piano theory

7/29/2019 Piano Theory

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Theory1

FromFundamentalsofJazzImprovisation:

WhatEverybodyThinksYouAlreadyKnow

Dr.MarkWatkins

DirectorofJazzStudies

BrighamYoungUniversityIdaho

2010byMarkWatkins

Materialshereinareprovidedforpersonaluse.Nopartmaybereproducedwithoutwrittenpermissionfromtheauthor.


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JazzTheory

Thistextisdesignedforstudentswhohavehadatleastoneyearofcollegelevelmusictheoryand

eartraining.Principlesuniquetoorofmoreemphasisinjazzareexpoundedupon.Topics

include:

PartI

ModesoftheMajorScale

Major

Dorian

DominantIntervals

ChromaticismTheiiV7Iprogression

Piano:

MajorVoicingMinorVoicing

DominantVoicing

iiV7IVoicing1,2,3BluesVoicing1,2

Tune:StudentChoice

Worksheets:

Major:Scale,Arpeggio,Chord,Pattern

Minor:Scale,Arpeggio,Chord,PatternDominant:Scale,Arpeggio,Chord,Pattern

IntervalsChordSymbolChart

Chormaticism:DominantBebop,MinorBebop,MajorBebop,PickupandPassingNotes,

DiatonicEnclosure,ChromaticEnclosure,InclusivePattern

iiV7I:VoicingI,VoicingII,OneMeasurePattern,TwoMeasurePattern

Theorycoveredinothersections:

ChordProgressionChordSubstitutionandTurnaround

IntroandTagFormandStructure

Blues

RhythmChanges


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EarTrainingConcepts

Practicallyeveryprincipleandexercisetaughtinjazzimprovisationhelpstodeveloptheear.

Hereareafewthingstoconsider:

ActiveListening:Listeningforsomethingfocusestheearaccordingtotheelementof

concentration:bassline,instrumentation,harmony(consonant/dissonant;simple/complex),

articulation,subdivision,dynamic,inflection,etc.

PracticeTechniques:Eachtechniquefocusesonsomethingspecific.

PT1: Practicingcircularpatternstunetheeartotheparticularchord/scalespectrum.Itcanhelptoplaythecompanionchordonthepianowhilepracticingcircularpatterns.

PT2: Samemodesequencessaturateoneinaparticularmode.Shiftingtherootwhilemaintainingthemodehelpstofocusonthequalityofthemodeversesthememorization,

physicaloraural,ofspecificpitch.PT3: Takingapatternthrough12keyshelpsonetocomprehendthecharacterofthepattern

bothauralandrhythmic.Itiswisetoincluderhythmasanelementofeartraining.LikePT1,itisvaluabletoplaytherequisitechordonthepianothenplaythepattern.Italso

helpstosingthepatternwiththepianochordthrough12keys.

PT4: Applicationofmanyconceptsismadeinthisexercise.Theyareappliedtoarecordedaccompanimentthatremainsinasinglemode.Sustainingeachchordtoneandlistening

tothequalityofsoundisavaluableeartrainingexercise.Applyingthevarioustechniquesoverasinglechordhelpsfamiliarizeonetothatquality.

PT5: Chordprogressionlearningtechniquesapplytoeartrainingasabove.Usetherecorded

accompanimentwithopenearsbutnotasacrutch.Singtheexercisesasmuchas

possible.PT6: Allprinciplesofindependenceapplytoeartraining.Keepinmindthatoneshouldbe

abletosingwhatoneplays.Theprinciplesofindependenceareagreatpracticetechniquetostrengthenthisability.Dontbeafraidtotry.Ofcourse,singingan

improvisedsolowithanaccompaniment,recordedorlive,isadditionallyinvaluable.

Piano:Practicingjazzchordvoicingsonthepianohelpsustobecomefamiliarwithhowchordsarerealizedinajazzsetting.Itisagoodwaytobecomefamiliarwiththejazzidiomharmonic

sound.

