JAZZ FUNDAMENTALS
Jazz Piano, Theory, and More
Dr. JB Dyas
310-206-9501 • jbdyas@monkinstitute.org
2
JB Dyas, PhD
Dr. JB Dyas has been a leader in jazz education for the past two decades. Formerly the Executive Director
of the Brubeck Institute, Dyas currently serves as Vice President for Education and Curriculum
Development for the Thelonious Monk Institute of Jazz at UCLA in Los Angeles. He oversees the
Institute’s education and outreach programs including Jazz In America: The National Jazz Curriculum
(www.jazzinamerica.org), one of the most significant and wide-reaching jazz education programs in the
world. Throughout his career, he has performed across the country, taught students at every level, directed
large and small ensembles, developed and implemented new jazz curricula, and written for national music
publications. He has served on the Smithsonian Institution’s Task Force for Jazz Education in America and
has presented numerous jazz workshops, teacher-training seminars, and jazz "informances" around the
globe with such renowned artists as Dave Brubeck and Herbie Hancock. A professional bassist, Dyas has
appeared with Jamey Aebersold, David Baker, Jerry Bergonzi, Red Rodney, Ira Sullivan, and Bobby
Watson, among others. He received his Master’s degree in Jazz Pedagogy from the University of Miami
and PhD in Music Education from Indiana University, and is a recipient of the prestigious DownBeat
Achievement Award for Jazz Education.
3
Jazz Fundamentals
Text:
Aebersold Play-Along Volume 54 (Maiden Voyage)
Also Recommended: Jazz Piano Voicings for the Non-Pianist and Pocket Changes
I.
Chromatic Scale (all half steps)
C C# D D# E F F# G G# A A# B C
C Db D Eb E F Gb G Ab A Bb B C
Whole Tone Scale (all whole steps)
C
D
E
F#
G#
A#
C
Db
Eb
F
G
A
B
Db
___________________________________________________________________________________________________________
II. The Major Scale (all whole steps except between the 3rd & 4th and 7th & 8th notes)
1
W
2
W
3H4
W
5
W
6
W
7H8
C
D
E
F
G
A
B
C
(C major scale)
A
B
C#
D
E
F#
G# A
(A major scale)
Eb
F
G
Ab
Bb
C
D
Eb (Eb major scale)
note: all major scales go in alphabetical order; the first and last note are always the same (one octave apart)
___________________________________________________________________________________________________________
III. Key Signatures
C no sharps or flats
(Order of Flats: B E A D G C F)
(Order of Sharps: F C G D A E B)
Mnemonic: “BEAD Greatest Common Factor”
Mnemonic: “Fat Cats Go Down Alleys Eating Bananas”
KEY
F
Bb
Eb
Ab
Db
Gb
Cb
KEY
G
D
A
E
B
F#
C#
1 flat (Bb)
2 flats (Bb, Eb)
3 flats (Bb, Eb, Ab)
4 flats (Bb, Eb, Ab, Db)
5 flats (Bb, Eb, Ab, Db, Gb)
6 flats (Bb, Eb, Ab, Db, Gb, Cb)
7 flats (Bb, Eb, Ab, Db, Gb, Cb, Fb)
1 sharp (F#)
2 sharps (F# C#)
3 sharps (F# C# G#)
4 sharps (F# C# G# D#)
5 sharps (F# C# G# D# A#)
6 sharps (F# C# G# D# A# E#)
7 sharps (F# C# G# D# A# E# B#)
4
IV. Major Scale Piano Fingerings (right hand)
“C” Fingering (1 2 3 1 2 3 4 5) -- Keys: C, G, D, A, E, B (right side of circle)
“Two-Black/Three-Black” Fingering -- Keys: F, Bb, Eb, Ab, Db, Gb (left side of circle)
note: The Key of B represents both fingerings.
___________________________________________________________________________________________________________
V.
The Five Main Chord Qualities
Chord
Chord Symbol
Formula
Notes in C
Notes in A
Notes in Eb
Major 7
C∆
1357
CEGB
A C# E G#
Eb G Bb D
Dominant 7
C7
1 3 5 b7
C E G Bb
A C# E G
Eb G Bb Db
Minor 7
C-
1 b3 5 b7
C Eb G Bb
ACEG
Eb Gb Bb Db
Half Diminished
CØ
1 b3 b5 b7
C Eb Gb Bb
A C Eb G
Eb Gb A* Db
Diminished
Co
1 b3 b5 6
C Eb Gb A
A C Eb Gb
Eb Gb A* C
* technically, the b5th in the key of Eb is Bbb (B double flat)
Left Hand Chord Fingering: 5 3 2 1
Right Hand Chord Fingering: 1 2 3 5
___________________________________________________________________________________________________________
VI. The Ten Most Common Chord/Scale Relationships
Chord
Scale Name
Formula
Scale Beginning On C*
C∆
Major
major scale
C D E (F) G A B C
C7
Mixolydian
major scale with a b7
C D E (F) G A Bb C
C-
Dorian
major scale with a b3 and b7
C D Eb F G A Bb C
CØ
Locrian
notes from major scale ½ step higher
C (Db) Eb F Gb Ab Bb C
Co
Diminished (W/H)
W H W H W H W H
C D Eb F Gb Ab A B C
C-∆
Melodic Minor
major scale with a b3
C D Eb F G A B C
C7alt
Super Locrian
notes from melodic minor scale ½ step higher
C Db Eb Fb Gb Ab Bb C
C7b9
Diminished (H/W)
H W H W H W H W
C Db Eb E F# G A Bb C
C7#5
Whole Tone
all whole steps
C D E F# G# Bb C
C7 or C-
Blues Scale
1 b3 4 b5 5 b7 1
C Eb F Gb G Bb C
* Three of these scales have “avoid tones” (indicated in parenthesis above), meaning they should not be included in the related chord.
That is, as a general rule, don’t include a 4th in a major 7 chord, don’t include a 4th in a dominant 7 chord (unless it’s a sus chord in
which the 4th replaces the 3rd), and don’t include a b2nd in a half diminished chord.
5
Common Piano Voicings
Basic chord symbols are merely abbreviations for particular scales (the general horizontal sounds of the
symbols) from which the player may select notes to construct chords and/or improvise. These scales are by no
means the only ones that can be used for improvisation, however, they are the symbols’ most representative sounds.
The most common basic symbols are C, C7, C-, CØ, Co, C7b9, and C7alt, representing the general sounds of major,
dominant, dorian minor, half-diminished, diminished, dominant 7 flat 9, and dominant 7 altered, respectively.
The 3rd and 7th are the most representative notes of any chord or scale and “should” be included in every
voicing (except for a “sus” chord where the 4th is substituted for the 3rd). Common voicings usually contain at least
one other chord tone, extension, and/or alteration as well. Moreover, any or all notes from the related scale (except
for avoid tones*) may be used in the pianist’s chord voicing, depending on the player and the musical situation. A
typical C7 piano voicing, for instance, might be constructed Bb E A D G (b7 3 6 9 5) if the player is looking for a
relatively evenly spread two-handed chord or, perhaps, E A Bb D (3 6 b7 9) if looking for a left-handed close
voicing. Notice that all these notes come from C mixolydian, C7’s related chord scale. Also notice that the root is
not included. As the root is primarily the bassist’s responsibility, pianists and guitarists often omit the root when
comping to avoid redundancy. For unaccompanied solo piano playing, however, the root is included much more
often and generally voiced as the lowest note of the chord.
“Alt,” short for altered, refers to the raised and/or lowered 5th and 9th. In other words, the dominant 7
altered chord contains no regular 5th and no regular 9th, but instead, a flat and/or sharp 5th and a flat and/or sharp
9th. The difference between the dominant 7 flat 9 sound and the dominant 7 altered sound is that the former includes
the natural 5th and 6th while the latter does not. Thus, the related scale for C7b9 (half-whole diminished) is
comprised of the root, b9, #9, 3 #4, 5, 6, and b7: C Db D# E F# G A Bb C; the related scale for C7alt (super-locrian)
is comprised of the root, b9, #9, 3 #4, #5, and b7: C Db D# E F# G# Bb C (this scale is often enharmonically spelled
C Db Eb Fb Gb Ab Bb C, using the note names from its parent scale, Db melodic minor, of which C super-locrian is
the seventh mode). A C7b9 might be voiced Bb E G Db (b7 3 5 b9) while its C7alt counterpart would be voiced Bb
E G# Db (b7 3 #5 b9). Again, exactly which notes to use from these scales when constructing the chord is left up to
the player.
* Certain scales have “avoid tones,” meaning they should not be included in the related chord. For example, as a
general rule, don’t include a 4th in a major 7 chord, don’t include a 4th in a dominant 7 chord (unless it’s a sus
chord in which the 4th replaces the 3rd), and don’t include a b2nd in a half diminished chord.
Piano Voicing Mnemonics
I.
6
One-Handed Jazz Voicings for Major 7, Dominant 7, and Minor 7 Chords
A. Category A (3rd in the lowest voice)
Chord Quality Voicing
C∆
3 7 9
C7
3 b7 9
C-
b3 b7 9
Voicing in C
&E wwwB
Mnemonic
D
ww
&E bBb
w
Look at root at the top and “spread out” (up a whole, down a half); 3rd in lowest voice
D
ww
&Ebb bBb
w
Look at root at the top and “spread out” (up a whole, down a whole); 3rd in lowest voice
D
Look at root at the top and “spread out” (up a whole, down a whole); b3rd in lowest voice
B. Category B (7th in the lowest voice)
Chord Quality Voicing
C∆
7 3 5
C7
b7 3 6
C-
b7 b3 5
Voicing in C
&B wwE
w
Mnemonic
G
&Bb wwE
bw
Look at triad and lower root a half step
A
&Bb bEb
w
b ww
Look at triad and “spread out” outer voices a whole step
G
Look at minor triad and lower root a whole step
Common LH Chord Fingering: 5 2 1
II.
Common RH Chord Fingering: 1 3 5
(exception -- category B dominant 7 voicing: 1 2 5)
II V I Progression in Major
A. Chord Qualities
1. II chord is minor 7 (II-)
2. V chord is dominant 7 (V7)
3. I chord is major 7 (I∆)
B. Example in the key of C
C
& œ œ œ œ œ œ œ
1 2œ 3 4 5 6 7 1
1
D
2
3
4
1.
C major scale: C
2.
II V I in the Key of C: D- G7 C∆
E
5
6
F G A B
7
1
note: any 3 chords in a row progressing counterclockwise around the circle is a II V I in the key of the 3rd chord, e.g., C- F7 Bb∆ is a
II V I in Bb; F- Bb7 Eb∆ is a II V I in Eb; etc.
