modern jazz piano-a study in harmony and improvisation-brian waite (3-3)[1]

8/3/2019 Modern Jazz Piano-A Study in Harmony and Improvisation-Brian Waite (3-3)[1]

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1. Typical 'A' sections of tunes commencing with a I chord

(a) Cmaj7 Am7 Dm7 G7 Cmaj7 Am7 Dm7 G7

, ( ! I I I I I I

I l I I l I I /I,I I I , I

I-- 1 , ,I I »

,Gm7 C7 Fmaj7 F#dim. Cmaj7/G A7 Dm7 G7

I I , ,"

, , ,

I

, I l » ,'

II /

,

I I II I » I I »

(b)Cmaj7 Am7 Dm7 G7 Cmaj7 Am7 Dm7 G7

'ell,,, ,

I,I , ,I

, , I I I I I , l I• • » i » » . . » . .

4Cmaj7 A7 Dm7 G7 Em7 A7 Om7 G7

, I I ,I • I , ,I l l , ,I

, , , ,I I• » » » » » » i • i

(c)Cmaj7 C~dim. Om7 Eb dim. Cmaj7/E Gm7 C7,e ll l

I

l,I I' I , ,I

,it

, ,I,

", ,

I• , , , i » I » »

,Fmaj7 F#dim. Cmaj7/G A7 07 Dm7 G7

lI

l ' I, , I I I I

I I ,I I , , I I Iy_ I » • » • »

t(~11Cmaj7 F7 Em7 A7

I .' I .' I I l, ,

I,,I ,I

, , , ,I I » I I I I , •

»7 Om7 G7, l , I ,I.7

I l l / l I , • ' I I• ,. • ,

(e)Cmaj7 E7 Fmaj7 F~dim.

4 ( ! I I,

• •,

II

",I I

I I I I I I " • l / I. • . . » ., » » »

Cmaj7/G A7 Om7 G7 Em7 A7 Om7 G7, /, ,

I I , l, I l

I • l, . I ,I I» , » » i I . .

(f) Cmai? Bm7(~5) E7 Am7 07 Gm7 C7

4 1,I I,I , I I I I , ,I l " I

,IE7

I I» ., • I • . . I

, Fmaj7 Fm7 Em7 A7 07 Om7 G7

I I I I

I • , , ,I

"/ I l I I • • ,I I• • I » • • I I

S E C T I O

97



Am7 Dm7 G7 Cmaj7 C7

- f e l l :I • / • I I / " " I ":I :I

I I /:I :I :I II

, I i » I »

Fmaj7 Fm7 Em7 A7 Dm7 G7 Cmaj7 Bm7(~S)E7(b9), • :I •" I

:I • l II I:I I :I

I l I:I II I I

98I » I I » I i » »

S E C T I O N f J2. Typical 'A' section of tune commencing with a 117chord

07 Dm7 G7 Cmaj7 A7

4 ( ~I I ~I / ~ / I

:I ~I • • .j! :I I :I ~ ~ :I,

I" , • , I , I » • • •

,07 Dm7 G7 Gm7 C7

• I ~ ~ :I T:I :I

I~ ~ :I :I I :I • II

» , » i , » , , » » , ,I

, Fmaj7 F_dim. Cmaj7/G Abdim. Am7

/ • • I' I~

/ ":I I :I

I • :I

I:I

l l •I , ,I I I I »

07 Dm7 G7, l :I

":I

Y I • :II l l • • /I I,

I, ,

I

3. Typical 'A' section of tune commencing with a IVmaj7 chord

,Fmaj7 Fm7 Bb7 Cmaj7 Em7 A7

el l . • :I • :II I

:I / I t:I • • I l

:II / II • » » » • • •

07 Dm7 G7, I I:II I . • • :I :I

l I:I :I :I . ' I Ii . • » » » » »

4.Typical 'A' sections of tunes commencing with a ~Vm7(~5)chord

(a)F#m7(bS) B7(~9) Em7 A7,e l l :I :I • / I

:I . . • ;' I . ' :I • • I I :I I . . I» • » • » » I . .

Dm7 G7 Em7 A7 Om7 G7

, I .' I ;' :I

I:I :I I .'

:I I :I I I:I I ' I I ·I » • » »

(b) F#m7(bS) B7(b9) Em7 A7 Om7 G7 Cmaj7 C7

.11 / ;' I I I •:II iTI :I • :I

I:I :I

l I I» I I i » . .

Bm7(bS) E7(b9) Am7 Am7/G D7/F# Om7 G7

f4 . :I:I

l I I:I / :I

I:I :I :I :I

I:I I :I :I

I I• ,. » » , I, » •I

5. Typical 'A' section of tunes commencing with a VI chord



fE~m7 A~7 Dm7 G7

S f ' I JI ~

I I ~ ~I

~ I I» » i »

(f)B~m7 E~7 Abmaj7 Abm7 Db7 Gbmaj7

4 · ' 1 1 "~ II 11 I 1 1 1 1 11 11 I ~ 11 ~ 11 I ;' I I I I. » » i » » I » • • •

, F#m7 B7 Emaj7 Em7 A7 Dm7 G7

~ 11 if II I ~ II II

II I ~I

II I III . . ' I II » » » I I » »

(g) Fm7 Bb7 Ebmaj7 Ebrn? Ab7 Db mai?

4 1 ! 1 1 ~ JI II I [I II II / I II II II . . I I II ~ ~ I. . . » I . . » , I » » •

CMm7 F#7 Bmaj7 Em7 A7 Dm7 G7

4 II II II

l I II II II II I II II II II II III 'II• I » • I » » » » • • •

99

6. Typical '8' sections for tunes in the key of C

(bridges or middle eights)

(a) Gm7

, e l l I IC7 Fmaj7

• »» • • »

G7

I I I I

I I(b) Gm7

' ( ~ I I I I

C7 Fmaj7

I I I11 II I 1

I IIII l I• I » ". .

Fm7 Bb7 Ebmaj7 Dm7 G7, j II II

LI I II I II II 11

I I I II 11

III

I II i » i » , » ; »

(c) Bm7 E7 Amaj7,e I I I1 ~ ,f I I'

II J II I II 11 II , ,I. . » » t i i • , y.

,Am7 D7 Dm7 G7

11 I"I / II

I I I II 1 / IJI l J

I I• • , I »

(d) F#m7 B7 Emaj7

4 ( ~ I I I II • II • J J I I l lII II .J» I

, » » , i I r·

Em7 A7 Dmaj7 Dm7 G7

f III II

/ I II II II J III

II II II

l I I I I,I,

i i » i • ,

(e) F#m7(bS) B7 Em~7

4 ( ' 1 1II 11

,.II

I ~ II I 11

I S f'i • i » ,

S E C T /



f)(h) Ebm7 A~7 D~maj7

4 e l l iI

l~I I I

I II I I

iI ~ iI .iII • I • » • • y.