Theory:Itisimportanttolearnwhatoneisattemptingtohear.Thisintellectualknowledgewill

transfertoappliedknowledge;itmust,oronecannotplayjazz.Alargepartofhavingagoodearcomesfromknowledgeofwhattoexpect.Certainchordprogressions,forexample,have

distinctivesoundssuchasiiV7I.Knowingthetheoryinvolvedhelpsusidentifywhatweare

hearingand,consequently,expandsourears.

TuneLearning:Singingthemelodiestotunes,playingharmoniesin12keys,listening;learning

jazztunescanincludealltechniques,principles,andmethodsknowntoenhanceauraland

physicalskillneededforjazzimprovisation.Overtime,thesetechniqueswilldeveloptheeareveniftheworkisntlabeledeartraining.


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Transcription:Liftingasolooffarecordingisfundamentalintheprogressofonesauraland

rhythmicability.Somemaystartbyhenpeckingindividualnotesbuteventuallyoneshould

workwithlargerunits.Singthemfirst,andthenplaythemotifs.Learnthewholesolobymemory.Also,payattentiontothemethodoutlinedfortranscribingchords.Listeningforone

elementatatimehelpstofocustheear.

EarTrainingClass:Althoughprimarilyclassicalinorigin,anyeartrainingcourseregardlessof

idiomisinvaluabletothejazzmusician.

TunesforEarTraining:Thisisachartontunesthatcanhelpstudentsrecognizeintervals.Itis

designedtorecognizeintervalsthroughalreadyfamiliarmeans.Theycaneventuallybecome

independentofthereferencetunes.


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TunesforEarTraining

Thefollowingchartliststunesthathaveprominentmotivesutilizingtheintervalindicatedtothe

left;theyarenotalwaysthefirstnotes.Findtunesthatarealreadyfamiliar.Onewillbeginto

realizethatmanyintervalsarealreadyknownandrecognizable.

Ascending Descending

2 CountYourBlessings

DidYouThinkToPray?

FatherinHeaven,WeDoBelieve(do)

HowInsensitiveIAmaChildofGod(achild)

ILeftMyHeartInSanFrancisco

IRememberYou

IllRememberApril

ImGettingSentimentaloverYou

JosephSmithsFirstPrayer

LordIsMyShepherd,The(Iknow)

NiceWorkIfYouCanGetIt

WhatsNew

Birdland

Bye,ByeBlackbird(onBlackbird)

Come,YeChildrenoftheLord

FlyMetotheMoonFortheBeautyoftheEarth

JoytotheWorld

LadyIsATramp,The

MajorScale(descending)

OLittleTownofBethlehem(town)

Solar(MilesDavis)

SophisticatedLady

StellabyStarlight

Theme,The(MilesDavis)

Welcome,Welcome,SabbathMorningM2 AintMisbehavin

AreYouSleeping(FrereJaques)

AutumnLeaves

BecauseIHaveBeenGivenMuch(beengiven)

BlueMonk

BodyandSoul

BridgeofAvignon,The

Bye,ByeBlackbird(onBye,Bye)

ChoosetheRight

Come,ComeYeSaints

Desifinado

Far,FarAwayonJudeasPlains

GodLovedUs,SoHeSentHisSon

God,OurFather,HearUsPray

HappyBirthday

HeIsRisen!IveGotYouUnderMySkin

InHumility,OurSavior

InMemoryoftheCrucified

Israel,Israel,GodIsCalling

ItsAllRightwithMe

JesusofNazareth,SaviorandKing

Kookaburra

LoveOneAnother

MajorScale(ascending)

MyCountry,TisofThee

MyFunnyValentine

MyHat

NiceWorkIfYouCanGetIt(NiceWork)

NowtheDayIsOver(Night)

Onward,Christiansoldiers(soldiers)

PolkaDotsandMoonbeamsRedeemerofIsrael

RudolphtheRedNosedReindeer

Sakura

SilentNight

ThereWillNeverBeAnotherYou

ThisLandIsYourland

UpontheCrossofCalvary

WeAreAllEnlisted

WeThankThee,OGod,foraProphet

WoodynYou

YoudBeSoNicetoComeHomeTo

TisSweettoSingtheMatchlessLove

AbidewithMe

BeStillMySoul

BeThouHumble

Corcovado(QuietNights)