C. Good voice-leading: 3rd to 7th and 7th to 3rd
1. the 7th moves down a half step to become the 3rd of the next chord
2. the 3rd stays on the same note to become the 7th of the next chord
Note that to progress from a II- to a V7: only one note moves (the 7th of the II- moves down a half step to become the 3rd
of the V7); the other two notes remain the same
Example 1: Category A to B to A
II-
V7
9
b7
b3
6
3
b7
H
I∆
W
H
7
KEY OF C
9
7
3
w
&Eww
C
ww
w EB
DD-
F
G 7G7
H
H
F
±
ww
W
W
w
H
C
H
KEY OF F
II-
V7
I∆
G-G -
D
B
E
± F∆
ww G
w E
7
CC7
& ww
bw
C∆
F
ww
bw
WW
9
6
W
9
A
A
H
b7
H
3
7
F
H
E
H
b3
b7
H
3
Bb
Bb
H
A
___________________________________________________________________________________________________________
KEY OF Bb
II-
V7
9
b7
b3
6
3
b7
H
I∆
W
H
9
7
3
w
&Db b ww
C- C Bb
Eb
w
bDAww
F7
F7
H
H
Eb
W
W
±
ww
w
B b Bb∆
H
H
C
A
D
___________________________________________________________________________________________________________
Example 2: Category B to A to B
II-
V7
KEY OF C
I∆
DD-
±
ww
w
G 7G7
& ww
w
ww
w
C
b ww
w
F
C∆
5
9
W
5
A
A WW
G
H
b3
b7
H
3
F
F HH
E
b7
H
3
7
C
H
B
B
___________________________________________________________________________________________________________
KEY OF F
II-
V7
I∆
w
& b ww
G-G -
7
CC7
W
± F∆
ww C
w
HW
5
9
W
5
D
D
H
b3
b7
H
3
Bb
Bb
H
A
b7
H
3
7
F
H
E
E
___________________________________________________________________________________________________________
KEY OF Bb
II-
V7
5
b3
b7
9
b7
3
H
I∆
W
H
5
3
7
C- C -
&G b ww
bw
Eb
Bb
F7
F7
H
H
bEbGww
w
A
WW
HH
±
ww
w
B b Bb∆
F
D
A
IV.
One-Handed Jazz Voicings for Half Diminished and Dominant 7 Altered Chords
8
A. Category A (3rd in the lowest voice)
Chord Quality
Voicing
Voicing in C
Mnemonic
CØ
b3 b5 b7 R
w C
Eb
& Gb
b b wwBb
m7b5 chord in first inversion (b3 on bottom, root on top)
C7alt
3 #5 b7 b9
& # ww
think category A dominant 7 voicing, lower 9th (and add #5 which is a
whole step below the b7)
bw
ww Db
E G#
b bBb
B. Category B (7th in the lowest voice)
Chord Quality
Voicing
Voicing in C
Mnemonic
CØ
b7 R b3 b5
Bb
& bC b Eb
ww Gb
m7b5 chord in third inversion (b7 on bottom, “point” to root)
C7alt
b7 b9 3 #5
b ww
Bb
& Db# wEw G#
b b ww
Common LH Chord Fingering: 5 3 2 1
note: for Category B half diminished chord, use 5 4 2 1
V.
think category B dominant 7 voicing, lower 6th (and add b9 which is a half
step above the root)
Common RH Chord Fingering: 1 2 3 5
II V I Progression in Minor
A.
Chord Qualities
1. II chord is half diminished (IIØ)
2. V chord is dominant 7 altered (V7alt)
3. I chord is minor (I-)
B.
Example in the key of C minor: DØ G7alt C-
C.
Good voice-leading: 3rd to 7th and 7th to 3rd
1. from the IIØ, find the whole step interval in your voicing and “spread out,” i.e., the higher note moves up a half step
and the lower note moves down a half step (the other two notes remain the
same), then you’re automatically on the V7
alt chord
2. from the V7alt, the b7 moves down a whole step; all other voices move down a half step
Example 1: Category A to B to A
IIØ
R
b7
b5
b3
V7alt
H
H
b5
3
b9
b7
KEY OF C MINOR
I-
H
H
H
W
ø
9
9
b7
5
b3
w
& b Dwww
DDØ
C
Ab
F
ø
H
H
H
H
b # wwwD#w
G 7G7alt
alt
B
Ab
F
H
H
HH
WH
H
W
b wwwD
b wBb
CC-
G
Eb
KEY OF G MINOR
IIØ
R
b7
b5
b3
V7alt
H
H
b5
3
b9
b7
IH
H
H
W
9
b7
5
b3
Example 2: Category B to A to B
IIØ
V7alt
b5
b3
R
b7
b9
b7
#5
3
H
H
& b Awww
w
G
Eb
C
ø
GG-
7alt
DD7alt
H
HH
H
www
# b #A#
w
F#
Eb
C
H
H
H
H
H
W
H
W
wwA
b wwF
D
Bb
KEY OF C MINOR
I-
H
W
H
H
AAØ
5
b3
9
b7
DDØ
ww
& b Ab
ww
F
D
C
ø
b w
CC-
G 7G7alt
alt
H
H
H
H
bw
# wwwAb
F
D#
B
H
WH
HW
H
H
H
wG
b b wwEbw
D
Bb
KEY OF G MINOR
IIØ
V7alt
b5
b3
R
b7
b9
b7
#5
3
H
H
IH
W
H
H
5
b3
9
b7
& Eb
www
A
AØ
C
A
G
bw
# #Ebwww
7alt
D
D7alt
H
H
H
H
C
A#
F#
H
W
HH
H
W
H
H
b wwwDw
GG-
Bb
A
F
5
10
Common Two-Handed Piano Voicings
(two notes in the LH, three notes in the RH)**
Symbol
Scale Name
C
Major
Symbol
Scale Name
C
Major
Scale
Two-Hand Voicings*
& 5 www
9
Two-Hand Voicings*
A 3 6 9w
? 63 w5 7 (E A D G B)
A 3 6 9 5 R (E A D G C)
A
Two-Handed
Piano
C D E(F)G ACommon
BC
A 3 6 9 5 R (E
A D GVoicings
C)
(two
notes
in
the
LH,
three
notes
in the RH)**
œ
œ
R
&avoid tone:œ4thœ(F)œ
œ œ œ
( )
avoid tone: 4th (F)
Scale
C D E(F)G A B C
Common
avoid tone: 4th (F)
B 7 3 6 9 5 (B
E A D Voicings
G)
Two-Handed
Piano
(two notes in the LH,
A three notes in the RH)**
& www
? 6 ww Piano Voicings
Two-Handed
5
RH pinky on the root, come down in 4ths
in both hands
Mnemonic
same as above - just lower top note � step5
RH pinky on the root, come down in 4ths
RH pinky on the 5th, come down in 4ths
in
in both
both hands
hands
same
as above - just lower top note � step
Mnemonic
RH pinky on the root, come down in 4ths5
RH
pinky
on the 5th,
come down in 4ths
RH
pinky
in RH;
3 &onb7the
in root,
LH come down in 4ths
in both hands
3
in both hands
b7 3three
6 9 5notes
(Bb EinAthe
D G)
RH pinky on the 5th, come down in 4ths
(two notes in theBLH,
RH)**
in
RH;asb7
& 3 in
LHlower top note � step
A 3B6 9 5 7 (E A D G B)
same
above
- just
7
C
Mixolydian
C
D E(F)G A Bb C
A
3 b7 9 5 Voicings*
R (E Bb D G C)
RH
pinky on the root, come down in 4ths5
Symbol
Scale Name
Scale
Two-Hand
Mnemonic
5
5th mode of maj
avoid tone: 4th (F)
in
3 &onb7the
in 5th,
LH come down in 4ths
B 7 3 966 9 5 (B
E A D Voicings
G)
RHRH;
pinky
Common
Two-Handed
CDorian
Eb F GAABBb
RPiano
(Eb
D G C)
C
Major
C D E(F)G
CC
A 3b36b7
9 59R5 (E
A DBbG C)
RH
pinky
on
the
root,
come down in 4ths
in both hands
(two
RH)**
b7 3three
6 9 5notes
(Bb EinAthe
D G)
RH pinky on the 5th, come down in 4ths
2nd mode of maj
avoid tone: 4th
(F)notes in theBLH,
3
RH ; hands
b3 & b7 in LH
in both
7
in RH; b7 & 3 in LH
Symbol
Scale Name
Scale
Two-Hand Voicings*
Mnemonic
7
B
b7
b3
5
R
4
(Bb
Eb
G
C
F)
“point”
R inthe
and
go up
anote
4thinand
A 3 6b799557R(E(EABb
DG
same
as to
above
-RH
just
lower
top
�4ths
step
C
Mixolydian
C D E(F)G A Bb C
D B)
G C)
RH pinky
on
root,
come
down
down
a
4th;
b7
&
b3
in
LH
5th
mode of maj
avoid
tone:
4th
(F)
in RH;
3 &onb7the
in root,
LH come down in 4ths
C
Major
C
D E(F)G
CC
A 3b36b7
9 59R5 (E
A DBbG C)
RH
pinky
CDorian
Eb
F GA
ABBb
R (Eb
D G C)
B 7 3 6 9 5 (B E A D G)
RH pinky on the 5th, come down in 4ths 5
avoid tone: 4th (F)
2nd mode of maj
both; hands
hands
in
RH
b3on
& the
b7 in
LHcome down in 4ths
in
B b7 3 6 9 5 (Bb E A D G)
RHboth
pinky
5th,
ø
in
RH;
b7
&
3
in
LH
C
Locrian
C(Db)Eb F Gb
Ab
Bb
C
R
b5
b7
b3
b6
(C
Gb
Bb
Eb
Ab)
think
A
voicing
of
dominant
7 chord up a
Common Two-Handed
Piano
A
9 557R(E
A DEb
GVoicings
B)
same
as to
above
justand
lower
topanote
� step
B 3b76A
b3
4 (Bb
G C F)
“point”
R in
go up
4th and
ø -RH
7th mode of maj
avoid tone: b9th
(Db)
raised
5th
(C
=
Ab7)
(two notes in the LH, three notes in the RH)**
down a 4th; b7 & b3 in LH
7
C
Mixolydian
A Bb
C
A 3 b7R 9 5 R (E Bb D G C)
RH pinky on the root, come down in 4ths
œ bœ œ
&Cœ D œE(F)G
B
7 3b7
6 9 55(B
E ABb
D G)
RH
pinky
on the 5th,
come
inin4ths
œF G( œ4th
)A œBb C
CDorian
C
D Eb
A
R(Gb
(Eb
DG
C)
RH
pinky
comedown
down
4thsa5
5th
mode
of maj
avoid
tone:
(F)
in
RH;
&onb7the
inofroot,
LH
b5 b3
R 459b79b3
C F Bb
Eb)
think
B3hands
voicing
dominant
7 chord
up
Symbol
Scale
Name
Scale
Two-Hand
Voicings*
Mnemonic
in
both
avoid
tone:
4th
(F)
ø
2nd
mode
of
maj
raised
5th
(C
=
Ab7)
in
RH
;
b3
&
b7
in
LH
ø
Common
C
Locrian
C(Db)Eb F Gb
Ab Bb C Two-Handed
R
b7b7b3 b6Piano
(C Gb
BbVoicings
Eb Ab)