, dm7 F#7 Bmaj7 Dm7 G7

I I 1 1 iI

I I l I I iI iI 1 I 1

I I l I I• • • • » • •

(i) Ebm7 AI>7 Obmaj7 C#m7 F#7 Bmaj7

f e l l iI

"iI iI

IiI iI

. . . . ,I I l I

iI I I iIj'

iI iI II I » I I I » i »

Bm7 E7 Amaj7 Am7 07 Dm7 G7, I 1,

.- ' l~l

iI

I l I,

iI

I,I II I» I' • • » »

G ) E7 A7,e l l I, ,

it . . I " l I . . 'I.. . y•

07 G7

,I,I I I 7·

~ ,I,I

.1 III » » y.

(k) Bm7 E7 Em7 A7

4 ( 3 1 1 l,

iI I I,I / I I • I

,11 I l l

, II,.i » • J •

, Am7 07 Dm7 G7,/ I If I 1

,iI

I I I I, ,

I ;' tilI I I » »

9.2 THE SONG COpy

100

Song copies are a useful source of standard material for the jazz pianist.

Unfortunately they often contain sequences which are substandard andmisleading. The reason for this is largely historical and stems from the TinPan Alley tradition of writing chords in simplified form for banjo players.Sequences will often be banal and frequently written without due regardto the proper roots of the chords. It is useful, therefore, to be aware of theanomalies which can occur.The jazz pianist can usually ignore the bass clef part of a song copy

for he will be able to add his own more appropriate voicings below themelody line once a correct chord sequence has been established.The following examples show some of the problems which can arise:

1. A chord is not identified by its correct root.

Example A

Fmaj7

4 J e 1 1 I

F dim.

1ft I

Gm7 C7

,. I I l l IIIr i ... y r I

should be:

A b dim.i Fmaj7

!~~I I I

Gm7 C7

I

I I r r » r » ' IIII I i



101

BS E C T /

Cm6 D7 Bbm6 C7

f~ I I I I

l I • • I I l l • • , l I II • • » » » • •

should be:

Am7(bS) 07 Gm7(bS) C7

, V -

I I I,- ' • • l I I • if I I I • • /I,

• » • » » • , »

The use of a minor sixth chord to precede a dominant seventh is quitecommon in song copies. Note that in the example shown, Cm6 is the firstinversion of Am? (~5) and B~m6 is the first inversion of Gm?(~5).

I~

Cm6 Am7(bS) Bbm6 Gm7(bS)

I I I I ~~I I I¥' ~i &&tr

This error often arises where there should be a cycle of fifths progression.The m6 chords are being used out of context for they are not functioningas tonic minors.

Example C

C

~ e " •

07 G

I

l =---t- /I I I 1I • , .,

r r » y.

should be:

07

I 4- I I I »_i I

This is similar to example B for Cmaj6 is the first inversion of Amin? Onceagain, the true progression in fifths has not been respected.

2. A prolonged chord over several bars can sometimes be improved bychanging the bass note.

Cm

'~hbBIIIII

Fm

.1 -, ·1

I •1,III. y. y. I . . »

Cm7/B Cm7/Bb Cm6/A Fm7/Abm9

, ~b"el l I I { I { _,' I l I I. .

II

I I



S E C T I O N f J

102

9.3 THE BLUES

Jazz, in all its various forms, has its origins in work songs, Negro spiritualsand the blues. In all but the most avante garde forms of jazz, there is stillevidence of the influence the blues has had on the music, although it isthe structure of the blues rather than the blues spirit which has pervadedthe modern jazz idiom.In the section on scales it was explained that the blues is characterised

by a flattening of the third, fifth and seventh of the major scale whilstretaining the major third and perfect fifth. Another important character of .the blues is its structure. A blues can be eight, twelve, sixteen, twenty ortwenty-four bars long, although it is the twelve-bar structure which is themost common and the one which will be considered here.

Twelve-Bar BluesIn its simplest form the twelve-bar blues contains only three chords andthe harmonic structure is as follows:

F(I)

~H11

I • II I

, ~B~(IV)• III I»

, ~C7(V)

I I

II

» ,

I .1 .1

y.

F(I)

1 I I I II • ,

F(I)

I I

lI

» • »

y. y.

•1

r ·

., .,I I. y.

In the fifth bar the movement to the subdominant can also be regardedas a modulation to another key a fourth from the tonic. This modulation

can also occur temporarily in the second bar:

F B~ F F7

@ ~5 I I I I I,l • ,I I l

,I , I I I I. » » I I I » i I' I

B~ F

f ~ I I • I -/ . II I

,-ii,

i » i • »

,C7 F

~ l • II . . I I

, ,I . , . I I» y. I •

If the sequence is played with seventh chords, the sevenths would haveto be flattened (minor sevenths) to retain the characteristic sound of theblues and the chords will be dominant sevenths posing as tonics.



, ~ F7 B~7 F7

8 E C T I O N f J1 1 1 I / 1 I"

1 I I I I 1 .1» » » » • ts

B~7 F7, ~1 • • • ./ I I • ,I ..• I I I I rs

C7 F7

, ~ • / l - , . I I 1 I -t · I I» »

Starting with this sequence it is possible to modify the harmonies to makethem more interesting and the harmonic devices already explained canbe used to do this. The following table shows progressive alterations tothe blues sequence including the conversion of the tonics to major seventhswhereby the blues becomes harmonically 'Europeanised', a device usedextensively by Be-Bop players.The final two bars of tonic chord can be replaced with a 'turnaround',

which will be discussed in the next section.Note that sequence No 8 is in the minor key.Note that for sequence Nos. 1, 2 and 3, bar 2 could be F~7 and for

sequence Nos 2 to 7 Cm7-F7 could be replaced by F.m7- B7

103



S E C T I O N f J

104

r-- r-- . . . . . . r-0 C i ' 0 C i '

0 C i ' 0 C i ' '-C)

. . . . . . r-- r- e s e s E' " ' " ' ' " ' " ' ' " ' " ' ' " ' " ' ' " ' " ' ' " ' " ' ' " ' " ' ' " ' " '

I:) . . . . . . r-- r-U U U ~. . . . . . 0-

r-- E. . . . . . r--

. . . . . .r- r-, E '-. . . . .

E r-- . . . . . .I:Q U o U o U +e U

r-. r-- r--_ _ _ . . . . . . . . . . . . . . ~0 0 0 VI

0- -"". . . . . . . . . . . . r-- r-- . . . . . . r-- '-. . . . . .

. . . . . . e E E E e E eu c _" o _ _ _ . . _ _ _ . .