DoWhatIsright

DontGetAroundMuchAnymore

Fever

HotCrossBuns

Jesus,theVeryThoughofThee

Jesus,theVeryThoughtofThee(thever)

JollyOldSaintNicholas

Lord,DismissUswithThyBlessing

Lord,IWouldFollowThee

MaryHadaLittleLamb

Mercy,Mercy,MercyNowLetUsRejoice

PoorWayfaringManofGrief,A

PreciousSavior,DearRedeemer

SatinDoll

SoWhat

SunnymoonforTwo

TheFirstNoel

ThemefromM*A*S*H

ThreeblindMice

TuneUp

WeThreeKingsofOrientAre

3 AbidewithMe;TisEventide

AngelsWeHaveHeardonHigh

BlueTrane

BluesbyFive

500MilesHigh

AmericatheBeautiful

AprilinParis

CaissonSong,The(OverHill,OverDale)


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Boplicity

BrahmsLullaby

Confirmation

FoggyDay,A

GeorgiaonMyMind

GoTellItontheMountain

GodBeWithYouTillWeMeetAgain

Greensleeves

IllGoWhereYouWantMetoGo(notbe)ImpossibleDream,The

InRemembranceofThySuffering

MinorChord

SpringCanReallyHangYouUptheMost

StompinattheSavoy

WeThreeKings(Oh)

WhileofTheseEmblemsWePartake

Worksong

CamptownRaces

ForAlltheSaints

FrostytheSnowMan

GirlfromIpanema,The

GlorytoGodonHigh

HeyJude

HowGreatThouArt

IronRod,The(holdto)

Jesus,OnceofHumbleBirthKookaburra(oldgumtree)

Misty

OGod,theEternalFather

OnTopofOldSmoky(smoky)

ShortninBread

StarSpangleBanner,The

ThisOldMan

WhatisThisthingCalledLove

M3 Come,ListentoaProphetsVoice

ICantGetStarted

IHeardtheBellsonChristmasDay

INeedTheeEveryHour

Kumbaya

LittleTomTinker(goyburned)

MajorTriad

MarinesHymn,TheMichael,RowtheBoatAshore

OhWhentheSaints

OnTopofOldSmoky

PraisetotheMan

SweetHourofPrayer

AbidewithMe(2ndand4thnotes)

ComeRainorComeShine

Come,FollowMe

DownintheValley(valley)

GiantSteps

HeIsRisen!(risen)

HowGentleGodsCommands

Lord,DismissUswithThyBlessing(2nd

and4th

notes)Nearer,DearSavior,toThee

Shoo,fly,DontBotherMe

SkiptoMyLou

Summertime

SwingLow,SweetChariot

TenorMadness(SonnyRollins)

P4 RoundMidnight

AlltheThingsYouAre

AuldLangSyne

AwayinaManger(HymnBookversion)

BeholdtheGreatRedeemerDie

Bingo

CJamBlues

Come,LetUsAnew

DownintheValleyDoxy

Hark!theHeraldangelsSing

HaveIDoneanyGood?

HereComestheBride

HighOnaMountainTop

HowFirmaFoundation

HowHightheMoon

ISawThreeShips

IStandAllAmazed

ImprovetheShiningMoments

LoveMeTender(auraLee)

MaidenVoyage

MoreHolinessGiveMe

NowstheTime

OhChristmasTree

Ornithology

Rejoice,theLordIsKing

ReveilleShadowofYourSmile,The

Shenandoah

SomedayMyPrinceWillCome

SongforMyFather

StraightNoChaser

Taps

TheDayDawnIsBreaking

TheSpiritofGod

TwelveDaysofChristmas,The

WeWishYouaMerryChristmas

WeWishYouaMerryChristmas

WhenIFallinLove

YeeldersofIsrael

AllCreaturesofOurGodandKing(thouBurningSun)

AllofMe

Bluesforalice

Clementine

GoodKingWenceslaus(lookedout)

GreatIstheLord

HopeofIsrael(Irael)

IDidntKnowWhatTimeItWas

IveBeenWorkinOntheRailroadLittleTomTinker(Ma)

MightyfortressIsOurGod,A

OhComeAllYeFaithful

OldMacDonaldHadaFarm

SoftlyAsaMorningSunrise

ValseHot

Walkin(afterintro)

WhatisThisThingCalledLove?