think A voicing of5th,
dominantdown
7 chord up a
B b5
(Bb
C
Major
C D E(F)G A B C
A
3b76339659R5(E
A ED A
GD
C)G)
RH pinky onøthe root,come
come downinin4ths
4ths
(two
notes
in
the
LH,
three
notes
in
the
RH)**
7th mode of maj
avoid
tone:
b9th
(Db)
raised
5th
(C
=
Ab7)
in
RH;
b7
&
3
in
LH
B b7 b3 5 R 4 (Bb Eb G C F)
“point”
to R in RH and go up a 4th and
avoid tone: 4th (F)
7
in
both
hands
C
Mixolydian
C D E(F)G A Bb C
A 3 b7 9 5 R (E Bb D G C)
RH pinky on the root, come down in 4ths
down
a 4th; chord
b7 & b3
in on
LHthe bottom;
o
C
Diminished
C
D Eb
F Gb
aTwo-Hand
in b3
each
hand
a
start
on
tone
5th mode
of maj
avoid
tone:
4thAb(F)A B C
in
RH;
& b7 inofLH
Symbol
Scale
Name
Scale
Voicings*
Mnemonic
b5tritone
R B
4 b7
(Gb
C Fwith
Bb Eb)
think
B3any
voicing
dominant
7 chord up a
A
3 6 3rd
9 5between
7 (E A D
G B)
same
above
- just it,
lower
note
� step
øabove
(whole-half)
minor
hands
play
aas
tritone
thentop
skip
a minor
raised
5th
(C the
= Ab7)
CDorian
C D Eb F G A Bb C
A b3 b7
RH
pinky
on
root, come down in 4ths
5 9 5 R (Eb Bb D G C)
(e.g.,
C399Gb
A
Eb)
3rd
between
hands;
then
play
a tritone
in
B
b7
6
9
5
(Bb
E
A
D
G)
5th,
come
down
in
4ths
Cø
Major
C
D
E(F)G
A
B
C
A
3
6
5
R
(E
A
D
G
C)
RH
pinky
on
the
root,
come
down
in
4ths
2nd
mode of maj
66b3
in
RH
;b7
b3
&3the
b7inof
in
LHcome down
C
Locrian
C(Db)Eb
F
Gb
Ab
Bb
C
R
b5
b7
b6
(C
Gb
Bb
Eb
Ab)
think
A
voicing
dominant
7
chord
up
a
B
7
3
9
5
(B
E
A
D
G)
RH
pinky
on
5th,
in
4ths
the
RH
in
RH;
&
LH
avoid tone: 4th (F)
in
both
hands
ø
in
both5th
hands
7th mode of maj
avoid tone: b9th (Db)
raised
(C = Ab7)
3
B
b7 b3
R 4 (Bb
G Ca F)
“point”
in RHtone
and on
go the
up abottom;
4th and
b7 in5 each
Co
Diminished
C D Eb F Gb Ab A B C
a tritone
handEbwith
start on to
anyR chord
A
3 6 3rd
9 5between
7 (E A D
G B)
same
as
above
-&just
lower
top
note
� step
down
a
4th;
b7
b3
in
LH
(whole-half)
minor
hands
play
a
tritone
above
it,
then
skip
a minor
b5
R
CBb
Bb
Eb)
think
B
dominant
7 chord
a
CDorian
CD
Eb FGGAABb
BbCC
A
5 R(Gb
DG
C)
RH
on theof
come
down
in aup
4ths
C7sus4
Mixolydian
D(E)F
b7 b3
4 64b79b759b3
(Bb
F(Eb
A
DF G)
thinkpinky
A voicing
voicing
ofroot,
minor
7 chord
up
5th
ø
(e.g.,
C
Gb
A
Eb)
3rd
between
hands;
then
play
a
tritone
in
7
raised
5th
(C
=
Ab7)
2nd
modeof
ofmaj
maj
C
Mixolydian
C
D E(F)G
A
3
b7
9
5
R
(E
Bb
D
G
C)
RH
pinky
on
the
root,
come
down
in
4ths
5th mode
avoid
tone: A
3rdBb(E)C
sus4
in
RH
; b3
& the
b7 in
LHcome down in 4ths
B 7 3 6 9 5 (B E A D G)
RH
pinky
5th,
(C7
= on
G-)
the
RH
5th mode of maj
avoid tone: 4th (F)
in both
RH;
3hands
& b7 in LH
ø
in
C
Locrian
C(Db)Eb F Gb Ab Bb C
R b5 b7 b3 b6 (C Gb Bb Eb Ab)
think A voicing of dominant 7 chord up a
B
b79b35 R5 (F
R 4Bb
(BbDEb
G C F)
“point”
R in
and go7 up
a 4th
4 b7
G C)
think
B to
voicing
of minor
chord
upand
a 5th
ø RH
7th
mode
of
maj
avoid
tone:
b9th
(Db)
raised
(C
=&Ab7)
o
B
b7
3
6
9
5
(Bb
E
A
D
G)
RH
pinky
onchord
the
5th,
come
down
in 4ths
down
4th;
b7
b3
in
LHthe
C7sus4
Diminished
C D Eb F Gb Ab A B C
a tritone in each hand with a
startsus4
ona5th
any
tone
on
bottom;
(C7
=
G-)
C7
Mixolydian
C D(E)F G A Bb C
b7
4 63rd
9 5between
(Bb F Ahands
D G)
think
voicing
minor
7 chord
a 5th
in
RH;
b7
& 3above
inofLH
(whole-half)
minor
play
aAtritone
it, come
then
skip
aup
minor
C
Mixolydian
C
D E(F)G
A
3R b7
9 5b3R (Gb
(E Bb
DBb
G C)
RH
pinky
on theofroot,
down
in up
4ths
5th mode of maj
avoid
tone: A
3rdBb(E)C
sus4
b5
4
b7
C
F
Eb)
think
B
voicing
dominant
7
chord
(C7
=
G-)
(e.g., C A
Gb A Eb)
3rd
between
hands;
then play a tritone ina
ø
5th mode of maj
avoid tone: 4th (F)
in
RH;
3
&
b7
in
LH
ø
raised
5th (C = Ab7)
the
RH
C
Locrian
C(Db)Eb
GbGAb
Bb
R
b5“diminished”
b7 b3 b6 (C Gb
Bb Eb
Ab)
think
A any
voicing
of tone
dominant
7 chord
up a
C7b9
Diminished
C
EbFEFGF#
any
voicing
start
on
but the
rootin(i.e.,
b œ CCœ
CDorian
C Db
D Eb
A œBbAœCBb
A
b39b7
9 (F
5 RBb
(Eb
Bb
D from
G C)
RH
pinky
onchord
root,
come
down
R5 R
&
øtheof
4B b7
D
G
C)
think
B
voicing
minor
7 chord
up
a4ths
5th
œ
b
œ
œ
b7
3
6
9
5
(Bb
E
A
D
G)
RH
pinky
on
the
5th,
come
down
in
4ths
7th
mode
of
maj
avoid
tone:
b9th
(Db)
raised
5th
(C
=
Ab7)
(half-whole)
any
chord
tone
but
the
root
3,
5,
b7,
or
b9);
play
a
tritone
above
it,
œ
5
2nd mode of maj
sus4
9
in
RH
;b7
b3
&
LHbetween hands; then
(C7
=a&
G-)
in
RH;
3b7ininLH
e.g.,
3
b7
b9
5
(E
Bb
Db
G)
then
skip
minor
3rd
Co7sus4
Diminished
CD
Eb FGGb
ab5
in
each
a
start
any
chord
Mixolydian
D(E)F
A Ab
Bb A
CBC
b7tritone
4 64b7
9b7
5 b3
(Bb
Fhand
A
G)
Atritone
minor
chord
up aup5th
R
(Gb
C DFwith
Bb Eb)
think
voicing
dominant
7 bottom;
chord
a
play on
aB
in of
thetone
RHon7the
B
b7 b3
R 4 (Bbhands
Eb G C F)
“point”
to R in
RH and
go up
a 4th
and
øabove
(whole-half)
minor
3rd
play
a
tritone
it,
then
skip
a minor
b3 5between
5th mode of maj
avoid tone: 3rd (E)
sus4
raised
5th= (C
= Ab7)
(C7
G-)
down
b7
b3
income
LH
(e.g.,
Cb7Gb9 5AREb)
3rd
hands;
then
play
aroot
tritone
in
C7b9
Diminished
DbEb
EbFEGF#
anyb3
“diminished”
voicing
startbetween
ona 4th;
anyonchord
tone
but
the
CDorian
CD
AG
BbACBb C
A
(Eb
Bb D from
G C)
RH
pinky
the&root,
down
in(i.e.,
4ths
the
RH
(half-whole)
any
chord
tone
but
the
root
3,
5,
b7,
or
b9);
play
a
tritone
above
2nd
mode
of maj
4A b7
9 5#9R #5
(F b9
Bb(EDBb
G C)
B; b3
voicing
up it,
aand
5th
in RHA
& b7of
in minor
LH 7 chord
C7alt
Super
Locrian
C Db Eb Fb Gb Ab Bb C
3 b7
D# G# Db)
think
dominant
7 chord
B b9 5 (E Bb Db G)
e.g., 3 b7
thensus4
skip a minor 3rd between hands; then
o
7th
mode of mel min C D Eb F Gb Ab A B C
�����
RHany
� steptone on the bottom;
ø
C
Diminished
aRtritone
in each hand with a
start
on
chord
(C7
=up
G-)
play
aAtritone
inRH
thedominant
RH go up7achord
C
Locrian
C(Db)Eb F Gb Ab Bb C
b5
b7
think
voicing
of
up a
4 b3 b6 (C Gb Bb Eb Ab)
B
b7 b3
5between
R 4 (Bbhands
Eb G C F)
“point”
to
R in
and
4th and
R
(whole-half)
minor
3rd
play
a
tritone
øabove it, then skip a minor
7sus4
7th
mode
of
maj
avoid
tone:
b9th
(Db)
raised
5th
(C
=
Ab7)
C
Mixolydian
C D(E)F G A Bb C
b7
4
6
5
(Bb
F
A
D
G)
think
A
voicing
of
minor
7
chord
up
a
59#5
down
a
4th;
b7
&
b3
in
LH
B
b7
3
b9
b5
(Bb
E
G#
Db
Gb)
think
B
voicing
of
dominant
7
chord
and
(e.g., C Gb A Eb)
3rd between hands; then play a tritone 5th
in
5th mode of maj
avoid tone: 3rd (E)
sus4
�����
� tone
step but the root (i.e.,
(C7
= down
G-)
b3
the
RH
C7b9
Diminished
C
Db
Eb
E
F#
G
A
Bb
C
any
“diminished”
voicing
from
start
onRH
any
chord
7alt
4b7b7
b3
C Bb
F Bb
think B
of dominant 7 chord up
C
Super
Locrian
C Db
Gb Ab
Bb C C7+9b5
A
b7
#9tone
#5 (Gb
b9
D# Eb)
G# Db)
A voicing
anda
Note: In the Jamey
Aebersold books
andEb
in Fb
������
�������,
= 3R
C7alt
(half-whole)
any
chord
but(Ethe
root
3, 5, b7,
or b9);
ø play a tritone above it,
ø
raised
5th
(C
=
Ab7)
7th
mode
of
mel
min
�����
RH
up
�
step
4
b7
9
5
R
(F
Bb
D
G
C)
think
B
voicing
of
minor
7
chord
up
a
5th
C
Locrian
C(Db)Eb F Gb Ab Bb C
R
b53b7b7b3b9b65(C
A a minor 3rd
dominant
7 hands;
chord up
a
e.g.,
(E Gb
Bb Bb
DbEb
G)Ab)
then skip
between
then
ø
sus4
7sus4
play
a
tritone
in
the
RH
(C7
=
G-)
7th
mode
of
maj
avoid
tone:
b9th
(Db)
raised
5th
(C
=
Ab7)
C
Mixolydian
C D(E)F G A Bb C
b7
4
6
9
5
(Bb
F
A
D
G)
think
A
voicing
of
minor
7
chord
up
a
5th
B B”
b7 chords
3 #5 b9have
b5 (Bb
think B voicing of dominant 7 chord and
* “Category A” chords have the 3rd in the lowest voice; “Category
the E
7thG#inDb
theGb)
lowest voice.