~ c< - e - e

. . . . . . r--

r-. . . . . . . r-- r-.. . . . . . r--

0 0 0 00 . . . . . .

Q() 0

r-- r-- r--

e a

r-. E r--

r- E r-. . . . . . . E0 < . . . . . . - e . . . . . . -e _"< "-l<

. . . . . .r-, r-- . . . . . . j-, r-'-'l 0 "-l '-'l 0

r-r-. r-, . . . . . .E e '-C)

r-. r- r-- . . . . . . E E

' " ' " ' ' " ' " '< . . . . . . .

' " ' " '' " ' " 'I:Q -e

' " ' " 'r-, . . . . . ._ _ _ . . r- . . . . . . .

'-C)

S'-'l '-'l '-'l ~

o §0-

. . . . . . j-, . . . . .:a r- '-E E "0 a . . . . . .

= . . . . . .I:Q I:Q

. . . . . . . +

= I:Q U

r- r- r-VI 0 C i ' r-

0 O i j ' 0 C i ' 0 O i j ' ~. . . . . . r-. . . . . . . E

E E E E-" . . . . . . -"

. . . . . . . . . . . . . . . . . . . . . . . . . .I:Q I:Q

_ _ _ . .I:QI:Q I:Q

I:Q I :Q I:Q -..~

r-. r-- . . . . . . r- r-, . . . . . . '-

' " ' " ' ' " ' " ' ' " ' " '. . . . . .

' " ' " ' ' " ' " ' ' " ' " ' ' " ' " '-..r- . . . . . . r- . . . . . . r- VI

E e . . . . . .e r- E 8 '-'u e u u u . . . . . .

u Eu

r-- r--r-- o

~ o o'-C)

I"-r- r- . . . . . . r- e

r- r- e e e E' " " '" " ' ' " " ' ' " " '

- e 0 0 0 ,-..0-

S . . . . .r- '-

:a r- r- . . . . . .< < U

N - - < ,-.e VI

r-. r-._ _ _ . .

. . . . . ."

'-'-- -" . . . . . . r-- e-. . . . .I:Q

=r- E E e E

= e '-'l '-'l '-'lo o

r- r--= I:Q

r-- . . . . . .r-- '-C)0 O i j ' 0 C i ' . . . . . . e e-. E e--

' " " 'r-- e ~

' " " '" " ' ' " " ' - -" ' " ' ' " ' " ' ' " " ' ' " " '



1. Tunes beginning with a Ichord

Cmaj7 Am7 Dm7 G7 Cmaj7

(a)

4 * 'l ~ ~ ~

I~ , • •

I•

•• I

I l l• I

I (» » . . » i i

, » t » »

4 · ,Cmaj7 C~dim. Dm7 G7

I (Cmaj7

(b)I I I I I "

I I I I I, • • I

, ~ J,

• I I I • • I • i

Em7 E~7 A~maj7 DI>7 Cmaj7

(c) 4 e I ~ , I I • I I

l I • • I • I • I • I I (i • » • • , , » • »

F~m7(~5) B7(~9) Fm7 B~7 Em7 A7 Dm7 G7

I (Cmaj7

(d)

' 1 3

• I • • I ~ I ;I I I I • I' I l I I •• » • » I I I I

Gm7 C7 Fm7 B~7 Em7 A7 Dm7 G7 Cmaj7

(e) f f! J • • I I I ,I • • I • I

l • I / • • • I (» » I • • • » • , »

Cmaj7 U7 Dm7 G7

, I 'GpedaI

I (Cmaj7

(f),,,I I I

,7 • I I ,I ,I I I ,,i » i » • I • • I »

Cmaj7 Dm7 Em7 E~7 Dm7 G7 Cmaj7

(g) 4 ( ' I I, • I

,,,,I I • ~ • I I

,I I I (» » I I » » » » » » I

2. Tunes beginning with a II chord or II 7 chord

4 · ,Cmaj7 Dm7 Em7 A7 Dm7

(a) • . . I l I if

,, • I l I I I I I • , . . I (• I I » i

Cmaj7 B7 B~7 A7 Dm7

(b) 4f!~ ~ , I

I,I , ' I I / / i' I it

,, I I (, , • » i » - »105

9.4 INTRODUCTIONS AND

TURNAROUNDS

Introductions and turnarounds are harmonic patterns which lead into theinitial chord of a tune and it is the nature of this chord which determinesthe type of harmonic pattern which will be suitable.

IntroductionsIntroductions can vary in length depending on the player's wishes. For thesake of example, I have assumed an introduction of four bars and illustratedsome of the possibilities according to the type of chord at the beginningof the tune. Examples are given in the key of C major and should betransposed to all other keys.

8 E C T I O N f J



S E C n O I V f )

106

Fm7 B~7

(c) tv I I I , , , 'I' ,r y ':'»

Cmaj7 C'dim. ( Dm7

, ,I' , , 'I·.:rr. i =Em7 A7 Om7 G7

3. Tunes beginning with a bV7(~5) chord(as for tunes beginning with a I chord)

4. Tunes beginning with a V I chord

' ( ~Fm7 B~7 Em7 A7 Om7 G7 Cmaj7/m;(~5)IEi(

Am7

I~ ~

l 1,/ I 11

1• • • •

1,

t • » ,I » » • •

TurnaroundsA turnaround serves as an harmonic bridge between choruses of a tuneor between repeated sections. The chords used can be the same as thoseused for introductions but a turnaround will generally be only one or twobars in length. In the following examples the turnaround is intended to

replace two bars of a tonic (1)chord at the end of each section or chorus.

1. Tunes beginning with a Ichord

Cmaj7 Am7 Dm7 G7 Cmaj7 E~7 A~maj7 O~7

(a) 4 e • • l • I • l • 11

I I (d) 4 ( ' • I I I • I I / I II I I I I » »

Cmaj7 C#dim. Om7 G7 Cmaj7/G E~7/G Dm7/G G7

(b) & e / • • • I I I (,I I (e). f ( ~ l I' • I I • ,"

, • I I» » • . . , • •t)

Em7 A7 Dm7 G7 Cmaj7 Dm7Em7 d7 Dm7 G7

(c)

4 e l11 , • 1 1 11 / / I I (f) f B I / I ,I • ," •

11

I I» I » , I i • ,

2 . Tunes beginning with a IIchord or 117chord

' ( ~Cmaj7 Dm7 Em7 A7

4 0F#m7 B7 Em7 A7

(a) .' l11 • l • • • I I (b)

,I, ,

I,

11,

I I II I » » » • i » , • "

. '

Cmaj7 B7 B~7 A7

' 1 3

Cmaj Dm7 Em7 E~7

(c) • • • • I • • . . I I (d) . ' 11,

11

I 11 I 1 1 1 1

I I» » , , » » I » • I •

3. Tunes beginning with a bVm7(bS) chord

(as for tunes beginning with a I chord)

4. Tunes beginning with a V I chord.

Cmaj7

4 1 1 I I » I

Bm7(~S) E7

I I I I I I ·



An additional type of turnaround is one which resolves within the two barsat the end of a section or at the end of a tune.

can be played:

Cmaj7

4 * ',

,- ',

I -t . I I•

Cmaj7 Fm7 Cmaj7

, . , I , I , .,I I» zs

Cmaj7 Fm7 B~7 Cmaj7

~(1 I , , I I.~

I I» ri

IVm7 WII7 I

or:

9.5 SOLO PIANO BASS LINES

It is useful for the jazz pianist to be able to playa walking bass lineaccompaniment in the left hand. Bass lines can be:

(a) chordal(b) scalar(c) chromatic(d) any combination of (a), (b) and (c).