WhenJohnnyComesMarchingHome

YardbirdSuite

TT AngelEyes(1stto3rdnotes) BlueSeven(SonnyRollins)


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Maria

ThemefromTheSimpsons

Sakura(12thand14thnotes,giriofkagiriorthesky)

P5 AllGlory,Laud,andHonor

AllthePrettyLittleHorses

Angeleyes

Baa,Baa,BlackSheep

BagsGroove

GodRestYeMerryGentlemen

IronRod,TheLetUsOftSpeakKindWords

MyFavoriteThings

NicasDream

PraisetotheLord,theAlmighty

PressForward,Saints

ScarboroughFair

Twinkle,TwinkleLittleStar

Twinkle,TwinkleLittleStar

WayfaringStranger

WhileShepherdsWatchedTheirFlocks

YouCanMakethePathwayBright(2Xs)

BringaTorch,Jeannette,Isabella

BuffaloGals

Feelings

HaveYouMetMissJones

ItDontMeanaThing

+5,6 HomeontheRange(buffaloroam)

Lor,IWouldFollowThee(Ilearn)

JustFriends(5thand6thnotes)

LetUsAllPressOn(presson)

Misty(1stto3rdnote)

PleaseDontTalkAboutMeWhenImgone

TaketheATrain(5th

and6th

notes)YoureEverything(ChickCorea)

M6 AmericatheBeautiful(America)

DaysofWineandRoses

HowGreattheWisdomandtheLove

Hush,LittleBaby

IBelieveInChrist(HeIs)

InchWorm

ItCameuponaMidnightClear

JingleBells(dashing)

LordIsMyShepherd,The

LoveatHome

MyBonnieLiesOvertheOcean

NBC

OhSay,WhatIsTruth?

PutYourShouldertothewheel

ShortninBread(chorus)

SpeakLow

TaketheATrain

WellSingAllHailtoJesussName

WhenSunnyGetsblue

Indiana

LoveOneanother(haveloved)

NobodyKnowstheTroubleIveSeen

ThereIsSunshineinMySoulToday(sunshine)

7 AsNowWeTaketheSacrament

LordIsMyShepherd,The(Ifeed)

ThemefromStarTrek

HuneysuckleRose(1stand3rdnotes)

WatermelonMan

M7 Ceora ILoveYou

P8 CalledtoServe

ChristmasSong,The

LetItSnow

OldFolksatHome(Swanee)

SingaSongofsixpence(sixpence)

SomewhereOvertheRainbow

WillowWeepforMe


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ScaleSyllabus

Scalesarechordswithextensions.Forexample,CEGBiseveryothernoteoftheCMajorscale:C

DEFBABC.Ifonecontinueswiththiseveryothernoteconcept,aCMaj.13chordresults:CEGB

DFA.Onmajorchordsthe11th

(Finthiscase)isusuallyomittedbuttheprincipleremainsintact.Thus,playingthenotesofascalehorizontallyinanyorder(asinamelodyorimprovisation),

whilestayingtruetothecollectionofpitches,isthesameasplayingtherelatedchord

harmonically.Granted,thenotesarenotsoundedsimultaneouslysonottechnicallyachordbutthenoteswillfitandtheprogressionwillbeheard.Allofthenotesinthescalesontheleftinthis

chart,withthedisputedfourthnoteofthemajorscale,willworkasnotechoices,againinany

order,forthechordsindicatedtotherightofthechart.