5th mode of maj
avoid tone: 3rd (E)
sus4
(C7
= down
G-)
�����
RH
� step
**o All voicings
have five notes withC the
exception
diminished
and
dominant
7b9
voicings
which
have
fouron
notes
each
C
Diminished
D Eb
F Gb AbofAthe
BC
ab5tritone
in
each
hand
with
a
start
any
chord
onhand)
the7 bottom;
R 4 b7 b3 (Gb C F Bb Eb)
think
B(two
voicing
ofintone
dominant
chord up a
Note:
In
the
Jamey
Aebersold
books
and
in
������
�������,
C7+9
=
C7alt
ø
7alt
(whole-half)
minor
3rd
between
hands
play
a
tritone
above
it,
then
skip
a minor
C7b9
Diminished
C
Db
Eb
E
F#
G
A
Bb
C
any
“diminished”
voicing
from
start
on
any
chord
tone
but
root
raised
(C = of
Ab7)
C
Super Locrian
Fb Gb Ab Bb C
3 b7
D# G# Db)
think B
A5th
voicing
of
dominant
7 chord
4A b7
9 5#9R #5
(F b9
Bb(EDBb
G C)
think
voicing
minor
7 the
chord
up(i.e.,
aand
5th
(e.g.,
C Gbtone
A Eb)
3rd
between
hands;
play aabove
tritone
(half-whole)
any chord
but the root
3,
5,sus4
b7,
playthen
a tritone
it, in
7th mode of mel min
�����
RHorupb9);
�
step
(C7RH
the
e.g., 3 b7 b9 5 (E Bb Db G)
then
skip=aG-)
minor 3rd between hands; then
* “Category A” chords have the 3rd in the lowest voice; “Category B” chords have the 7th in the lowest voice.
play
aBtritone
in of
thedominant
RH
o
B
b7
3
#5
b9
b5
(Bb
E
G#
Db
Gb)
think
voicing
chord and
** All voicings
have five notes withC the
exception
diminished
and dominant
fouron(two
intone
each
C
Diminished
D Eb
F Gb AbofAthe
BC
a tritone
in each 7b9
handvoicings
with a which have
start
any notes
chord
onhand)
the7 bottom;
����� RH down � step
Symbol
C7
C
Scale Name
Mixolydian
Major
5th mode of maj
Scale
C D E(F)G A Bb C
C
D E(F)G
C
avoid
tone: A
4thB(F)
Common
avoid tone: 4th
(F)
A
3 6 79 5 7Voicings*
(E A D G B)
Two-Hand
5
A 3 b79 9 5 R (E Bb D G C)
B
A 73 36 69 95 5R (B
(E E
AA
DD
G G)
C)
Mnemonic
ww
& w
w
? w
ww
w
b
? ww
&
ww
w
w
? bw
&
ww
w
b
? b ww
&
ww
w
bw
? bw
&
RH pinky on the root, come down in 4ths5
Mnemonic
“point”
to on
R intheRH
andcome
go updown
a 4thinand
RH
pinky
root,
4ths
in
both
RH
pinky
onb7
the
come
in 4ths
down
a3hands
4th;
b7
&5th,
b3 in
LH down
in
RH;
&
in
LH
CRH
pinky
on
the
root,
come
down
in
4ths
C
RH
pinky
on
RH;
b7
& 3the
in root,
LH come down in 4ths
in both
hands
5
in
b3
& b7- just
in LH
same
as; hands
above
lower top note � step
in RH
both
RH
pinky
on the 5th, come down
11 in 4ths
ø
in
RH;Ab7
&
3 in
LH
C
Locrian
think
voicing
of5th,
dominant
7achord
up a
“point”
R in
and
go up
4thininand
Symbol
Scale Name
Mnemonic
come
down
CDorian
RH
on
root,
come
down
4ths
samepinky
as to
above
-RH
just
note
step
øthe
C7
Mixolydian
RH
pinky
on
the
root,lower
cometop
down
in�4ths
4ths
7th
mode
of
maj
raised
5th
(C
=
Ab7)
down
a hands
4th; b7 & b3 in LH
in
both
2nd
mode
of
maj
RH ;3b3&&
LH
5th mode of maj
in RH;
b7b7ininLH
C
Major
RH
pinky
the 5th,
root,come
comedown
downinin4ths
4ths
RH
pinky on
on
CDorian
RH
on the
theofroot,
come down
in up
4thsa
Symbol
Scale
Name
Mnemonic
thinkpinky
B voicing
dominant
7 chord
in both
hands
“point”
to
R&in
RH
and
go up
a 4thinand
øthe
RH
pinky
on
5th,
come
down
4ths
2nd mode of maj
ø
in
RH
;
b3
b7
in
LH
raised
5th
(C
=
Ab7)
C7
Locrian
think
A
voicing
dominant
7 chord
Mixolydian
RH
pinky
on
in up
4thsa
down
ab7
4th;
&ofroot,
b3
income
LH down
in RH;
&b7
3the
in
LH
C
Major
RH
pinky
on
the
ø root, come down in 4ths
same
- Ab7)
just
7th
raised
5th
5th mode of maj
in RH;as
3above
&(Cb7 =in
LHlower top note � step
to R in RH and go up a 4th and
in“point”
both hands
C7o
Mixolydian
RH
pinky
onb7
the&root,
down
a
4th;
b3 income
LH down in 4ths
ø
5th,
come
down
inin4ths
C
Diminished
start
on
any
chord
tone
on the
think
B
dominant
77bottom;
chord
up
CDorian
RH
pinky
the
root,
come
down
4ths
5th mode of maj
in RH;
3voicing
&onb7
inof
LH
C
Locrian
think
A
voicing
of
dominant
chord
up aa
ø - just lower top note � step
same
as
above
in both
hands
(whole-half)
play
a
tritone
it,
then
skip
a
minor
ø3above
RH;
b7
&
in
LH
raised
5th
(C
=
Ab7)
2nd
mode
of
maj
in
RH 5th
; b3(C
& b7
in LH
7th mode of maj
raised
= Ab7)
3rd
play
a tritone
in
ø
RH between
pinky onhands;
the 5th,then
come
down
in 4ths
C
Locrian
think
A
voicing
of
dominant
7 chord
up a
RH
pinky
on
the
5th,
come down
in 4ths
the
RH
in
RH;
b7
&
3
in
LH
“point”
to
R in
and go up7achord
4th and
ø RH
B5th
voicing
dominant
up a
inthink
both
hands
7th
mode of maj
raised
(C
= of
Ab7)
7
CDorian
RH
pinky
onb7
root,
in
øthe
C
Mixolydian
RH
the
root,
come
down
in 4ths
4ths
down
4th;
b3
income
LHthedown
Co
Diminished
startpinky
ona5th
anyon
tone
on
bottom;
raised
(Cchord
=&Ab7)
2nd
modeof
ofmaj
maj
5th mode
in RH;
b7b7
ininLH
RHa tritone
;3b3&&
LH
(whole-half)
play
above
it,
then
skip
a
minor
think
B
dominant
7 chord
a
C-7sus4
Dorian
RH
pinky
onøhands;
theof
come
down
in aup
4ths
C
Mixolydian
think
A voicing
voicing
ofroot,
minor
7 chord
up
5th
3rd between
then
play
a tritone
in
raised
5th
(C
=
Ab7)
C7ø
Mixolydian
RH
pinky
on
the
root,
come
down
in
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2ndmode
modeof
ofmaj
maj
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down
4ths
5th
sus4
“point”
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and
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in
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; b3
&inthe
b7RH
in
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the
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(C7
= on
G-)
C
Locrian
A
voicing
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Co
Diminished
start
on
any
tone
5th
mode of maj
inthink
RH;
&&
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in&of
LH
in
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down
a3b7
4th;
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b3
in on
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ø3 in
7th
mode of maj
raiseda 5th
(C above
= Ab7)it, then skip a minor
(whole-half)
play
tritone
“point”
R in RH
and go7 up
a 4th
think
B to
voicing
of minor
chord
upand
a 5th
3rd
between
hands;
then
play
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tritone
o
RH
pinky
on chord
the
5th,
come
down
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C
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start
on
any
tone
the
down
a 4th;
b7 &
b3
in on
LH
sus4
C7sus4
Mixolydian
A
minor
7
chord
up
a 5th
(C7
=
G-)
think
B
voicing
of
dominant
7
chord
a
RH
inthe
RH;
b7
&on3 the
in LH
ø
CDorian
RH
pinky
root,
down
in up
4ths
(whole-half)
play
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tritone
it, come
then skip
a minor
øabove
C
Locrian
think
voicing
of
dominant
7 chord
up a
5th mode of maj
sus4
raised
5th
(C
=
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(C7
=
G-)
2nd mode of maj
3rd
between
then play a tritone in
in
RH
; b3(C
&øhands;
b7
in LH
7th mode of maj
raised
5th
= Ab7)
ø
the
RH
C7sus4
Locrian
C(Db)Eb
GbGAb
Bb C
R
b5“diminished”
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b3 (F
b6
(C
Gb
BbD
Ab)
think
A
voicing
of tone
dominant
7 chord
a
C7b9
Diminished
EF F#
voicing
start
on
but
root
CDorian
CC
EbEb
FG
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C
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(Eb
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C)
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the
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in (i.e.,
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4 b7
D
G
C)Eb
B any
voicing
of
minor
7 the
chord
up
aup
5th
C
Mixolydian
CDDb
D(E)F
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A Bb
Bb A
C Bb C
b7
4 b7
69b395 95R55(Bb
F(Bb
A
D
G)
think
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ø RH
B
b7
R 4(Gb
Eb
GC
F)
“point”
to
Rb9);
in
and
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achord
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voicing
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dominant
up a
(half-whole)
any
but
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or
play
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tritone
it,
7th
mode
of
maj
avoid
tone:
b9th
(Db)
raised
(C
=
Ab7)
o
2nd
mode
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maj
sus4
5th mode of maj
avoid
tone:
3rd
instart
RHsus4
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b7
in b3
LH
C
Diminished
C
D Eb
F Gb
Ab(E)
ABC
a tritone in each hand with a
on
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(C7
=&
G-)
down
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=
G-)
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5th
= Ab7)
e.g., 3 b7
5 (E Bb Db G)
then
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minor
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(whole-half)
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œ
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Mixolydian
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A
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C
b7
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6
9
5
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A
D
G)
think
voicing
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œ
9 b3 (Gb C F Bb Eb)
play
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tritone
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the
RH
& œ œ (œ) œ œ
b5
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4
b7
think
B
voicing
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b3
5
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4
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C
F)
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in
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and
(e.g.,
C
Gb
A
Eb)
3rd
between
hands;
then
play
a
tritone
in
6
ø of minor 7 chord up
4 b7 9 5 R (F Bb D G C)
think
B
voicing
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5th mode of maj
avoid tone: 3rd (E)
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raised
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5th
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(C
G-)
=
Ab7)
ø
down
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&
b3
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LH
avoid
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the
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Diminished
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Db Eb E F#
GAb
A Bb
Bb C
any
voicing
from
start
on
chord
but the
root (i.e.,
sus4
C
Locrian
C(Db)Eb
GbAb
R
b5“diminished”
b74b3
b6 (Chand
Gb
Bb Eb
Ab)
think
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voicing
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dominant
chord
up a
(C7
= G-)
Co
Diminished
C D Eb F FGb
A B CC
a tritone
intone
each
start
chord
tone
on the7above
bottom;
(half-whole)
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but thewith
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or b9);
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ø play
b7
7alt
7th
mode
of maj
avoid
tone:
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5th
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= of
Ab7)
4A
b7
93rd
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G C)
think
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voicing
minor
7 chord
up
aand
5th
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Super
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C
Db Eb
Fbb9th
Gb Ab
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3
b7
#5
Bb
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G#
Db)
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(whole-half)
minor
play
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tritone
it,
then
skip
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e.g., 3 b7 b9 5 (E Bb Db G)
then skip a minor 3rd between hands; then
sus4
o
ø
7th
mode
of
mel
min
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�
step
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(C7
=
G-)
7sus4
play
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RHon7the
C
Diminished
C D(E)F
D Eb F Gb
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BC
a b5
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on
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Rb7
b7
(C
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Bb
Ebfrom
think
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Mixolydian