The first priority is to outline a harmonic progression or tonality by playingchord tones-roots, thirds, fifths, sevenths, on the first and third beats ofthe bar. The notes on the second and fourth beats can be:

(i) chord tones(ii) non-chord tones derived from the related scale(iii) non-chord chromatic tones.

Each of these possibilities is demonstrated in the following examples whichare based on the harmonic progression II-V (minor seventh to dominantseventh). It is important to apply these principles to other chord sequencesin all keys.

Example 1 Using roots and fifths

IIR 5 R 5

R 5 R 5

V

5 R 5 RR 5 R 5r

C(m7) F(7) B~(m7) b E~(7)

I " J j J J 1 J J J F I I , J r F r 1&p J W J 1

8 E C T I O N f J

107



S E C T I O N f J

108

Example 2 Introducing the 'third' in the V chord

II

R 5 R 5V5 R 3 5

Dm7 G(7) C(m7) F(7)

1 2 : o J J J J I o J J O l J I J O J 4 O J I J J J J I

Example 3 Introducing the 'third' in the II chord

II

R 5 R 3

VR 5 3 R

B(m7) E7 A{m7) D7

1 2 : J # 3 J o J I r O J M O l J I J J J J I o J J # 3 J I

Example 4 Introducing the 'seventh' in the V chord

II

R 5 R 3

VR 753

Fm7 B~7 E~m7 A~7

f 2 ' J J r ' r I ' r 'F r F Id . J O r 'E I ' r I . E I ' F J I

Example 5 Introducingnon-chordtonesderivedfromthe relatedseale.

II

R 935

or R 9 3 5

VR 9 3 5

R 7 13 5

Dm7 G7 Cm7 F7

If1 J J J J I J J J J I J J b r r 1 r b r F J I

Example 6 Introducing non-chord chromatic tones

II

R 9 ~3 3

VR 3 5 ~5

F7 B~m7 Eb7 b

I : > : J Jd q J 1 J J J J I & J J ~ r m r 1 & r F r r I

Cm7



8 E C T Iote that in Example 6, the E natural in the first bar is the 'seventh' ofan F#7chord passing to F7, and likewise the B natural in the second baris the root of a B7 chord passing to B~m7. The same principles apply tobars three and four.The bass line in this example is therefore implying the following chord

sequence:

F#7/E F7

•h4 •••r = = - = : : ± r i •

B7 B~m7 E7/0 E~7

~1/:7.» III I I • I I,

The different approaches outlined in the above examples can be used invarious combinations. This will be found necessary to keep the lines withinthe bass register of the piano and it will help to overcome difficulties offingering in some keys.The rhythmic pattern of a walking line can also be altered to introduce

more variety. In addition to the tour-crotchet pattern used in the foregoingexamples, bass players often use two a.~ditional rhythmiC devices. Theseare: the dotted quaver and the quaver triplet.In the next and final example of a bass line I have incorporated rhythmic

variation with all the devices used in the previous examples and I havecontinued the line over a recurring II - V pattern in which the roots movein a cycle of fifths progression.

Bm7 E7 Am7 07

1 2 : i # a j r I r 3 # 1 # 3 J I J . O J J # J I J ~ < l ' # 3 I

E~m7 A~7 0~m7 G~7

I ': iJ a > 3 1 3 IJ ~J J I 'F I~fllJ & J J Id d ~J J I

8m7 E7 Am7 D7

1 2 : J . hJ 0 1 . 0 1 I r r . J O J I J J J J I J J o J # 3 I

Fm7 B~7

r b E I t!J J r ~ r b e ~ r r r I

Gm7 C7

I t ) : j J ~j jI J r

C#m7 F#

r I r ~ J ;J J I n J . J J I

E~m7 A~7

I~ . I j j I " r I l r ~ r

Bass lines should of necessity be practised until they become automatic.When this stage of fluency is reached they can be used to complementthe right hand. 109



S E C n O N f J

110

9.6 MODERN STRIDE

The term 'stride' refers to a piano style in which the left hand plays anaccompaniment comprising alternate bass notes and chords.This style was prevalent in the late thirties at which time its exponents

would play chord voicings comprising basic chord tones.

Example 1

1 ! 1 : j r J , I r - 1 Jq r

C A7 D7 G7

I f1 J f J~

I r · f w~ , I I

C A7 07 G7

The style can be adapted to the modern idiom using voicings and harmonicsubstitutions discussed in earlier sections and this is useful in solo pianowork. The example shown above could then be re-worked as follows:

Example 2

1 9 : j f J ~~i9 'i J ·jtCmaj7 A7aug(#9) D7(9) G7aug(#9)

1 9 : J 1 6 \ ~ ,d I lf S ' l f i I I

E ~ P A~maj713

D~7

The bass note can be played on either the strong or weak beat giving scopefor variety.In its simplest form the pattern would be:

I Ibass-chord bass-chord

I Ibass-chord bass-chord

I I2 3 4 1 2 3 4

But it could be played as:

I Ibass-chord chord-bass

"

bass-chord chord-bass

"

1 2 3 4 1 2 3 4

or any other combination.



Example 3 S E C T I O N f JCH CH

~ dB B CH

B

1 ~t h~ 0 ~i. 1 :1

~ ..,

E7(~9) E~7(9)13 13

Cmaj7 Ab7 9 G 7 (b9)

cn B B CH b cn B qCH

b iB

' 9 :i j ~ , g ,~l ! 1 ' = d ~~ I I9 13 13

C6 E~7 9 Abmaj7 G7 9

The technical difficulty associated with this style can be overcome bypractising the left hand alone at the outset; adding the right hand later.Chord sequences inAppendix A could be used for this purpose and theyshould be practised slowly at first until accuracy is assured.

