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32 bar aabc form

please note that the melody is written in a simplified form, and is a guide only, embellishments & syncopation are expected

Autumn Leaves

mark@jazzpiano.co.nz

this indicates that the feel is swung not straight 8ths

this indicates that the feel is swung not straight 8ths m e d i u m

medium

major ii v i in b flat

A1 C m7 F 7 B ! maj 7 E ! maj 7 w >
A1
C
m7
F
7
B
! maj 7
E
! maj 7
w
>
˙ ˙
& b b c Œ œ œ œ
j
j
Ó
. —
œ œ œ œ
Ó
— . —
œ œ œ œ
>
comping rhythm
for A sections
only
1
c dorian
f mixolydian
b flat major
e flat lydian
minor ii v i in g
A
m7 ( ! 5 )
D
7 ( # 5 # 9 )
G m ( ma j7 )
w
j
œ
w
j
Œ
& b b
œ
œ
œ
Ó
.
n
œ # œ
œ
Ó
.
>
>
6
a locrian #2
g jazz minor
d superlocrian
major ii v i in b flat
A2
C
m7
F
7
B
! maj 7
E
! maj 7
w
œ
˙
˙
œ
j
j
& b b
œ
œ
œ
œ
Ó
— —
.
Ó
— .
œ
œ
>
>
10
minor ii v i in g
A
m7 ( ! 5 )
D
7 ( # 5 # 9 )
G
m ( ma j7 )
w
j
œ
œ
œ
œ
j
Ó
& b b
w
Ó
— —
.
Ó
.
# œ œ
>
>
14
minor ii v i in g
A m7 ( ! 5 )
& œ
D
7 ( # 5 # 9 )
B
G m ( ma j7 )
b b
˙
œ
œ
w
œ
œ
œ
œ
œ
œ
œ
18
major ii v i in b flat
C
m7
F
7
œ
.
B
! maj 7
E
! maj 7
œ
w
œ
w
˙
b b
# œ œ
&
œ
J
22
minor ii v i in g
major ii v in F
major ii v in e flat
7 ( # 5 # 9 )
C
A m7 ( ! 5 )
D
G m7
C 7
F m7
B ! 7
œ œ
œ
b b
œ
œ
˙
˙
˙
&
˙ .
˙
26
g dorian e.g.
f dorian e.g.
minor ii v i in g
A m7 ( ! 5 ) D 7 ( # 5 # 9 ) G
A
m7 ( ! 5 )
D 7 ( # 5 # 9 )
G m ( ma j7 )
b b
˙ .
œ
œ
&
˙
w
œ
œ
œ
œ )
œ
(
30

Modes for Autumn Leaves

scales & modes are a group of notes, a pool if you like from which you can draw your ideas

mark@jazzpiano.co.nz

& b b

C m7

34

œ

 

œ

 

œ

 

œ

 

œ

œ

œ

œ

 

c

dorian mode (2nd mode of B flat major scale, or c major scale with lowered 3rd and 7th)

 

F

7

 

& b b

œ

 

œ

 

œ

 

œ

   

œ

œ

œ

œ

36

f

mixolydian mode (5th mode of B flat major scale, or f major scale with lowered 7th)

 
 

B

! maj 7

38

& b b

œ

 

œ

 

œ

 

œ

 

œ œ

 

œ

œ

 

b

flat major scale

 
 

E

!

 

& b b

œ

 

œ

 

œ

 

œ

   

œ œ

 

œ

œ

40

e

flat lydian mode (4th mode of B flat major scale, or E flat major scale with raised 4th)

 
 

A

m7 ( ! 5 )

& b b

   

œ

œ

 

œ

œ

42

       

œ

 

œ

 

a

n œ

œ

locrian #2 mode (6th mode of c jazz minor scale, or natural minor scale with lowered 5th)

 

D 7 ( # 5 # 9 )

 

& b b œ

44

 

œ

 

œ

 

b œ

 

b œ

 

œ

œ

œ

d

superlocrian mode (7th mode of E flat jazz minor, also called altered and half whole scale)

G m ( ma j7 ) # œ œ œ n œ œ œ œ
G m ( ma j7 )
# œ
œ
œ
n œ
œ
œ
œ
& b b œ
46
g
jazz minor scale (melodic
minor ascending)
G m7
œ
œ
C
7
œ n œ
œ
œ
œ
& b b œ
œ
œ
œ
œ
œ
œ n œ
œ
48
g dorian mode, or c mixolydian mode (same notes)
F
m7
œ
B
! 7
œ
œ
œ
œ
œ b œ
œ b œ
œ
& b b
œ
œ
œ
œ
œ
œ
50
f
dorian mode, or b flat mixolydian mode (same notes)