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A Ab
Bb
C
4R“diminished”
64 9b3
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A
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G)
think
voicing
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C7b9
Diminished
C Db EbFG
EGb
F#
GA
BbCC
any
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b5
b75between
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Chands
Bb
Eb)
think
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voicing
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the
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(whole-half)
minor
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play
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ø= Ab7)
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sus4
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(half-whole)
any
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3,
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or
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raised
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= of
Ab7)
B
b7 C
3 #5
think
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(e.g.,
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A b5
Eb)(Bb E G# Db Gb)
3rd between
then play7achord
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in
e.g.,
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Bb Db G)
then
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minor
hands;
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E
F#
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any
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on
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the
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C
Super Locrian
C Db Eb Fb Gb Ab Bb C
A
3
b7
#9
#5
b9
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Bb
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G#
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think
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7
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R
4
b7
b3
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C
F
Bb
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think
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voicing
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dominant
7
chord
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a
play
a
tritone
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the
RH
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9 5R Rtone
(F Bb DtheG root
C)
think
B voicing
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7 chord
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a 5th
Note:
Aebersold books
and in G
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(half-whole)
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above
ø
C7sus4In the Jamey
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C D(E)F
A Bb�������,
C
b7= 4C7alt
6 95 5 (Bb but
F A D G)
think
A voicing
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7 chord
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mode
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mel
min
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RH
up
�
step
raised
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(C
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e.g.,
3 b7
then
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minor
hands; then
Co
Diminished
C
D Eb
F Gb
Ab(E)
ABC
a tritone
in each hand with a
start
on
chord 3rd
tonebetween
on the bottom;
5th mode of maj
avoid
tone:
3rd
(C7sus4
= G-)
play
a
tritone
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the
RH
7sus4
(whole-half)
minor
3rd
between
hands
play
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tritone
above
it,
then
skip
aup
minor
b7
B
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think B
7 chord
C7alt
Mixolydian
C D(E)F G A Bb C
b7 b7
4 63 9#5
5 b9
(Bbb5F (Bb
A DEG)
A voicing of dominant
minor 7 chord
aand
5th
4#9
C
Locrian
C Db
Eblowest
Fb Gbvoice;
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C
A
3 b7
#5
b9
(E
think
A voicing
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and
* “Category Super
A” chords
have the 3rd
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B”
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have
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7thD#
in G#
the Db)
lowest voice.
(e.g.,
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Eb)
3rd
between
hands;
then
play
tritone
in
�����
RH
down
�
step
5th
mode
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maj
avoid
tone:
3rd
(E)
sus4
4
b7
9
5
R
(F
Bb
D
G
C)
think
B
voicing
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minor
7
chord
up
a
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o
(C7
=
G-)
7thhave
mode
of notes
mel min
�����
RH
upchord
� step
** All voicings
five
with
and
dominant
7b9
voicings
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intone
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Diminished
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Eb
E F#
C
“diminished”
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Diminished
CCDthe
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F Gb
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AAthe
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Cdiminished
aany
tritone
in each hand
with afromwhich have
start
on
any
tone
on
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RH
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sus4
(C75,ab7,
= G-)
(half-whole)
any
tone
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the
3,
or
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play
tritone
it,and
(whole-half)
minor
3rd#9between
hands
play
above
it,athen
skip
a minor
C7alt
Super Locrian
C Db Eb Fb Gb Ab Bb C
A 3chord
b7
#5 b9
Bbroot
D# G# Db)
think tritone
A voicing
of dominant
7above
chord
4e.g.,
b7
93b7
5#5Rb9
(F5Eb)
Bb
DG
C)
think
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minor
7 chord
up aand
5th
B
b7
b9
b5
(Bb
E
G#
Db
Gb)
dominant
7
chord
(e.g.,
C
Gb
A
3rd
between
hands;
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tritone
in
3
(E
Bb
Db
G)
then
skip
a
minor
between
hands;
then
7th mode of mel min
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RH up � step
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RH
down
�
step
play
the
(C7RHa tritone
= G-)in the RH
7sus4
*C
“Category Mixolydian
A” chords have the 3rd
the lowest
B”
chords
have
the lowest voice.
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G
A Bb
CœBb
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6 9 5 (Bb
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A D7th
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think
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minor
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b œ“Category
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Diminished
C in
Db
E
F#
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C œ C7+9b7
any
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chord
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in
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n
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b5
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Db
Gb)
think
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voicing
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7 chord and
b
œ
** All voicings
have
five
notes
with
the
exception
of
the
diminished
and
dominant
7b9
voicings
which
have
four
(two
notesplay
each
hand)
5th
mode
of
maj
avoid
tone:
3rd
(E)
sus4
œ
5 tone but the root
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=
G-)
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a
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e.g.,
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then
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then
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Diminished
Db
A Bb
any
“diminished”
voicing
start
on
any
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tone
but
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C7sus4
Super Locrian
CD(E)F
Db
Eb
Fb
Gb
Bb C
C C7+9
A=43C7alt
#9
#55b9
(E
D#from
G# Db)
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voicing
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7 hands;
chord
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CC
AF#
BbGAb
C
b7
63b79b7
5 (Bb
F(EA
DBbG)
think
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7 chord
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Note:
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inGE
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b7
4
b7
9
5
R
(F
Bb
D
G
C)
think
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voicing
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minor
7 chord
up it,
a 5th
play
a
in
the
RH
* “Category5th
A”
chords
have
the
3rd
in
the
lowest
voice;
“Category
B”
chords
have
the
7th
in
the
lowest
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(half-whole)
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but
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sus4
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mel minavoid tone: 3rd (E)
�����
RH
� step
3
(C7
= up
G-)
sus4
** All voicings have five notes with the exception of the diminished
and3 dominant
7b9
four
(two
notes in
hand)hands; then
e.g.,
b7 b9 5 (E
Bbvoicings
Db G) which have
then
skip
minor
3rdeach
between
(C7
=aG-)
play
a
tritone
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the
RH
b79chords
35 #5
b9have
b5 (Bb
G#inDb
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dominant
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theGE
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theGb)
lowest voice.
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R (F
Bb
D
C)
think
7 chord
up a and
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7alt
C
Super
Db exception
Eb Fb Gb of
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Bbdiminished
C
A and
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(E Bb
D# G#which
Db) have
think
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voicing
7 chord and
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RH
down
�indominant
step
** All voicings
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five notes withC the
voicings
four
(two
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each hand)
sus4
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G-)
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C7b9 In the Jamey
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C Db
F# G �������,
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“diminished” voicing from
start
7th mode
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Note:
Aebersold
books
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in E
������
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(half-whole)
any
but(Ethe
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or b9); play
a tritone7above
C7alt
Super Locrian
C&Db Eb Fb Gb bAb
Bbb œC œ
A 3chord
b7 b9
#9tone
#5 b9
Bbroot
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e.g.,
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then
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between
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then
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#5
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Db Gb)
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dominant
7 chord
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7th mode of mel min
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C Db
Eb E
F# G voice;
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start
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anydown
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play
a RH
tritone
in the
RHbut the root (i.e.,
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step
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A” chords have the 3rd
in the
lowest
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the 7th from
in the lowest voice.