111



1 0 . A P P E N D I C E SAPPENDIX A·CHORD STUDY PATTERNS

The following chord study patterns are useful for practising chord voicings.

They will also serve as ear-training and chord sight-reading exercises.The patterns are based on the cycle of fifths, chromatic sequences and

other harmonic devices discussed in the preceding pages and arerepresentative of chord charts which the jazz pianist will frequentlyencounter.Each pattern should be played in as many ways as possible, exploring

the different voicings which can be used and investigating the alterationswhich can be applied to each chord.The patterns contained in the following pages are as follows:

1 [IIHIIl Descending by fifths

2 [VHVl Descending by fifths

3 [IHIl Descending by fifths

4a [II-V-IHII-V-Il Descending by tones 1st series

4b [ 1 1 - V-IHII- V-II Descending by tones 2nd series

5a [IIm7~5-V7~9-Iml- Descending by tones 1st series

5b [IIm7~5-V7~9-Iml- Descending by tones 2nd series

6a [II-VHII-Vl Descending by tones 1st series

6b [II-VHII-Vl Descending by tones 2nd series

7a [II-~II7HII-b117l Descending by tones 1st series

7b [II-b117HII-b117l Descending by tones 2nd series

8 [ 1 1 - VHII- Vl Descending by semitones

9a [ 1 1 - VHII- Vl Ascending by tones 1st series

9b [II-VHII-VJ Ascending by tones 2nd series

10a [Ilm7~5-V7~9l- Descending by tones 1st series10b [IIm7~5-V7~9l- Descending by tones 2nd series

11 [IIm7~5-V7~9l- Descending by semitones

12a [Ilm7~5-V7~9l- Ascending by tones 1st series

12b [IIm7~5-V7~9l- Ascending by tones 2nd series

13 [1-mIH VlmajHII7 IntroductionlTurnaround

14a [I-IVm7/WII7-Il Turnaround 1st series

14b [1-IVm7/~VII7-ll Turnaround 2nd series

14c [I-IVm7/WII7-Il Turnaround 3rd series

15 [I-Hdim-II-mdim- Descending by fifthsI -Vm7-17l-III bass



1. [1IJ·[lI] descending by fifthsS E C T / O N t O

I I : Cm7 I I I I Fm7 I I I I B ~ m 7 I I I I E ~ m 7 I I I I

I A ~ m 7 I I ' I C'm7I I I I F'm7 I I I I B m 7 I I I

I

I Em7 I I ' I Am7I I I I Om7 I I I I G m 7 I I

I : 1 1

2 . [V].[V] descending by fifths

I I : C7 I I I I F7 I I I I B ~ 7 I I I I E ~ 7 I I I I

I A ~ 7 I I I I 0 ~ 7 I I I I G ~ 7 I I I I B7 I I I

II E7 I I II A7 I I I I 07 I I I I G7 I I I : 1 1

3. [I].[I] descending by fifths

: Cmaj7 I I I Fmaj7 I I I B ~ m a j 7 I I I E ~ m a j 7 I I I

A ~ m a j 7 I I I 0 ~ m a j 7 I I I G ~ m a j 7 I I I Bmaj7 I I I

Emaj7 I I I Amaj7 I I I Omaj7 I I I Gmaj7 I I I :

113



4(a). [ 1 1 - \ 7 - 1 1 - [ 1 1 - \ 7 - 1 1 descending by tones

I I : Om7 , , , I G7 , , , I Cmaj7 , , ,I

. , .I

I Cm7, , , I F7

, , , I B~maj7 , , ,I

. , .I

I B~m7 , , , I E~7 , , , I A~maj7 , , ,

I · ' 0 I

I A~m7, , , I 0~7 I I I I G~maj7 I I ,

I·1 .

I

I F.m7 I I II B7, I .

I I Emaj7 , I ,I

. , .I

I Em7 I I 'I A7 I , I I Omaj7 I , ,I

't. : 1 1

114

4(b).I I : C.m7 I , I I Fn , I , I Bmaj7 I I , . , .I

I Bm7 I , , I E7 I I I I Amaj7 I , , . , .I

IAm7, ,

'I 07

I I

II

Gmaj7 I I I 0 , .

II Gm7, ,

' I C7, I I I Fmaj7 , I , . , .

I

I Fm7, , , I B~7 I , , I E~maj7 , , , . , .

I

I E~m7, , , I A~7 I , , I D~maj7 , I , . , .

: 1 1

. . . . . . . . . .



5(a). [IIm7(j,5)- V7(j,9)-Im~7] descending by tonesS E C T / O N t O

I I : Om7(j,5) III I G7(j,9) I I I I Cm~7 I I I I. , .

I Cm7(j,5) I I I I F7(j,9) I I I I 8j,mQ7 I I II

't.I

1 Bj,m7(j,5) I I I I , Eb7(j,9) I I I I Aj,m~7 I I II . , . I

I Abm7(j,5) I I I I Ob7(b9) I I ' I Gbmq7 I I II

. , .I

I F'm7(b5) I I I I 87(b9) I I

' IEm~7 I I I I

. , .I

I Em7(j,5) I I I I A7(b9) I I I I Dm~7 I I I I. , .

: 1 1

5(b).

I I : C.m7(b5)1I1F'7(b9) I I I I Bmq7 I I I I. , .

I

I Bm7(b5) I I I I E7(j,9) I I I I Amq7 I I I I. , .

I

I Am7fj,5) I I I I 07(b9) I I

' IGm~7 I I

I I. , .

I

I Gm7(b5) I I I I C7(j,9) I I

' IFmQ7 I I I I 't.

I

I Fm7(b5) I I I I 8b7(b9) I I ' I Ebmq7 I I II

. , .I

LEbm7(j,5) I I I I Aj,7(b9) I I , I Dj,m~7 I I II

. , .: 1 1

115



S E C T I O N I O

116

8(.). [ll-v]-[n- V] descending by tones

: Dm7 / G7 / Cm7 / F7 / B~m7 / E~7 / A~m7 / O~7 /

I F'm7 / B7 / I Em7 / A7 t : I I

6(b).

I I : C'm7/ Fir / I Bm7 / E7 I I Am7 / 07 / I Gm7 / C7 /

I Fm7 / B~7 / I E~m7 /A~7/ : I I

7(a). [II-m7]-[II-~n7] descending by tones

: Dm7 / D~7/ Cm7 / B7 / B~m7 / A7 / A~m7 / G7 /

I G~m7 / F7 / I Em7 / E~7 t : I I

7(b).

