the voice-leading or connection of the voicings is very ‘smooth involving step-wise motion and continuation of common tones for the most part. This results in a smoother musical effect and is easier to play. Or Fourthy Blues Voicings de 132 co Skill 73a: Blues in C, Format 1 Fo C13 C13 2 S Skill 73b: Blues in C, Format 2 F13, co c9 a7is Dmg G13 Poa Fo 2 F13 co Bb13 bo. Bho G13 ©220202020220200000020000000029000000000000000a00- FITITITTIT TTT TTT T TTA S ESATA RAPES SLEELEELE Fourthy Blues Voicings =132 Skill 74a: Blues in F, Format 1 F13 Bb eb13 2. F13 Bho F138 o7#9 Gm ca F13, ce be F13 Skill 74b: Blues in F, Format 2 Fo Bpt3 Fo F9 Bbi3 ee 2 2° e ° 2° Fourthy Blues Voicings Lee Skill 75a: Blues in Bb, Format 1 Bbi3 e}9 Bb13 Bb13 e}9 Abia 2 2 a a a = —— —o—— oo G79 como Fo Bb13 Fo 2 2 = e a - =< = 2 se 8 e ls ex bs. {hoe im oe bS- == Skill 75b: Blues in Bb, Format 2 Bho eb13 Bho Bho Ebi3 abs -100- FIFITIFIDFPIVIIIA DSS VAFITIIDIVFHSSSESSSSSELELLE Fourthy Blues Voicings J. 192 Ebi3 Eb13 eb? E}9 2 $s b8 Skill 76a: Blues in Eb, Format 1 abs Eb13 Ebis c7#9 Fmd Bho Skill 76b: Blues in Eb, Format 2 Abia eb8 eb9 ,g7i8 F mo Bb13 Ss 2 a -101- Abo Eb13 abi3 2 pbi3 Bho obo ° Fourthy Blues Voicings = 182 Skill 77a: Blues in Ab, Format 1 abia obs Abia Abia ob? abis ° ° ° 2 2 s 8 3s s abi3 ert Bbmo —_—Eb9 Abts Eb9 a a Skill 77b: Blues in Ab, Format 2 abo obi abo Abo obis bo abo F7#8— Bhm9_—Ebis abo Eb13 - 102- FUTTIT ITT TTD TT TATA TAS TATATAT FATT FFE SETTLE Fourthy Blues Voicings J. 132 Skill 78a: Blues in Db, Format 1 pba. sb pbi3 obis abe B13 obi Bb7#9 ebmo Abo pbis Abo ba Skill 78b: Blues in Db, Format 2 Db8 his ob? obo Gbi3 Bo 2 © ° 2 2 bs bs bs bo i ep7s ebmo Abia bo abt, bs a b& - 103 - Fourthy Blues Voicings d. 132 Skill 79a: Blues in F#, Format 1 FHS Bo FRI FRI Bo E13 Fis py7#9 mo cH9 Fits of? io —~o— Skill 79b: Blues in F#, Format 2 FR B13 FR FRS B13 E9 2 2 2 2 2 - 104- FUTFT TT VSP PRASAD VIASADAAIAIIDIADSAISESEESSLE Fourthy Blues Voicings Skill 80a: Blues in B, Format 1 B13 E9 B13 B13 Eo A13 2 2 2 2 2 he Ss oS o———-8- a = Se S| o T | 2 2 i 2 2 eyed #8 — 1B B13 ar cima Fgo B13 FYo a" 2 = yo = s = = fa oe ” 4 i | 2 Me Ps s 2 s | 5 —e fo ___| 5 __| 4 |» | Skill 80b: Blues in B, Format 2 Bo E13 Ba B9 E13 ag GH Z =8 3 9 ee o- 8 —3 —— 4 © = bey 4S: = “o 2 SE B9 Gd7is chms E13 Bo Fes o" a — - 105 - Fourthy Blues Voicings Ae 132 E13 E13 Skill 81a: Blues in E, Format 1 ag E13 E13 cy7#9 Fimo BS Skill 81b: Blues in £, Format 2 A13 E9 E9 2 2 +9 Ch7#5 Fimo B13 gt Ay is hs - 106 - Ag D13 Bg PU@MAMAADANAADAAD ASP AAMAIWVPSAAPSASASAAPSSeeesewtewewe=- - FUTTITTIT TTF TF USSF TAREE SRI FIIFAITIFFFEELE LEED Fourthy Blues Voicings J. 132 A13 A13 Ag Ag Skill 82a: Blues in A, Format 1 be AIS. A13 2 2 2 8 s Fi7#9 Bm9 £9 ie a Skill 82b: Blues in A, Format 2 D13 Ag Ag Fa7es Bm9 E13 -107- pg 2 A13 D13 Ag G9 Fourthy Blues Voicings J = 182 D13 Skill 83a: Blues in D, Format 1 a9 d13 D13 B7#9 Emo Ag Skill 83b: Blues in D, Format 2 G13 be pg - 108 - Go G13 C13 Cc? Pe SPEFSSFEFEFEEFESSESFESESSSEESSEESESFSESESEELEEE LIEGE Fourthy Blues Voicings G13 G13 Skill 84a: Blues in G, Format 1 ce G13 G13 ‘o Skill 84b: Blues in G, Format 2 C13 Go Go 2 = -109- co C13 2 F13 ETELELELERELEELELEEELELEEEEELESELELEELEEEEEREL Major 7th Blues Voicings These blues voicings involve progressions that have already been studied. Good security with major II-V-I's, the | to IV cycle and tri-tone II-V-I's will make these progressions immediately accessible. Specifically, observe the following: 1) The first 4 bars of the progression is identical to the I-lV cycle. 