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chord
tone but thevoicings
root
3, 5,
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or b9);
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aeach
tritone
above it,
Note:
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b7 b9 b57b9
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3dominant
#5
(Bb E G# Dbwhich
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think
B voicing
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7 chord and
e.g., 3 b73 b9 5 (E Bb Db G)
then skip a minor 3rd between hands; then
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play a tritone in the RH
7alt In the Jamey
Note:
Aebersold books
andEb
in Fb
������
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C
Super Locrian
C Db
Gb Ab
Bb C C7+9A= 3C7alt
b7 #9 #5 b9 (E Bb D# G# Db)
think A voicing of dominant 7 chord and
* “Category 7th
A” chords
mode ofhave
melthe
min3rd in the lowest voice; “Category B”Bchords have the 7th in the lowest voice.
����� RH up � step
b5
** All voicings have five notes with the exception of the diminished and dominant
7b9 voicings which have four (two notes in each hand)
b9
C*7alt
Locrian
C Db
Eb Fb
Gb Ab
Bb “Category
C
AB 3B”
b7chords
#5 b9
BbE
D#
think
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A” chords
have the 3rd
in the
lowest
voice;
the
7th
theDb)
lowest voice.
b7
3#9
#5
b5(E
(Bb
G#inG#
Db
Gb)
thinkABvoicing
voicingofofdominant
dominant77chord
chordand
and
#5 b9have
7th have
modefive
of mel
min
�����
RH
updown
�
step
** All voicings
notes
with the exception of the diminished and dominant 7b9 voicings which have
four
(two
notes
each hand)
�����
RH
�instep
3
Note: In the Jamey Aebersold books and in ������ �������, C7+9 = C7alt
b7
B b7 3 #5 b9 b5 (Bb E G# Db Gb)
think B voicing of dominant 7 chord and
����� RH down � step
Note:
In the Jamey
Aebersold
books
in ������
�������,
C7+9 = B”
C7alt
* “Category
A” chords
have the
3rdand
in the
lowest voice;
“Category
chords have the 7th in the lowest voice.
** All voicings have five notes with the exception of the diminished and dominant 7b9 voicings which have four (two notes in each hand)
C
Symbol
C7
MajorName
Scale
Mixolydian
5th
mode of maj
Dorian
Major
2nd mode of maj
C D E(F)G A B C
A 3 6 9 5 RVoicings*
(E A D G C)
Scale
Two-Hand
B 3b7b7b3955RR4(E(Bb
C F)
C
D E(F)G
A
BbEbD G C)
avoid
tone: A
4thBb
(F)C
b7
3
6
9
5
(Bb
A G)
D G)
B
7
3
6
9
5
(B
E EA D
avoid
tone:
4th
(F)
C
D
Eb
F
G
A
Bb
C
A
b3
b7
9
5
R
(Eb
Bb
D
Two-Handed
Piano
C D E(F)G ACommon
BC
A 3 6 9 5 R (E
A D GVoicings
C)G C)
avoid tone: 4th
(F)notes in theALH,
(two
notes
3 6 three
9 5 7 (E
A DinGthe
B) RH)**
B b7 3 6 9 5 (Bb E A D G)
Piano
Voicings
F Common
Gbb œAbb œBb
C œTwo-Handed
R
b5
b7
b3
Gb
Bb
B
b7
b3
5 b6
R
4(C
(Bb
Eb
GEbG
C Ab)
F)
Scale
Two-Hand
Voicings*
&C(Db)Eb
733 3b7
69b6
EBb
A
D
C
ABb
BbCC b œ
A
R
D
6b7
(E
A
DBb
G
B)
b œF Gœ(two
C
D( b œEb
E(F)G
A
A b3
99595575R(B
(E(Eb
D G)
G
C)C)
)tone:
œD
notes in the LH,
three
avoid
b9th
(Db)
b3 notes in the RH)**
avoid tone:
b9th
(Db)
avoid
tone:
4th
(F)
C D E(F)G A B C
A
37 63 96b759 R
(E E
AA
DD
G G)
C)
B
55(B
C D Eb F G A Bb C
A
b3
9Voicings*
R(Gb
(EbC
Bb
DG
C)
Scale
Two-Hand
b5
R 4b7b7
F Bb
Eb)
b5 b3
avoid tone: 4th (F)
(BbE Eb
G G)
C F)
B b7 3b3R659R5 4(Bb
AD
C(Db)Eb
FA
Gb AbCBb C
R b5 b7 b3 b6 (E
(C Gb Bb
E(F)G
GEbC)Ab)
CCDDE(F)G
A BBb
C
AA 336b79 59 R5 R
(E A Bb
D GDC)
A 3 6 9 5 7 (E A D G B)
avoid tone: b9th
(Db)
4th
(F)
avoid tone: 4th (F)
B b7 b3 5 R 4 (Bb Eb G C F)
C D E(F)G A Bb C
A 3 b7 9 5 R (E Bb D G C)
b3
7b7
999b3
5each
Ehand
D
G)
Gb
B CC
aBtritone
a C)
36b7
6in
(Bb
EABb
A
D
b5
R 3b7
4b7
C
Fwith
Bb
Eb)
C
D Eb
F FG
AAb
Bb
A
b3
55(B
R(Gb
(Eb
D G)
G
avoid
tone:
4th
(F)ACBb
b7
C(Db)Eb
Gb
Ab
b5
b3
b6
AR
3
6
9
(E (C
A Gb
Dhands
GBb
B)Eb Ab)
45 7between
minor 3rd
avoid tone: b9th (Db)
(e.g.,
Gb
Eb) E A D G)
B b7C3 R
6 9A
5 (Bb
C(Db)Eb F Gb Ab Bb C
BR 7b53 b7
6 b5
9b35 b6
(B (C
E Gb
A DBb
G)Eb Ab)
B
R 4(Gb
(BbCEb
GC
F)
b5 b7
R 4b3b75b3
F Bb
Eb)
avoid
tone:
b9th
(Db)
C
D
Eb
F
G
A
Bb
C
A
b3
b7
9
5
R
(Eb
Bb
D C)
G C)
C
A Ab
Bb A
CBC
A
3 b7 9in5each
R (Ehand
Bb D
G
CD
D E(F)G
Eb F Gb
a tritone
with
a
avoid tone: 4th (F)
minor
3rd
between
b5
R
4b7
Chands
Bb
Eb)
D Eb FGGAABb
BbCC
A
b3
5AR(Gb
Bb
DG
C)
C D(E)F
b7
4 6C
9b7
59b3
(Bb
F(Eb
A
DF G)
(e.g.,
Gb
Eb)
Cavoid
D E(F)G
A
Bb
C
A
3
b7
9
5
R
(E
Bb
D
G
C)
B
b7
3
6
9
5
(Bb
E
A
D
G)
tone:
3rd
(E)
b3
5
R
4
(Bb
Eb
G
C
F)
C(Db)Eb
GbAb
R
b5 b7 b3
b6 (Chand
Gb Bb
Eba Ab)
C D Eb
F FGb
B œCC œ
a tritone
in each
with
tone:
4th
bAb
œ An œBb
b œ (F)
&avoid
b œ œ b9th
avoid
(Db)
œ œ tone:
minor 3rd between hands
b79b35 R5 (F
R 4Bb
(BbDEb
G C F)
4B b7
G C)
A(Bb
Eb)
B(e.g.,
b7 3C 6Gb
9 5each
E Awith
D G)a
C
Eb FGGb
ab7tritone
in
CD
D(E)F
A Ab
Bb A
CBC
4 64 9b7
5 b3
(Bb(Gb
Fhand
A
DF G)
b5
R
C
Bb
Eb)
C
D Eb F FGGb
A Bb CBb C
A
b3b7
b7
5 R(C
(Eb
Bb
C)
minor
3rd
hands
C(Db)Eb
R b5
b39between
b6
Gb
BbDEbGAb)
avoid tone:
3rd Ab
(E)
(e.g.,
C
Gb
A
Eb)
avoid tone: b9th (Db)
& b b ww
bw
? b ww
bw
& b ww
w
? bw
& bw
w
? b ww
ww
& w
w
b
? w
ww
w
? b ww
&
& b ww
? b ww
bw
& # # ww
? b ww
&
?
b b ww
#w
b ww
* “Category A” chords have the 3rd in the lowest voice; “Category B” chords have the 7th in the lowest voice.
** All voicings have five notes with the exception of the diminished and dominant 7b9 voicings which have four (two notes in each hand)
12
Jazz Piano Pedagogy
Voicings Teaching/Learning Sequence*
I. Major
A. One-Hand Voicings
1. Category A: LH root / RH chord
2. Category B: LH root / RH chord
3. Alternate A-B beginning with A: LH root / RH chord
4. Alternate B-A beginning with B: LH root / RH chord
5. All of the above: chord in LH (RH tacit)
B. Two-Hand Voicings
1. Category A
2. Category B
3. Alternate A-B beginning with A
4. Alternate B-A beginning with B
II. Dominant 7
A. Repeat I with dominant chords
B. Play Bb Blues (first alone, then with play-along recording)
1. LH root / RH chord (start with both A and B; use best voice leading)
2. Chords in LH (RH tacit)
3. Chords in LH / head in RH
4. Two-Handed Voicings (start with both A and B; use best voice leading)
5. Chords in LH / related chord scales in RH (not in tempo)
6. Chords in LH / improvise in RH
C. Play Watermelon Man: follow steps II B 1-6 above
III. Minor
A. Repeat I with minor chords
B. Play Song for My Father: follow steps II B 1-6 above
C. Play Impressions: follow steps II B 1-6 above (also learn “So What” voicing)
D. Play Maiden Voyage: follow steps II B 1-6 above
E. Play Cantaloupe Island: follow steps II B 1-6 above (also learn two-handed “Cantaloupe Island” accompaniment figure)
IV. II V I in Major (II- V7 I)
A. Alternate A-B-A beginning with A: LH root / RH chord
B. Alternate B-A-B beginning with B: LH root / RH chord
C. A and B above: chord in LH (RH tacit)
D. A and B above: two-handed voicings
E. Play Satin Doll: follow steps II B 1-6 above
V. Half-Diminished - Repeat I with half-diminished chords
VI. Dominant 7 Altered - Repeat I with dominant 7 altered chords
VII. II V I in Minor ( IIø V7alt I-)
A. repeat IV A-D with minor II V I
B. Play Blue Bossa: follow steps II B 1-6 above
C. Play Summertime: follow steps II B 1-6 above
D. Play Footprints: follow steps II B 1-6 above
E. Play Autumn Leaves: follow steps II B 1-6 above
VIII. Diminished
A. Repeat I with diminished chords
B. Play Doxy: follow steps II B 1-6 above
IX. Dominant 7b9
A. Repeat I with dominant 7b9 chords
B. Repeat VII A, substituting V7b9 for V7alt (IIø V7b9 I-)
C.