: C'm7 / C7 / Bm7 / B~7 / Am7 J A~7 / Gm7 / G~7 /

I Fm7 / E7 / I E~m7/ 07 t : I I

8. [II-V]-[II-V] descending by semitones

I I : Om7 / G7 / I C_m7 / F_7 / I Cm7 / F7 / I Bm7 / E7 /

I B~m7 / Eb7 / I Am7 / 07 / I A~m7 / 0~7 / I Gm7 / C7 /

F'm7 / B7 / Fm7 / Bb7 / Em7 I A7 / Ebm7/ Ab7/ :



9(a). U I- v i - m - V] ascending by tones

: Dm7 I G7 I Em7 I A7 I F.m7 I B7 I A~m7 I 0~7 I

I B~m7 I E~7 I I Cm7 I F7 I: I I

9(b).

: C.m7 I F.7 I E~m7 I A~7 I Fm7 I Bb7 I Gm7 I C7 I

I Am7 I 07 I I Bm7 I E7 I: I I

10(a). [llm7(b5)-V7(~9)]-[llm7(b5)-V7(~9)] descending by tones

: Dm 7 (~ 5 )/ G 7( ~9 )/ C m 7 ( ~ 5 ) I F 7 ( ~ 9 ) I B ~ m 7 ( b 5 ) I E ~ 7 ( b 9 ) I A ~ m 7 ( b 5 ) I D b 7 ( b 9 ) I

F ' m 7 ( b 5 ) I B 7 ( b 9 ) J E m 7 ( b 5 ) J A 7 ( ~ 9 ) I :

10(b).

: C 'm 7 ( b 5 ) / F '7 (b 9 ) / B m 7 ( b 9 ) I E 7 ( b 9 ) / A m 7 ( b 5 ) / D 7 ( b 9 ) I G m 7 ( b 5 ) I C 7 ( b 9 ) I

F m 7 ( b 5 ) I B b 7 ( b 9 ) J E b m 7 ( b 5 ) / A b 7 ( b 9 ) / :

[llm7(~5)-bll7(.11)]-[llm7(b5)-bll7(.11)] descending by tones

: D m 7 ( b S )/D b 7 ( '1 1 ) 1 C m 7 ( b S ) / B 7 ( 1 1 1 ) I B b m 7 ( b S ) I A 7 ( 1 1 1 ) I A b m 7 ( b S ) I G 7 ( 1 1 1 ) I

F 'm 7 ( b S ) / F 7 ( I 1 1 ) I E m 7 b S I E b 7 (1 1 1 ) / :

: C l m 7 ( b5 ) /C 7 ( 1 1 1 ) 1 B m 7 ( b S ) I B b 7 ( 1 1 1 ) I A m 7 ( b 5 ) I A b7 ( 1 1 1 ) / G m 7 ( b S ) / G b 7 ( f 1 1 ) /

F m 7 ( b 5 ) I E 7 ( U 1 ) / E b m 7 ( b S ) /D 7 ( 1 1 1 )/ :

S E C T I O N I O

117



13. [I·~m7 ·HImaJ7 -~II7] introduction/turnaround

: Cma)7 I Eb7 I AbmaJ7/0b71 : : GbmaJ7I A7 I OmaJ7 I G7 I :

: FmaJ7 I Ab7 I ObmaJ7/Gb7/: : Bmai7 I 07 I Gmai7 I C7 I :

: BbmaJ71Ob7I GbmaJ7/ B7 / : : Emaj7 / G7 / CmaJ7 I F7 / :

: Ebmaj7/ Gb7 I Bmaj7/ E7/ : : Amaj7/ C7 / Fmaj7 / Bb7 / :

: Abmai7 / B7 I Emai7/ A7 / : : Omaj7 I F7 / Bbmaj7/ Eb7 / :

118: mmaj7 / E7 / Amaj7 I 07/ : : Gmaj7/ Bb7 I Ebmaj7 I Ab7 I :

S E c n O N I O11. [Ilm7{~5)-V7{~9)J-[IIm7{~5)-V7{~9)] descending by semitones

: Dm7 ( ~ 5) /G7 ( ~9 )1 C 'm7 (~5 ) I F '7 (b9) I Cm7(b5 ) I F7(~9) I Bm7(~5 ) I E7(~9) I

B~m7(~5 ) I E~7(~9)I Am7(b5) I D7(~9 ) I A~m7(~5 )I m 7(b9 )/ Gm 7 (b5 ) I C7(~9 ) I

F 'm7(~5) I B7 (~9 ) I Fm7(~5 ) I B~7 (~9 )I Em7( ~5 )' A7 (~ 9 ) I E~m7(~5 ) A~7 (~9 ) :

12(a). [lIm7{~5)-V7(~9)J-[IIm7(~5)-V7(~9)] ascending by tones

: Dm7 ( ~ 5) 'G7 ( ~ 9) 1 Em7(~5 ) I A7(b9) I F .m7 (~5 ) I B7 (~9 ) I A~m7(~9 )I m7(b9 ) I

Bbm7(b5 ) I Eb7(b9)I Cm7 ( b 5 )' F 7 (b 9 )I:

12{b).

: C .m 7 (b 5) I F ' 7 ( b 9 ) I E b m 7 ( ~ S ) I A b 7 ( b 9 ) I F m 7 ( b S ) I B b 7 ( b 9 ) I G m 7 ( b 5 ) I C 7 ( b 9 ) I

I A m 7 ~ S ) D 7 (b 9 ) I I B m 7 ( b 5 ) I E 7 ( b 9 ) I: I I



14(a). [I-IVm7bVII7-IJ turnaround

: Cmaj7 / / / Fm7 / Bb7 / Cmaj7 / / / Fm7/ Bb7 / :

: Ebmaj7 / / / Abm7 / m7 / Ebmaj7 / / / Abm7/ Ob7/ :

: Gbmaj7 / / / Bm7 / E7 / Gbmaj7 / / / Bm7 / E7 / :

: Amaj7 / / / Om7 / G7 / Amaj7 / / / Om7 / G7 / :

14(b).

: Obmaj7 / / / F.m7 / B7 / Obmaj7 / / / F.m7 / B7 / :

: Emaj7 / / / Am7 / 07 / Emaj7 / / / Am7 / 07 /

: Gmaj7 / / / Cm7 / F7 / Gmaj7 / / / Cm7 / F7 / :

: Bbmaj7 / / / Ebm7 / Ab7 / Bbmaj7 / / / Ebm7/ Ab7/ :

14(c).