Jazz Swing Quavers

play this scale and articulation

mark@jazzpiano.co.nz

12 b b œ œ & œ œ œ œ œ œ 8 œ œ
12
b b
œ
œ
&
œ œ
œ œ œ
œ
8
œ œ
œ
œ œ œ
œ œ
w
52

now play this in 12/8 time

 

&

b b 8

12

 

55

œ

j

œ

œ

j œ œ

œ

j

œ

j œ

œ

j

j œ œ J
j œ œ J

œ

œ J

œ

j

œ œ
œ
œ

j

œ

œ

j œ œ

j

œ

œ

j œ œ

j

œ

w .
w .

c

Now add an accent to the off-beat note

b b c œ œ & œ œ œ œ œ œ œ œ >
b b c
œ
œ
&
œ
œ
œ
œ
œ
œ
œ
œ
>
> œ œ >
> œ > œ
> œ
w
58
> œ
>

Now play the slurred notes at full value (don't shorten) but with less emphasis

b b } œ œ & } œ œ } œ œ } œ œ
b b
} œ
œ
&
}
œ
œ
} œ
œ
} œ
œ
}
œ
> }œ k
œ
k
k
k
œ
}
œ
œ
>
k
œ
>
>
>
> k
œ
> k
w
61
>

This is an exaggerated rough guide to jazz swing feel and phrasing note length, weight of accent etc are all open to personal interpretation the shape of the melody and use of different rhythms will also determine the articulation used

The only real way to get an idea of jazz swing is by listening to recordings made by great players

Voicings For Autumn Leaves

mark@jazzpiano.co.nz

C m7 F 7 b b & w w w w w w w w
C m7
F 7
b b
&
w
w
w
w
w
w
w
w
64
B ! maj 7
E ! maj 7
& b b
w
w
w
w
w
w
w
66
w
A m7 ( ! 5 )
D 7 ( # 5 # 9 )
G m ( ma j7 )
& b b
w
n
w
n
w
w
n
w
w
w
w
w
68
w
#
w
#
w
note: you may want to play
this chord using f natural
instead of f sharp, try it out!
G m7
C 7
& b b
˙
˙
˙
˙
˙
˙
71
˙
n
˙
F m7
B ! 7
& b b
˙
b
˙
˙ ˙
˙
˙
72
˙
˙

Chords can be divided into 3 groups, major, minor, and dominant Learn to recognise a major ii v i progression & the qualities of the chords involved (m7, 7, Maj7) Learn to recognise a minor ii v i progression & the qualities of the chords involved (m7 b5, 7(alt), Min7 Your chord must contain at least the 3rd and 7th (guide tones) Build your chord from either the 3rd or the 7th upwards (there are usually 2 voicings per chord) Avoid playing the root in your voicings Keep movement between chords to a minimum (just like J.S. Bach!!) Extend the m7 and maj7 chord to the 9th with the 5th Extend the dominant chord to the 13th using the 9th (omit 5th) Use alterations on the dominant chord especially in a minor ii v i

Nomenclature of jazz chords mark@jazzpiano.co.nz

There are 3 types of chord group, major, minor, and dominant. When you are reading chord charts you will need to be able to recognise which symbol belongs to which group. Often beginning improvisers get confused between a dominant chord and a major chord, whilst only a semitone different, the function of the chord is ENTIRELY different.

Here are common ways major chords are written

&

b b

!

B

! maj 7

B

! J

B

! M7

B

73

Here are common ways minor chords are written

&

b b

C

C

mi n 7

C

- 7

C

m7

-

     

77

Here are common ways dominant 7 chords are written

&

b b

F

7

F

9

F

1 3

81

Here are the 2 ways a half diminished chord is written

&

b b

A m7 ( ! 5 ) A º

A m7 ( ! 5 )

A m7 ( ! 5 ) A º

A º

84

Please note that jazz use extensions such as 9th, and 13th rather than 2nd and 6th to imply that the interval is ADDED to the existing chord and doesnt replace a note. e.g. C9 means a C7 plus a 2nd, Csus2 would imply that the 3rd is replaced by the 2. A C6 chord is just a c triad with the 6 added, however a C13 is a dominant chord. Jazz musicians will usually play a C7 with either a 9th or 13th anyway, so C7, C9, & C13 are the same practically.