2) Bars 6, 7 and 8 are a series of major II-V progressions which modulate downward chromatically. 3) Bars 9 and 10 are the tri-tone II-V progressions. 4) The goal is that the voice-leading or connection of the voicings is very smooth involving step-wise motion and continuation of common tones for the most part. This results in a smoother musical effect and is easier to play. -1n- Major 7th Blues J. 120 Skill 85: Blues in C ca Bo E7>9 = Am7 si amc FA Fm7 Bb9 Em? — A ebm7 Ab? Dm7 G9 Abm? pbis. «GA ATES Dm7 G79 J. 120 Skill 86: Blues in F FA Eo A7m>S pm7 G9 omy Go -112- Major 7th Blues Skill 86: Blues in F (continued) Bba Bbm7 Eb9 Am7 D9 Abm7 ob2 Gm7 09 Dbm?@bis FA 79 m7 758 @=120 Skill 87: Blues in Bb Bb A@ p79 gm7 G9 Em7_~—BP Eb ebmz abS Dm7 G9 pbm7 ab9 -113- FST SESESESESASDAVDISDSESASASSAAIASSSSLESESESEE Major 7th Blues Skill 87: Blues in Bb (continued) cm7 F9 Fim? B13. BA G79 m7 F7PD Skill 88: Blues in Eb eba D2 G79 cmz_— 9 Bb aba abm7 Db9 Gm7 C9 Fim7 BS Fm? Bb9Bm9—s£13.«EbA C799. Fm7_~—BL7PD -114- we tt tt ew mmm mmm mmm me neeean- FFEFEFEFTFEESEDFSTEFIIISIFFEFFSSSFIFFIFSFSISSELEELEEELE Mojor 7th Blues @= 120 Aba Skill 89: Blues in Ab Go Dbm7 Em? c7°9 mz Gb? cm7 A13 AbA Skill 90: Blues in Db co F798 Bbm7 -8- Bb9 Fo F7b9 e}9 Ebm7 Bm7 Bbm7 Abm? abo 59 ebrbo obo Mojor 7th Blues aba Skill 90: abo FAm7 Am? Bo D13 Fm7 pba Skill 91: Blues in Gb Fo Bm7 Bb7b9 i) -116- ebm? Bbm7 Blues in Db (continued) Bb9 Em7 Ad B79 Ebm7 —_ab7b9 Abo e}9 chm7 FRE Am7 D9 Chm7 FH9 Gm9_ cis. BA G79: Cm F}7>9 -17- Major 7th Biues Skill 91: Blues in Gb (continued) Abm7 Db? Dm9 Gis Gb — Eb7°9 abmz pbrb9 d =120 Skill 92: Blues in B BA Ag® — Df7>9 Gim7 cH Fm7 BF = Major 7th Blues / = 120 Skill 93: Blues in E EA DRS —a7>9 chm7 = FED Bm7_ ES AA Am7 D9 Gim7 —cf9 Gm7 C9 Fim7 B9 = Cm9_ F138. EA 79 Fz B79 4 J. 120 Skill 94: Blues in A AA GRO —ct7>9 Fim7 = BS Em7 AD -118- Mojor 7th Blues Skill 94: Blues in A (continued) pa Dm7 G9 cim7 — FES cm7 F9 Bm7 £9 Fm9 Bbig AA — FH7>9: Bm £759 Skill 95: Blues in D DA cee F{7>9 Bm7 Eo Am7 DY -119- Major 7th Blues Skill 95: Blues in D (continued) ag bm? Ebis DA —-B7°9_Em7 79 Em7 J. 120 Skill 96: Blues in G FEO B7P9_sEm7 AS Dm7 GS Am7 D® ebm? aba GA E79 Am7_——7PD -120- i Minor Blues Voicings These blues progressions involve fourthy structures in which the left hand plays a conventional inversion and the right hand plays a structure of two perfect fourths to fill out a two-hand voicing of the harmony. In learning these progressions, observe the following: 1) Notice the starting position of the 1st chord in either format. For example, in Skill 97, the first left-hand voicing is built on the 7th of the I chord and is a 7-3-5 voicing. The right hand plays a 2-5-8 voicing. Another way to think of this would be to build perfect fourths down from the key center. 