Play F Blues: follow steps II B 1-6 above
* All tunes above can be found in Jamey Aebersold’s Play-Along Volume 54: “Maiden Voyage” and can be ordered from
www.jazzbooks.com
13
14
15
Tune Learning Order of Events
(Do in the following order for each new tune)
1. listen to the definitive recording numerous times
2. memorize the form
3. memorize root movement, play roots with definitive or play-along recording
4. memorize chord qualities, play chords (arpeggios in quarter notes) with play-along recording as follows:
• 1 3 5 7 9 for chords lasting two bars (have the 9th sustain for the second bar)
• 1 3 5 7 for chords lasting one bar
• 1 3 for chords lasting two beats
for II V I’s in major, play*
for II V I’s in minor, play*
5. play related scales in eighth notes (for chords lasting two bars, have the 9th sustain for the second bar; for
chords lasting two beats, just play 1 2 3 4
6. memorize head, play with play-along recording
7. improvise with play-along recording
8. transcribe phrases from definitive recording
9. improvise with play-along recording, incorporating phrases transcribed from definitive recording
* You may also have the final 7th in the penultimate measure resolve to the 6th in the last measure (i.e., practice ending the line on both the 9th
and 6th)
16
Elements of Jazz
1. Syncopation
the accenting of beats that are not naturally accented; the accenting of "upbeats"
2. Jazz Sounds
1. “jazz” instruments
2. the way each instrument is played
3. Improvisation spontaneous composition; composing the music as you are playing; extemporaneous
soloing; “musical conversing”
4. Rhythm
steady beat; swing
5. Form
the repeated and contrasting sections in the design of a composition; the tune’s
harmonic (chordal) “blueprint”
12-Bar Blues
I Bb7
I Eb7
I Bb7
I
I
I Eb7
I
I Bb7
I G7alt
I
I C-
I F7
I Bb7 G7alt I C-
F7
I
"Song for My Father"
Form: A A B (24-Bar Tune)
A: I F-
I
I Eb7
I
I Db7
I C7sus
I F-
I
I
A: I F-
I
I Eb7
I
I Db7
I C7sus
I F-
I
I
B: I Eb7
I
I F-
I
I Eb7 Db7 I C7sus
I F-
I
I
Other Terms:
1. Chord
two or more notes played at the same time; the music that accompanies the melody,
setting the mood (AKA "change," i.e., the "changes" of a song are the chords that
accompany the song)
2 Head
the (written) melody
3. Chorus
one time through the chords of a song; one time through the song’s form
4. Intro
optional introductory music that comes before the first chorus
5. Coda
optional ending music that comes after the last chorus
6. Vamp
one chord (or a brief chord progression) which is played over and over
Thelonious Monk Institute of Jazz
Phone: (310) 206-9501 • E-mail: jbdyas@monkinstitute.org • Website: www.monkinstitute.org
17
Common Forms
AABA
e.g., Take the A Train
A: I C
A: I C
B: I F
A: I C
I
I
I
I
I D7#5
I D7#5
I
I D7#5
I
I
I
I
I
I
I
I
DDD7
D-
I G7
I G7
I
I G7
I
I
I
I
C
I
I
I
I
Eb
C
DC
I
I
I
I
D- G7 I
I
I
I
I
Eb C7alt I
G- C7 I
I
D- G7 I
G7
ABAC
e.g., On Green Dolphin Street
A: I Eb
B: I FA: I Eb
C: I F- F-/Eb
I
I EbI
IF
IE
I Bb7
I Eb
I Bb- Eb7 I AbI Db7
I
I EbI
IF
IE
I Dø G7alt I C- C-/BbI Aø D7alt I G- C7altI F- Bb7
Gb
Eb
Eb
F- Bb7 I
Eb C7alt I
(F- Bb7) I
16-Bar Tune
e.g., Blue Bossa
I CI Eb-
I
I Ab7
I FI Db
I
I
I Dø
I Dø
I G7alt
I G7alt
I CI C-
I
I
I Dø G7alt I
12-Bar Blues
e.g., Billie’s Bounce, Now’s the Time, Straight No Chaser, etc.
I F7
I Bb7
I G-
I Bb7
I (Bo)
I C7
I F7
I C- F7 I
I F7
I (D7alt) I
I F7 D7alt I G- C7 I
18
Uncommon Forms
Song for My Father
Form: A A B (24-Bar Tune)
A: I FA: I FB: I Eb7
I
I
I
I Eb7
I Eb7
I F-
I
I
I
I Db7
I C7sus
I Db7
I C7sus
I Eb7 Db7 I C7sus
I FI FI F-
I
I
I
I
I
I
Peace
Form: 10-Bar Tune
I Aø D7b9I G- C7 I B CøF7b9I Bb
I C7alt B7#4I Bb
I
I B- E7 I A F#- I Ebø Ab7b9I Db
I
Stablemates
Form: A B A (14 bars--8 bars--14 bars)
A: I E- A7 I Eb- Ab7 I Db
I
B: I
A: I
I
I Bb7
FI Gb7
E- A7 I Eb- Ab7
FI Bb7
F-
I
I
I
I
EbG7alt
Db
Eb-
I
I
I
I
I
I
Ab7b9 I
C7
I
C7alt
I
Ab7b9 I
I Gb
II
I A7
I Gb
II
I Gø C7altI
Ab- Db7 I D- G7 I Eb- Ab7 I Db
I Dø G7b9 I
I F- Bb7 I
I Dø G7b9 I
C7alt
AbDb
B7
AbDb
I Db7
I
I Bb7
I Db7
I
I Ab7
I
I Gø C7altI
Moments Notice
Form: A B A B´(6 bars) 8-bar Vamp
A: I E- A7 I F- Bb7 I Eb
B: I C-
I
A: I E- A7 I
B ´: I CI
V: I Eb
I
Bb- Eb7 I Ab
F- Bb7 I Eb
Bb- Eb7 I Ab
F-
I G-
I
I
I
I
I
I
Ab- Db7 I
Db7
I
FI
Db7
I
D- G7 I
G- C7 I
Eb F- I
G-
Ab- Db7 I Gb
Eb- Ab7 I Db
F- Bb7 II
G- F- I Eb
Bb Pedal------------------------------------------------------------------
I
I
19
Jazz History – Evolution of Styles
Style
Dates*
Basic Performance Practices
Representative Figures
Ragtime
1896-1917
solo piano style, steady left hand/syncopated right hand
Scott Joplin, piano
Early Jazz
1900-1928
collective improvisation, use of banjo and tuba
Louis Armstrong, trumpet; Jelly Roll Morton, piano
Swing
1930-1945
big band, written arrangements, dance music
Count Basie, piano; Duke Ellington, piano, Benny Goodman,
clarinet; Coleman Hawkins, tenor sax; Lester Young, tenor sax
Bebop
1940-1955
virtuosic, complex, rangy, jazz as art, small group, focus on the soloist
Dizzy Gillespie, trumpet; JJ Johnson, trombone Thelonious Monk,
piano; Charlie Parker, alto sax; Bud Powell, piano;
Cool
1949-1955
relaxed feel, soft, incorporation of classical music elements
Chet Baker, trumpet; Dave Brubeck, piano, Miles Davis, trumpet;
Paul Desmond, alto sax; Gerry Mulligan, baritone sax
Hard Bop
1951-1958
return to Afro-centric elements, complex and simple sub-styles
Art Blakey, drums; John Coltrane, tenor sax; Miles Davis, trumpet;
Sonny Rollins, tenor sax; Horace Silver, piano
Free Jazz
1959-1970
avant-garde, no pre-determined chord progressions, atonal
Ornette Coleman, sax; Cecil Taylor, piano
Fusion
1969-1990
blending of jazz and rock elements, electronic instruments
Chick Corea, keyboards; Miles Davis, trumpet; Herbie Hancock,
keyboards; John McLaughlin, guitar; “Weather Report”
Smooth Jazz
1980-Today
simpler, more commercial and accessible style of Fusion
Chris Botti, trumpet; Kenny G, soprano sax; Dave Koz, saxophones;
Najee, saxophones; David Sanborn, alto sax
Contemporary
Today
blending of jazz with classical and world musics, hard bop
sensibilities, and various pop and folk musics
Ambrose Akinmusire, trumpet; Brian Blade, drums; Dave Douglas,
trumpet; Kenny Garrett, alto sax; Robert Glasper, piano/keyboards;
Roy Hargrove, trumpet; Dave Holland, bass; Keith Jarrett, piano;
Branford Marsalis, tenor sax; Christian McBride, bass; Brad
Mehldau, piano; Pat Metheny, guitar; Jason Moran, piano; Chris
Potter, tenor sax; Joshua Redman, tenor sax; Kurt Rosenwinkel,
guitar
* all styles of jazz from Early Jazz to Contemporary are still being performed and recorded today; all style dates given are approximations of when each respective style came to the forefront of jazz
and experienced its most concentrated development; of course, styles and dates overlap
For a complete course in Jazz History and further information on the elements and evolution of jazz styles, log onto the Jazz in America website at
www.jazzinamerica.org
20
FIFTY-TWO ESSENTIAL JAZZ RECORDINGS
ARTIST(S)
ALBUM
LABEL/NUMBER
DATE
Various
Various
Various
Louis Armstrong
Bix Beiderbecke
Sidney Bechet
Billie Holiday
Count Basie
Benny Goodman
Duke Ellington
Coleman Hawkins
Roy Eldridge
Dizzy Gillespie
Charlie Parker
Bud Powell
Thelonious Monk
Woody Herman
Miles Davis
Lee Konitz
Stan Getz
Stan Kenton
Charlie Parker
Dave Brubeck
Jay Jay Johnson
Art Blakey
Miles Davis
Sonny Rollins
Ella Fitzgerald
Horace Silver
John Coltrane
Miles Davis
Charles Mingus
Ornette Coleman
Miles Davis
John Coltrane
Wes Montgomery
Bill Evans
John Coltrane
Wayne Shorter
Herbie Hancock
Miles Davis
Miles Davis
Chick Corea
Cecil Taylor
Keith Jarrett
Weather Report
Pat Metheny
Michael Brecker
Kenny Garrett
Brad Mehldau
Maria Schneider
Wayne Shorter
Vijay Iyer
Jazz – The Smithsonian Anthology (6 CD Set)
Ken Burns Jazz: Story of America's Music (5 CD Set)
Jazz Classics 3 CD Set for Jazz Styles: History and Analysis
The Complete Hot Fives & Hot Sevens (4 CD Set)
Vol. 1: Singing the Blues
The Legendary Sidney Bechet
Strange Fruit: 1937-39
The Complete Decca Recordings (3 CD Set)
Live at Carnegie Hall - 1938 Complete (2 CD Set)
The Blanton-Webster Band (3 CD Set)
Body and Soul
Little Jazz
The Complete RCA Victor Recordings (2 CD Set)
The Complete Savoy & Dial Master Takes (3 CD Set)
Jazz Giant
The Best of Thelonious Monk: The Blue Note Years
Thundering Herds 1945-1947
The Complete Birth of the Cool
Subconscious Lee
The Roost Quartets
New Concepts of Artistry in Rhythm
Jazz at Massey Hall
The Essential Dave Brubeck (2 CD Set)
The Eminent Jay Jay Johnson Vols. 1 & 2 (2 CDs)
A Night at Birdland Vols. 1 & 2 (2 CDs)
Round About Midnight
Saxophone Colossus
The Complete Ella in Berlin: Mack the Knife
The Best of Horace Silver Vols 1 & 2 (2 CDs)
Blue Train
Milestones
Mingus Ah Um
The Shape of Jazz to Come
Kind of Blue
Giant Steps
Incredible Jazz Guitar
Sunday at the Village Vanguard
Live at Birdland
The Best of Wayne Shorter: The Blue Note Years
The Best of Herbie Hancock: The Blue Note Years
Miles Smiles
Bitches Brew (4 CD Set)
Now He Sings, Now He Sobs
Silent Tongues