: Omaj7 / / / Gm7 / C7 / Omaj7 / / / Gm7 / C7 / :

: Fmaj7 / / / Bbm7 / Eb7 / Fmaj7 / / / Bbm7/ Eb7/ :

: Abmaj7 / / / C.m7 / F#7 / Abmaj7 / / / C.m7/ F.7 / :

: Bmaj7 / / / Em7 / A7 / Bmaj7 / / / Em7 / A7 / :

S E C T / O N t O

119



120



APPENDIX B

COMPENDIUM OF SCALES

1 Major Scale

2 Harmonic Minor Scale

3 Ascending Melodic Minor

4 Descending Melodic Minor

5 Whole-Tone Scale

6 Chromatic Scale (ascending)

7 Diminished Scale

8 Auxiliary (Inverted) Diminished Scale

9 Altered Scale

10 Auxiliary (Inverted) Altered Scale

11 Ionian Mode

12 Dorian Mode

13 Phrygian Mode

14 Lydian Mode15 Augmented Lydian Mode

16 Mixolydian Mode

17 Mixolydian (Flat 9) Mode

18 Aeolian Mode

19 Locrian Mode

20 Spanish Phrygian Mode

21 Hungarian Mode

22 Hungarian Folk (Gypsy) Mode

23 Spanish Folk Mode

24 Exotic Mode 1

25 Exotic Mode 2

26 Pentatonic Scale27 Blues Scale

8 E C T I O N I O

121



S E C T / O l i O

122

1

2 .

M A J O R S C A L E

c 0 E F G A B C

F G A B ~ C 0 E F

B O C 0 E ~ F G A. B ~

E~ F G A P B PC

0 E P

A P B P C D~ E ~ F G A ~

o P E P F G ~ A P B ~ < C D ~

G ~ A P B P C o D O E P F G O

B d D ~ E ' F ~ G ~ A ~ B

E F R G R A B C R D R E

A B C ~ 0 E F ~ G ~ A

0 E F R G A B C R 0

G A B C 0 E F R G

H A R M O N I C M I N O R S C A L E < I

C 0 E O F G A ~ B C

F G A P a ~ C D D E F

a o C D ~ E O F G ~ A B ~

E b e F G O A ~ B O C ~ D E \?

A D B ~ C ~ D P E P F D G A P

D ~ E P F D G D A ~ B~ C D D

G O A i' s P o C b D b E D ~ F G ~

B C # D E F R G A R aE F ~ G A B C D ~ E

A B C 0 E F G ~ A

0 E F G A B D d D

G A s \ ? C D E O F R G

3 A S C E N D I N G M E L O D I C M I N O R 1

C 0 E O F G A a C

F G A ~ B ~ C 0 E F

B D C O ~ < E D F G A B D

E P F G D A D a D C 0 E ~

A O B O C O D O E D F G A D

D b E D F O G ~ A P B D C d o

F # G ~ A B C ~ D ~ E # F ~

B C # 0 E F # G # ~ a

E ~ G A B C ~ 0 # E

A B C 0 E F # G ~ A

0 E F G A a C ~ 0

G A S O C 0 E F it G

4

5

I D E S C EN D IN G M EL O DI C M I N OR I

C 0 E~ F G A P B D C

F G p P ~ C D o E P F

B ~ C D b E P F G O M Y < B ~

E b F G P A ~ B~ C ~ D b E D

A D a D C D O D E D F D G D A D

D b E D F P G O A b B p b c b D D

F # G $ i A a c $ i 0 E F l

a C # D E F # G A B

E F # G A a C 0 E

A B C 0 E < F G A

0 E F G A So C D

G A a o c 0 E O F G

W H O L E T O N E S C A L E

c 0 E F # G ~ A ~ C /

F G A B C ~ 0 ~ F /

a C l c 0 E F f G~ A # /

E ~ F G A B c# D ~ /

A D B O C 0 E F # G # /

D D < E D F G A S ~ # /

GO A D B ~ C 0 E F # /

B C ~ D~ F G A B /E F # G # A # fJ C o c o x /A B C # D $ i E $ i F X G X /

0 E F # G# A # B # e x /

G A a c # 0 # E # f X I

X D OUB LE S HARP



6

7

I C HROMATIC SCALE (ASCEND ING ) I

C I C ~ I D D ~ I E F I F ~ G I G ~ A I AB CF ~ ' 1 re 61~ A~~ ~ 'c Jell. (J J o . ) ~ F

A~ B C C ~ D D ~ E F F# G G # A A~

D ~ E F F~ G G ~ A A~ B C C ~ D D ~

G# A ~ B C C~ D D~ E F' F G G #

C # D . D ~ ' E F F # G G ~ A A~ B C C #

FJ G G~ A ~ B C C~ D D~ E F F#

B c C~ D D~ E F F~ G' G# A A~ B

E F F#.G G# A .A# B C C# D D~ E

A ~ B C C # D D~ E F F~ G G~ A

D D ~ E F F# G G # A A# B C C ~ D

G G # A A# B C C # D D ~ E F F# G

NOTE THAT THE AS CEND ING SC ALE IS WRlm N W ITH SHARPST HE D ES C EN DIN G C HR OM AT IC S C AL E IS W RIT TE N W IT HF LATS B UT IS EN HAR MO NIC ALLY TH E S AM E AS THEA SC E ND IN G S C AL E

D IM IN IS HED S CALE

C D E~ F G ~ G ~ A B C

F G . t > P B ~ B C ~ D E F

BI: r C D ~ E~ E F~ G A B ~

E" F G ~ A~ A B C D E~

A~ B ~ C~ D ~ D E F G MDI: r E~ FI : r G ~ G A BI: r C DI: r

F # G $ f A B C D E" F F #

B c~ D E F G A~ B ~ BE F# G A B ~ C DI: r E~ E

A B C D EP F F # G # A

D E F G M B :' B C # D

G A BI: r C C ~ D ~ E F~ G

9 L ALT ER ED S C ALE----.:__ __ --

C D ~ D # E F# A~ B ~ C

F G " G # A B D I:r E ~ F

BI: r C l : r C # D E G ~ AO B I:r

E~ F I:r F G A C o D I:r EO

A~ BOO BC D E F # AO

D b El:r l l E F GAB D O

G b AI:r I:r A BO C D E GO

B C e x D # F G AB

E F fXG #A#C DE

A BO B# C~ D # F G A

D EP ~ F# G # A# C D

G All A # B C # D # E# G

8 IAUXILIARY (INVERTED ) D IM IN ISHED SC ALE I 10I AUXIL IARY (INVER1ED ) ALTERED S CALE I

C D O EO E F# G A BO C

F G o Ab A B C "1) EO F

BP C ~ D b D E F G M BOEO Fb c;b G A B~ C D ll Eb

AO A B C D Eb F G P AP

D ~ D E F G AP BO B D b

G~ G A BO C D b EO E G o

B C D EO F F# G # A B

E F G A~ B I:r B C # D E

A sb C C# D # E F# G A

D EP F G G ~ A B C D

G A P B b B C # D E F G

T HIS S C AL E IS A LS O D ES C RIB ED A S L YD IA N/M IX OL YD IA N 123

C D E F# G A BO C

F G A B C D El J F

SP C D E F G A b BOEl l F G A sb C [ J ! J E~

AO BO C D EO F GO AO

D O EI:r F G AP BP C o D O

GO A P B b C D O E o FO G ~

B C # D o ~ E F # G $ A B

E F ~ G ~ A ~ B C $ D E

A B C~ D ~ E F~ G A

D E F$ G ~ A B C D

G A B C It D E F G

8 E c n O N 1



8 E C T I O N I O

124

11

12

1 3

IO NIAN M OD E

C 0 E F G A B C

F G A BP C D E F

BP C 0 EP F G A BP

EP F G AP BP C D E"