Major

Minor(Dorian)

Dominant(Mixolydian)

DominantBebop

MinorBebop

MajorBebop


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Blues

HarmonicMinor

DominantSharp5(WholeTone)

DominantFlat9(Diminishedstep1st)

DominantAltered(Superlocrein,DiminishedWholeTone,Altered)

Halfdiminished(Locrian)

HalfdiminishedMajor9(Locrian#2)

Diminished


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MajorSharp11(Lydian)

DominantSharp11(LydianDominant)

MajorPentatonic

MinorPentatonic

Sus4


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ChordSymbolChart

Manymorechordqualitiesexistthanareincludedinthischart.UseofMformajorandmfor

minorisnotrecommended.Onemayalsosee+forsharpandforflat.Theprefixofachordisits

rootletternamesuchasAforA7

.Thesuffixofachordiswhatfollowstoindicatequality,extension,and/oralteration.

QualityPossibleChord

TonesQuality Extensions Examples(RootandSuffix)

Major 1357913MajmajM

ma7913

Major6 1356MajmajMma(or

none)6

Major6/9 13569MajmajMma(or

none)69

Minor/Dorian 1b35b791113Minminm

mi791113

Minor6 1b356Minminm

mi6

Minor6/9 1b3569Minminm

mi69

Dominant 135b7913 none 7913

Minor/Major 1b3579Minminm

mi791113

DominantFlat9 135b7b913 none 7913

Halfdiminished 1b3b5b7Minminmim

(aloneorwith7)7(b5)

Halfdim.Major9 1b3b5b79Minminmmi

(aloneorwithext)9(b5)11(b5)

DominantSharp5 13#5b79none

or+(with7or9)7(#5)9(#5)

DominantAltered 13b5#5b7b9#9 none7altor

specific

MajorSharp11 13579#11MajmajM

ma 7(#11)

9(#11)

DominantSharp11 135b79#11 none 7(#11)9(#11)

Sus4 1457913 sus 7913

Diminished b1b3b5b b7 Dimdim b b7


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Intervals

HalfStep:thedistancefromonekeytothenextclosestkey,upordown.

WholeStep:twohalfsteps,twonotesonthekeyboardwithoneinbetween.

MelodicIntervals

Scale:apatternofwholestepsandhalfsteps

MajorScaleIntervals:majorandperfect(distancefromthefirstnoteofthescaletothenoteinquestion)

NaturalMinorScaleIntervals:minorandperfect(exceptsecondandninth)

HarmonicIntervals

Intervalscanbemeasuredascendingordescending.Whendeterminingintervals,bothmelodic

andharmonic,maketheassessmentbasedonthelowestnote.

C ED F G A B C ED F G A B C ED

C# D# F# G# A#

Db GbEb Ab Bb

C# D# F# G# A#

Db GbEb Ab Bb

C# D#

Db Eb


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Quality

Firstconsiderthenumericdistance(2nd,3rd,4th,etc.).Thisiscalculatedbyassociatingthenumber(scaledegree)tothealphabeticname(ifCis1,Eis3).Donotuseenharmonics:Fflatis

notE,CflatisnotB,etc.

Next,determinethequalityoftheinterval(perfect,minor,major,diminished,augmented).Start

withtheknownqualitiesofthemajorscale:allintervalsaremajorexcepttheunison,octave,4th

and5th,whichareperfect.Inreducingintervals,majorcanbemademinor;minorcanbemadediminished.Inenlargingintervals,majorcanbemadeaugmented.Perfectintervalscanbe

diminishedoraugmented.Thereductionorincreaseisbyhalfstep.

Practicalapplicationinjazzisasfollows:

Unison:remainsunison,nodiminishedoraugmentedusage.Second:amajorsecondcanbecomeminororaugmented;augmentedisuncommon.

Third:majorandminorthirdsarecommon;theaugmentedthirdisnot,itbecomesaperfectforth.

Fourth:augmentedfourthsarecommon;diminishedfourthsarenot,theybecomemajor

thirds.Fifth:boththediminishedandaugmentedfifthiscommon.

Sixth:aremajororminor;augmentedsixthsbecomeminorsevenths.Seventh:major,minor,anddiminishedseventhsarecommon;augmentedbecomestheoctave.

Diminished:flatasinflatfive,flatnine,orflatthirteen.

Augmented:sharpasinsharpfour,sharpfive,sharpnine,orsharpeleven;orplusasinplusfour,

plusfive.