2) In any format, notice the horizontal motion of the individual voices as they move from chord to chord. For example, in going from bar 1 to bar 2 of Skill 97, the right hand keeps all three notes as common tones; in the left hand, the bottom voice moves down a whole step and the top two voices are common tones. 3) Notice that the fourths used on top are generally unaltered chord tones. The exceptions are the dominant chords in bars 4, 10 and 12 which use tones that create extensions and/or alterations. 4) The goal is that the voice-leading or connection of the voicings is very smooth involving step-wise motion and continuation of common tones for the most part. This results in a smoother musical effect and is easier to play. -121- Minor Blues Voicings = 1392 cmg es eb ats bats Skill 97a: Blues in C Minor, Format 1 : Fmé cm9 pg7ee Fmé 2 ‘2 a 2 Be abAls Dp @® G cmo eS Skill 97b: Blues in C Minor, Format 2 9 #9 Fm9 cms C785 Fmg e -122- Bbi3 > # 745 Bbi3 GADAMMSABADASPA* A BBA Mate een Meena aaa aaarnas SSELEDESIADAFASAADADSASADASASAADAASSASLL ESBS Minor Blues Voicings | = 182 Fm Abats 9 Fme oe Te Abats 2 2 so Skill 98a: Blues in F Minor, Format 1 Bhms Fm F7#8 — Bhme 9 pbAts gD c7ig emo Skill 98b: Blues in F Minor, Format 2 9 #9 Bhmo Fms F7KS Bbm9 a es — Q r= b8 = 9 ppats GD c7i8 Fmé e 2 $ = 123 - Eb13 #9 745 22 3s Minor Blues Voicings = 132 Skill 99a: Blues in Bb Minor, Format 1 fi Bbmg — Ebmé Bb ,Bo74s Ebms —AbI3. 2 2 2 = 2 2 2 & pbals ghat8 oD F7#3 — Bbma_E7#8 Q 2 eo Q oO 2 = Skill 99b: Blues in Bb Minor, Format 2 Bbm8 — Ebma—sBbms_ = Bb7#s = Ebma ADI , le pbats ghatS cD F7HS = BbmeF71 -124- SESEFFSIFIIIIIDIDIFISIIIIIIIIAIAIISEEEEEGE Minor Blues Voicings Je 132 Skill 100a: Blues in Eb Minor, Format 1 ebma —abm&.—Ebma Eb7#3—abm’ qbalsgAl3 gD Bb7¥8 — Ebmo Skill 100b: Blues in Eb Minor, Format 2 ebme abma bm ~—Eb7#8. Aba 2 2 Le 2 5S abats pals FD Bb7#s —Ebmé 2s 2 2 a2 -125- pbis ab7ts ab7is ‘2 oO 2 io Minor Blues Voicings eae Skill 101a: Blues in G# Minor, Format 1 5 9 c Gt? ¢ FHS. ie hte ae £ £ & 8 & 13 43 #9 #9 BA 2S 4 prs aims ogee 2 2 2 = s Skill 101b: Blues in G# Minor, Format 2 Gms chm Gimé abzes cma Fes Bats EAS AyD — kB Gtms_— 74S anes SAM aM AM HAMM AHOHFASAeAAeFeeHeeennannanaaara- SPEFSEFCEEEFEESESFSFSSESESSSSIFFADIIAIAISIEESEILIEGEL Minor Blues Voicings de 132 Cima ‘o chm’ gAl3 = == Skill 102q: Blues in C# Minor, Egrmat 1 Fme cme chi7es Fm iC ot i —_ 5 = Skill 102b: Blues in C# Minor, Format 2 Fima cfm8 —ct7#s Fimo to Ads ED ct7#S cme ° o -127- EL B13 e B13 # ages 2 Minor Blues Voicings J. 132 Skill 103a: Blues in F# Minor, Format 1 Fa7ts Bm3 E13 Fimo Bmé Fimo aats pats at D ch7#s rma of7es Skill 103b: Blues in F# Minor, Format 2 2 Fims = Bm9_— Filme. Fii7#s = B91 2 2 Ss 2 sg 8 asta pals gD ch7#S me «oh 2 2 2 3 = s 4S ae SEFFEEFE SESE FPF SDFSFE PSS SDSS ADIDAASSISESSSESEES~ Minor Blues Voicings 132 pats pats Skill 104a: Blues in B Minor, Format 1 Emé Bmg B7#s Em6é 2 be 2 2 -~S— 8 & os Gals ce Fi7es Bmg 2 iS ie 2 a 2 S = Skill 104b: Blues in B Minor, Format 2 Emo Bmé B7i8 Emo GAs oh Fires ams ‘o +129- A13 AIS Fe75S Minor Blues Voicings de 132 Skill 105a: Blues in E Minor, Format 1 #9 9 Emg Ams Emg E7# Ams D13 GAs cal YD B7H8 «Emo 8743 Skill 105b: Blues in E Minor, Format 2 9 Eme Amg Emé evs Am9 D13 ° 2 a 2 -130- mt tt ttt ttm een nee eee eee eee eee eenaanaanaeanaaanc EREEEEELEAAASASAVIDALADEAAVIDISEALELELLELE. | Minor Blues Voicings d. 132 Skill nose Blues in A Minor, Format 1 Dme Amg ATH Dmé ° ° gg Fats B® E788 Ams -131- G13 Minor Blues Voicings 32 Dmg FAt3 Fats Skill 1070: 9 Gmé abats Skill 107b: Gm Blues in D Minor, Format 1 #9 9 Dmg D785 Gmé ED aris Dmg Blues in D Minor, Format 2 Dmé D7is Gm9 tes 2 -132- C13 C13 \aaaaetraraarararaaaaanaaaaaanaaecaaaacananaaaa=- - SELTEELESEDEEEIDIDIFIIIFDSSIFDIFDISISESEEESEE.~ Minor Blues Voicings o=192 Skill 108a: Blues in G Minor, Format 1 amo cms Gme G7H cms F13 be Skill 108b: Blues in GS Minor, Format 2 Gme cmgo Gm6 7s cmg Fi3 2 2s 2 2 eo 4 oO oe es — — —————————— e = i 1 S |e < | s Lect a sis -133- ee Diminished Substitutions This skill utilizes voicings that are derived from the half-whole diminished scale that relates to a dominant 7th chord. Since the same scale relates to four different dominant 7th chords, it makes this device possible. For more explanation of diminished scales, see The Jazz Language by this author. In leaming these skills, consider the following: 1) These skills use 13 9 voicings that are characteristic of the diminished scale. This voicing appears immediately before the resolution to the major | chord. The other voicings in the measure are actually transpositions to the other three dominant 7th chords. However, they can still be analyzed in relation to the main dominant 7th and sound good used with it. 2) The voicings are moved in parallel motion (up or down in minor Srds) through the scale. Notice that, at any point, only notes of the related diminished scale are used. 3) Practice the sequence of quarter note voicings up and down over a span of two or three octaves to become fluent with any particular transposition. Think of the series of voicings as kind of like stair steps that a person could go up or down and get off on any landing he or she chooses. Accordingly, you can move any number of two or more voicings up or down the series and resolve at any time. Ata fast tempo, you might only use two voicings of the series; in a ballad, you might use five or six. 4) Try working out resolutions of the other three voicings (besides the 13 b9) and develop your own variations. -145- Diminished Substitutions de 96 Skill 118: Format 1, Ist Transposition c7 FA c7 FA - 146 - re Diminished Substitutions ] = 96 Skill 119: Format 1, 2nd Transposition Db7 aba Db7 aba ee Diminished Substitutions Je 96 Skill 120: Format 1, 3rd Transposition 07 GA D7 bi GA F7 BbA F7 BbA ee Diminished Substitutions =96 Skill 121: Format 2, 1st Transposition c7 FA c7 FA 149 Diminished Substitutions d = 96 Skill 122: Format 2, 2nd Transposition ob7 Gh ob7 Bb7 ebA eb7 cb EDA wt tt tt tte eee eee meme enaeaaeanaaanaaaanaaaaa-~ FFT T FIFI IITIIFIAIIIIIIFIIFAIIIIFIFATIIIFIIDIIIIE< c Diminished Substitutions ee D7 F7 Ab7 Skill 123: Format 2, 3rd Transposition GA D7 by ete by 2 abd F7 pb ab7 -151- BbA pbA Jazz Keyboard Fundamentals - Semester Outline Skill Testing Schedule - Week Skills d 3 1,283 4 4,586 5 9,10&11 6 12,13 & 14 7 15,19 &20 8 21, 22 & 32 9 33 & 34 10 35 & 36 W 37 12 38 13 40 14 42 15 43 Grading Scale - Skills will be graded pass or fail and the number of skills passed will determine the semester grade as shown below. Testing will be done on the first class period of the weeks indicated. If not passed at that time, those skills may be attempted again at a later date but all skills must be passed in the order in which they are listed Skills_passed 1-6, 9-15, 19-22, 32-38, 40, 42, 43, JKPE* 1-6, 9-15, 19-22, 32-38, 40, 42 1-6, 9-15, 19-22, 32 1-6, 9-15 io soar a io * Jazz Keyboard Proficiency Exam - Sight-reading a chord progression using the idiomatic chord voicings studied in this course. -152- Advanced Jazz Piano Class - Semester Outline Skill Testing Schedule - Week Skills_due 3 44 & 45 4 46 5 47 6 48 & 49 7 53 & 54 8 55 & 58 9 59 & 60 10 61-64 & 70-72 * 1 73-76 & 82-84 * 12 85-88 & 94-96 * 13 97-100 & 106-108 * 14 117 15 118-120 * One of these seven keys will be selected at random. Grading Scale - Skills will be graded pass or fail and the number of skills passed will determine the semester grade as shown below. Testing will be done on the first class period of the weeks indicated. If not passed at that time, those skills may be attempted again at a later date but all skills must be passed in the order in which they are listed, Grade Skills passed A 44-49, 53-55, 58-64, 70-76, 82-88, 94-100, 106-108, 117, 118-120 B 44-49, 53-55, 58-64, 70-76, 82-88, 94-96 c 44-49, 53-55, 58-64, 70-76, 82-84 D 44-49, 53-55, 58-64, 70-72 -183- FITITTTTITTIT TT TTT TTT SPSS TTTTITDIF SERRE ESI. -~ Dominant 7th Polychords Dominant 7th chords offer the most variety for combinations of alterations and/or extensions. Polychords are an excellent way to achieve colorful two- hand voicings for the various dominant sounds. In learning these progressions, observe the following: 1) Observe the relationship between the top triad of the polychord and the basic 7th chord. You can create a kind of algebraic formula (i.e. A over B = C). For example, in Skill 109, the top chord is a major triad located a whole step above the basic dominant 7th. So to create that sound in any key, you simply use that " formula”. Here is a summary of the relationships: Skill Top triad Location in relation to the dominant 109 major whole step above 110 major minor 3rd above 114 major tri-tone above 112 major minor 6th above 113 major major 6th above 114 minor half step above 115 minor minor 3rd above 116 minor tri-tone above 2) Notice that the Sth of the basic dominant 7th is omitted since itis either a dispensable tone or the upper triad adds an altered Sth that is intended to replace it anyway. 3) These voicings involve root positions of both the dominant 7th and the upper triad and they sound very satisfactory this way. However, many variations of each skill are possible, Try using a 3-7-9 oF 7-3-6 voicing of the dominant 7th in the left hand and invert the triad in different positions in the right hand. Any note of the triad may also be doubled in octaves -135-

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