AP B ~ C D ~ E" F G APDP EP F G P A" BP C D ~

GP AP BP CP o P EP F G P

a C ~ D _! E F # G ! A# B

E F~ G ~ A B C # 0# E

A B C # 0 E F~ G # A

D E ~# G A B C ~ D

G A B C 0 E F # G

D ORIAN M OD E

C 0 EP F G A BP C

F G AP BP C 0 EP F

a p C D P EP F G A~ s l?

EP F GP' AP B p C DP ED

AP aD CD D P E" F G " A PDD E" FD G D AP BD CD D P

G P # B pb C P DP Eb FP G "

B C # 0 E F t G # A a

E F~ G A B C # D EA B C D E F# G A

D E F G A B C D

G A BP Cl.P E F G

P HR YG IAN MOD E

14

1 5

1 6

LY DIAN MOD E

C 0 E F! GAB C

F GAB C D E F

B~ C D E F GAB

E" F G AB " C D E~

AP SP C D EP F G APDP EP F G A~ BD C D~

F # G # A # B ~ C# 0# e # F #

B C # D~ E~ F#G ~A# B

E F_ G~ A~ B C$Io D# E

A B C~ D~ E F# G~ A

o E F# G ~ ABC ~ . D

GAB C#.D e F $ G

AUG MENTED LYD IAN M OD E

M IXO LYD IAN M OD E

C 0 E F G A BD C

F G A ap C 0 EP F

B ~ C D EP F G AD a pEP F G .AP B ~ C o ? E PAP BP C DP EP F G P AP

DD E P F G D AP a " CP D"

G P AD aD CP O P E " FP G P

B C # 0~ E ~ G # A B

E F # G l~ A B C # D TA B C ~ 0 E F # G A

0 EF _

G A B· C 0

G A B C 0 E F G



1 7

1 8

1 9

M IX OL YD IA N ( FL A T 9 ) M O D E I 20

C 0 E F G A a D C

F G A a ~ C D E D F

a p C D 0 E D F G M a ~

E D ' F D G N a C D~ E ~

A ~ s"~ C ~ E ~ F G P A P

O ~ E P P F · G D A ~ a D C D O D

G ~ A D D a D C ~ D P E t ; F P G P

a C ~ E F ~ G # A a

E F ~~ A a C # 0 -E

A a p C ~ 0 E F # G A

0 E P F~ G A a C 0

· G A ~ a C 0 E F G

A E OL IA N M O DE

C D E o F G A ' r J a o C

F G A P a D c O D E ~ F

a p C 0" E D F G D A D a D

E " F G " A D a p C D D P E D~. a D C P O D E O F P G P A P

O ' r J E D F P G P A P a p p C ~ D b

G ~ A ~ a i J P C D D D e D ~ F D G D

B c # D E F ~ G A B

E F # G A B C D E

A B C 0 E F G A

0 E F G A a D C 0

G A a p C D E P F G

L O CR IA N M O DE

S P A N I S H P H R Y G I A N M O D E I

C D ~ E P E F G A P B ~ C

F G P A I ' A B D C rP E D F

a D C D D b 0 E D F G b A b a "

E ~ F " G b G A D a " C o O D E DA O A a C rP E D F b G D l i P

D b 0 E F G P A D B P ' r J o D P

G D G A a D C D [Y E D " F ~ G D

a C 0 E O F" G P G A a

E F G A P A a C D E

A a D C D P D E F G A

D E ~ F G P G A B D C 0

G A P B D B C 0 E D F G

21 H U N G A R I A N M O D E

C 0 E~ F ~ G A D B C

F G A ' r J a C D P E F

a p C O P E F G D A a l : 1

e b F G P A a D C D D E D

A D a " C D 0 E " fb G A ' r J ·

D b E P F P G A D a ' r J DC D D

G ' r J A D a t l \ )C [)? E D D F G P

a c l_ 0 E ! F ! G A ~ a

E F# G A ~ a c 0~ E

A a C 0# s F G ~ A

0 E F G J A a D cl 0

G A B D C ~ 0 e i) F ~ G

22 I H U N G A R I A N F O L K ( G Y P S Y ) M O D E l

8 E C n O N . l O

125



8 E c n O N I O

126

2 3

24

25

SPANISH FOLK MODE

C D b E F G A~ B ~ C

F m A B b C D b Eb F

B b Cb D Eb F G .b Ab B b

Eb H G Ab B b C b Db Eb

Ab B bb C D b Eb F b m Ab

Db Eb b F G . b Ab B bb m D b

m Ab b B b C ~ D b Eb b F b G .b

B C m E - F ~ G A B

E F m A B C D E

A B b C ~ D E F G A

D Eb F . G A B b C D

G Ab B C D Eb F G

EXOTIC MODE 1

C Db E F F ~ G# A B C

F G .b A B b B C - D E F

B b C b D Eb E F f G A B b

Eb F b G Ab A B C D Eb

Ab B bb C Db D E F G Ab

D b Ebb F G .b G A B b C D b

m Abb B b C b C D Eb F G .b

B C Eb F b F G Ab B b B

E F m A B b C Db Eb E

A B b C~ D Eb F G b Ab A

D Eb F~ G Ab B b C b D b D

G Ab B C D b Eb F b m G

EXOTIC MODE 2

. v . "

2 6

27

P EN TAT ON IC S C ALE]

C D E G A C I

F G A C D F IBD C D F G BD !ED , F G BD C ED I

A[ , B " C ED F AD ID D E O F AD BD DD /

GD AD BD DD ED G D /

B C # D # F# G # B /

E F~ G~ B C # E /

A B C # E F# A /

D E F# A B D /

G A B D E G /

B LUES S CALE

C D Eo E F G D G

F G AO ABo CD , C

BP C D O D ED FO F

EO F G O G AO BDD B I1

AP 8 D CD C O D E P D ED

, D P ED c FP F G D ADD AD

GO AD sOD BD C O O D D O ~

B C~ D D~. E F F~

E F# G G # A BD B

ABC C # D ED E

D E F F# G AD ABC

G ASPB CDD D

modern jazz piano-a study in harmony and improvisation-brian waite (3-3)[1]

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