Staircase (2 CD Set)
Heavy Weather
Bright Size Life
Michael Brecker
Songbook
Art of the Trio Volume 4 – Back at the Vanguard
Allegresse
Footprints Live
Accelerando
Smithsonian/Folkways SI-146-2011
Legacy/61432
ISBN-13: 978-0-13-600561-2
Sony 63527
Columbia/CK 45450
RCA Bluebird/6590-2-RB
Jazztory/102423
Decca Jazz-GRP/GRD3-611
Columbia/Legacy 65143
RCA Bluebird/ 5691-2-RB
Victor Jazz/09026-68515-2
Columbia/CK 45275
RCA Bluebird/07863-66528-2
Savoy Jazz/17149
Verve/829 937-2
Blue Note/95636
Sony 44108
Capitol/94550
Fantasy/OJCCD-186-2
Roulette/96052
Capitol/92865
OJC/044
Columbia/Legacy C2K 86993
Blue Note/81505 & 81506
Blue Note/46519/46520
Columbia/40610
Prestige OJCCD-291-2
Verve/519 564
Blue Note/91143 & 93206
Blue Note/46095
Columbia/40837
Columbia/CK 40648
Atlantic/1317-2
Columbia/CK 64935
Atlantic/1311-2
OJC/036
Fantasy/OJCCD-140-2
Impulse!-GRP/GRD-198
Blue Note/91141
Blue Note/91142
Columbia/CK 48849
Columbia/C4K 65570
Blue Note/90055
Freedom/FCD-741005
ECM/78118-21090-2
Columbia/CK 65108
ECM 1073
MCA-Impulse MCAD-5980
Warner Bros. 46551
Warner Bros. 47463
Enja ENJ 9393/2
Verve 314 589 679-2
Act Music & Vision 9524-2
1899-2003
1917-99
1917-2000
1925-29
1927-28
1932-41
1937-39
1937-39
1938
1940-42
1939-56
1935-40
1937-49
1945-54
1949-50
1947-51
1945-47
1948-50
1949
1950-51
1952
1953
1949-2002
1953-55
1954
1956
1956
1960
1964-72
1957
1958
1959
1959
1959
1959
1960
1961
1963
1964-69
1962-68
1966
1969-70
1968
1974
1976
1977
1975
1987
1997
1999
2000
2002
2012
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Glossary
Axe Synonym for instrument
Basic Chord Symbol Symbol indicating the fundamental vertical (chordal) sound of its related scale; any note from the
related scale (except for any “avoid” tones) may be used in the pianist’s or guitarist’s chord voicing; the most common basic
chord symbols are C (major), C7 (dominant 7 AKA mixolydian), C- (dorian), CØ (half diminished AKA locrian), Co (wholehalf diminished), C7b9 (half-whole diminished), C7+5 (whole tone), and C7alt (diminished whole tone AKA super locrian);
(please note that C7alt is written as C7+9 in the Aebersold Play-Along and Pocket Changes books)
Bossa (Bossa Nova) Straight-eighth, medium tempo Latin groove that usually incorporates the underlying two-measure
repeated rhythmic pattern:
or variation thereof (e.g., Solar Flair/Blue Bossa, Song for My Father)
Change Synonym for chord (e.g., the changes of a tune = the chords of a tune)
Chops Synonym for technique
Chord Two or more notes played at the same time; the music that accompanies the melody, setting the mood (AKA "change,"
i.e., the "changes" of a song are the chords that accompany the song); harmony
Chorus One time through the chords of a song; one time through the song’s form
Coda Optional ending music that comes after the last chorus (see Ending)
Comp To play chords in a rhythmically interesting fashion, accompanying a melody (comes from the words accompany and
complement)
Contrafact a jazz tune based on an extant chord progression, usually of a standard; common examples include Oleo (based on
I Got Rhythm), Donna Lee (based on Back Home Again in Indiana), Groovin’ High (based on Whispering), Ornithology (based
on How High the Moon), Hot House (based on What Is This Thing Called Love), and Dig (based on Sweet Georgia Brown)
Ending Optional music that comes after the last chorus of a jazz performance providing a sense of finality (endings are either
written by the tune’s composer or decided upon and inserted by the performers)
Fakebook Book containing lead sheets of numerous tunes (see Lead Sheet)
Form The repeated and contrasting sections in the design of a composition; the tune’s harmonic (chordal) “blueprint;”
common forms include: 12-bar blues, e.g., Shuffle Time, Tootsie, Footprints; 16-bar tune, e.g., Watermelon Man, Cantaloupe
Island, Solar Flair/Blue Bossa, Summertime, Doxy; and AABA, e.g., Impressions, Maiden Voyage, Satin Doll; uncommon
forms include AAB, e.g., Song For My Father, and AABC, e.g., Autumn Leaves
Funk Straight-eighth, medium tempo rock groove incorporating syncopated sixteenth notes against a steady, underlying pulse
Gig Synonym for job
Head The written melody of a tune (previously composed, not improvised), usually played as the first and last chorus in a jazz
performance
Homonym A chord that has different names and functions depending on its root (e.g., the notes E Bb D G comprise a 3 b7 9 5
voicing of a C7 chord, a b7 3 #5 b9 voicing of a Gb7alt chord, a R b5 b7 b3 voicing of an Eø chord, and a 6 b3 5 R voicing of a
G-6 chord; therefore C7, Gb7alt, Eø, and G-6 are considered homonyms of each other)
Improvisation Spontaneous composition; composing the music as you are playing; extemporaneous soloing; “musical
conversing”
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Intro Optional introductory music that comes before the first chorus (intros are either written by the tune’s composer or
decided upon and inserted by the performers)
Jazz Waltz Medium to up tempo swing groove in 3/4 time, i.e., a feeling of three beats to the bar (please note that a tune does
not necessarily have to be written in 3/4 to be played as a jazz waltz; for example, Footprints is written in 6/4 but is generally
played with a jazz waltz feel, i.e., each 6/4 bar feels like two bars of 3/4); tunes in the jazz repertoire usually played as a jazz
waltz include All Blues, Black Narcissus, Bluesette, A Child is Born, Emily, Footprints, How My Heart Sings, My Favorite
Things, Someday My Prince Will Come, Up Jumped Spring, Valse Hot, West Coast Blues, and Windows
Latin Catchall term used by jazz musicians denoting any straight-eighth groove that incorporates bossa and/or samba rhythms
(or other Latin dance rhythms including Afro-Cuban, baion, beguine, calypso, cha-cha, conga, guaguanco, mambo, merengue,
paso doble, rumba, salsa, and songo)
Lead Sheet Sheet of music indicating the basic melody and chord symbols (i.e., head and changes) of an entire tune (e.g., the
way each tune is written in the Aebersold play-along books - or any fakebook - is considered a lead sheet)
Modal Tune Type of tune that is harmonically based on a small number of modes (scales), each lasting a long time (four or
more bars) rather than a progression of rapidly changing chords; examples of modal tunes include Impressions, Maiden
Voyage, and Cantaloupe Island
Real Book Fakebook (see Fakebook)
Rhythm Changes The chord progression (i.e., the “changes”) that accompanies the tune I Got Rhythm by George Gershwin;
the chords (including their many substitutions and variations) that accompany the tune I Got Rhythm and its many contrafacts
Shuffle Medium tempo swing groove incorporating a repeated pattern of dotted eighth/sixteenth notes on every beat (in jazz,
the dotted eighth/sixteenth note rhythm is interpreted with more of a triplet feel, i.e., a repeated pattern of triplet quarter note
/triplet eighth note on every beat)
Specific Chord Symbol Symbol indicating the specific notes to be included in a chord, e.g., Cmaj9 indicates that the chord
contains C E G B D, Cmi11 indicates C Eb G Bb D F, etc. (although a specific chord symbol is able to indicate the notes that
should be included in a particular chord, it does not indicate any particular voicing)
Straight-ahead Term used by jazz musicians to denote the style of jazz that is mainstream, i.e., bebop, hard bop, and cool
jazz; tonal, acoustic jazz with a repertoire of standards and jazz classics; (an example of one of the greatest straight-ahead jazz
groups of all time is the Miles Davis Quintet of the mid-1950s)
Straight-eighth Groove in which the underlying beat is comprised of non-swung eighth notes, i.e., eighth notes are even in
length (eighth notes played on downbeats or upbeats each receive exactly 1/2 of the beat), e.g., Cantaloupe Island, Maiden
Voyage, Solar Flair/Blue Bossa, Song for My Father, Watermelon Man
Swung-eighth Interpretation of eighth notes in which notes played on downbeats and upbeats receive 2/3 and 1/3 of the beat,
respectively, providing a rhythmic lilt (swing) to the music
Syncopation The accenting of beats that are not naturally accented; the accenting of "upbeats"
Tag Type of ending in which a III- VI7 II- V7 progression (or variation thereof) is substituted for the last chorus’ final I chord,
elongating or repeating the last phrase before culminating on the ultimate I chord
Tune Any song or composition that is part of the jazz repertoire
Turnaround A short melodic or harmonic passage usually comprised of a I VI II V progression (or variation thereof) that
returns (“turns around”) to the beginning of a section or top of the form (e.g., last two bars of Tootsie)
Vamp One chord (or a brief chord progression) which is played over and over (e.g., ending of Cantaloupe Island, Song for My
Father, and Summertime); a numerously repeated section of music, usually two or four bars in length (e.g., Track 15 of
Aebersold Play Along Volume 54)
Voicing The particular order of notes in a chord (e.g., E Bb D G is a 3 b7 9 5 voicing of a C7 chord)