Blues scales for Autumn Leaves

G blues - This is a good blanket scale to use when your brain aches from thinking too much!
&

œ ˙ # œ œ b b œ œ œ 86 B flat blues -
œ
˙
# œ
œ
b b
œ
œ
œ
86
B flat blues - you may wish to try this scale over autumn leaves, see what you think!
&
b b
b œ
˙
b œ
œ
n œ
œ
œ
88

Change running exercises

mark@jazzpiano.co.nz

C m7 œ œ b b œ œ œ œ & œ œ œ œ
C
m7
œ
œ
b b
œ œ
œ
œ
&
œ
œ
œ œ
œ œ
œ
œ œ œ œ œ œ œ
> œ œ
>
>
œ
90
> œ
etc.
F 7 œ œ œ œ & b b œ œ œ œ œ œ
F
7
œ
œ œ
œ
& b b
œ
œ œ œ œ œ œ œ
œ œ
œ œ
œ
œ œ œ œ œ œ œ
94
B
! maj 7
œ
& b b
œ œ
œ
œ
œ œ œ œ œ œ œ
œ œ
œ œ
œ
œ œ œ œ œ œ œ
98

Digital pattern exercises

C m7 F 7 B ! maj 7 1 b b & œ œ œ
C
m7
F
7
B
! maj 7
1
b b
&
œ œ œ œ
œ œ œ œ
œ œ œ œ
œ œ œ œ
œ œ œ œ
œ œ œ œ
102
1 2 3 5 3 2 1 1 2 3 5 3 2 1 etc.
1
2
3
5
3
2
1
1
2
3
5
3
2
1
etc.
E
! maj 7
A
m7 ( ! 5 )
D 7 ( # 5 # 9 )
b b
œ n œ œ œ œ œ œ œ
&
œ œ œ b œ œ œ œ œ
œ œ œ œ
œ œ œ œ
105
G m ( ma j7 ) œ œ œ ! b b œ œ œ
G m ( ma j7 )
œ
œ
œ
!
b b œ
œ
œ
œ
&
œ
108
C m F 7 2 œ œ b b œ œ œ œ & œ
C
m
F
7
2
œ
œ
b b
œ
œ
œ
œ
&
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
110
3 4 5 7 5 4 3 etc. B ! maj 7 E ! maj
3
4
5
7
5
4
3
etc.
B
! maj 7
E
! maj 7
œ
œ
b b
œ
œ
œ
œ
œ
&
œ
œ
œ
œ
œ
œ
œ
œ
œ
112

Jazz lines (ideas)

mark@jazzpiano.co.nz

C m7 F 7 B ! maj 7 b b œ œ œ œ n
C
m7
F
7
B
! maj 7
b b
œ œ œ œ n œ œ b œ œ
œ œ œ œ b œ b œ œ œ
Ó
&
˙
114
C m7 3 F 7 B ! maj 7 b b Ó & œ œ
C
m7
3
F
7
B
! maj 7
b b
Ó
&
œ œ œ œ n œ œ b œ b œ
œ œ
œ œ
œ œ œ
˙
œ œ
117

What makes a solo interesting?

Repetition, Sequence, Dynamics, Range (high, low etc), Accents, Rest and Silence, Rhythmic Variation Variety (but not too much), Blues scale, Tension and Release, Motifs Knowing where the guide tones are (3 and 7) Trills, Glissandos, Swoops, Staccato etc Emphasise pretty sounding notes, 7ths, 9ths, #4ths Always try to buiid your solo, tell a story and make it go somewhere

Above all of this, the main thing you need to do is LISTEN, it helps swing feel, improvisation, style and generally helps you build a solid jazz vocabulary!

What do I do now?

Practise Swing rhythms over familiar scales Practice major 251 in both hands through cycle of 4ths, best choice Practice major 251 in left hands through cycle of 4ths, play 251 exercise in right hand practising swing rhythms Seperate Chords types and practise through cycle, chromatically and randomly until you know the chords quickly Practise minor 251 in left hand , best choice Practise minor 251 in left hand, play 251 exercise using Locrian #2, Superlocrian, and Jazz Minor scales

Buy a real book and play chords from any tune making yourself fluent with your new jazz voicings Buy Jamey Aebersold backing tracks and play along either with chords & tune or try soloing over the changes too! Just play, be creative, listen and have fun playing jazz! There is a huge recourse of jazz tutorial material available to buy and study, or book a series of private lessons from a tutor, study at one of the jazz courses available in both Auckland based universities.