AtoDsharpisafourthbecausefourlettersofthealphabetareinvolved.Dnaturalisthenote

foundinthemajorscale(allintervalsaremajorexcepttheunison,octave,4thand5th,whichare

perfect);itisaperfectfourth.Perfectintervalscanbediminishedoraugmented.AtoDsharpisaugmented,oftencalledsharpfourorplusfour.

AtoEflatisafifthbecausefivelettersofthealphabetareinvolved.Enaturalisthenotefoundinthemajorscale;itisaperfectfifth.AtoEflatisdiminishedoftencalledaloweredfifthorflatfive.

mM+ P+


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ModesoftheMajorScale

Themodesofthemajorscalearescalesderivedfromstartingonagivenscaledegreeand

retainingthekeysignature.Forexample,thekeyofCMajorhasnosharpandnoflats.Ifwestart

onD,retaintheCMajorkeysignature,andplayastepwisemotion,weareintheDorianmode.

IfwestartonGandusethosenotesintactasagroupwiththeCMajorkeysignature,itisthe

mixolydianmode.

Adistinguishingelementisthechordthesescalesrepresent.Dorianisaminorscaleappropriatetoaminorchordfromasimpletriadthroughextensions9,11,and13.Mixolydianisadominant

scaleappropriatetoadominantchordfromthetriadthroughextensions9and13.Noticethatthe

minorchordintheexamplebelowisamm7andthedominantisaMm7chord.Whenapplyingextensions,includethe7thandkeepstackingthirds.Thenumbersarederivedfromscaledegrees

beginningontherootofthechord(Ddorian:D=1,E=3,F=3,etc)ratherthantherelativemajor

orthekeysignatureofthecomposition.

Thenamesofthemodesofthemajorscaleare:

Thedorian,mixolydian,andionian(Major)modesaremostsignificantduetotheirplaceinaiiV7Ichordprogression.Thesequenceisderivedfromachordthatstartsonthesecondscaledegree

ofthemajor,ortonic,scalethenmovestoachordstartingonthefifthscaledegreeandresolving

totonic,orI.Thesechordsallsharethesamekeysignature.


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Asamatterofhistoricalperspective,oneshouldnotethatthejazzmodesdorian,mixolydianand

thelikearescalesandnotcompositionalmodesasinMedieval,Renaissance,orotherclassicalmusicdefinitionsorusages.

ThefirstoccurrenceofthesenameswasintheancientGreekperiod.Constructsofmusicwere

derivedfromcombiningfournoteunitscalledtetrachordsasusedinkitharaplaying(aharplikeinstrument).Tetrachordswerecombinedtoformwhatwemightcallscalesandmusicwas

composedwithinthesegroupsofnotes.Someofthescalesthusderivedparallelthejazzmodes

innameandintervallicrelationship,suchasdorian,butothersdonot;someincorporatequartertonesorhaveotherintervalrelationshipsverydissimilartotheabovejazzscales.

Greekmusictheoryprinciplesprogressedthroughandweremixedwithothercultures,suchas

HebrewandByzantine,totheWesternEuropemedievalmodesandcodifiedbythe9 thcentury.

Therewereeightmedievalmodes:dorian,hypodorian,phrygian,hypophrygian,lydian,

hypolydian,mixolydian,andhypomixolydian.Onecanseethenamerelationstothejazzmodes.Thepitchrelationshipsofdorian,phrygian,lydian,andmixolydianrelatetothejazzmodesofthe

samenames;however,usagewasnotthesame.Ionian,aeolian,andlocrianaremuchlateradditions.

Modalmusic,asitwasintheMedievalthroughtheRenaissanceeras,bydefinitionismusicthat

usesaspecificgroupofnotessomewhatexclusivelywithoutattentiontochordprogression,withtonalcenterbutnotasinthemajor/minortonalsystemordiatonicmusic(whichbeganc.1600,

codifiedinTraitdel'harmonie,1722byJeanPhilippeRameau).Medievalandespecially

Renaissancetheoryismelodicwithconcernforintervallicharmony.ModaljazzsuchasSoWhatorImpressionsstayonasinglechordforalongperiodoftimeand,eventhoughtheyhavemore

thanonetonalcenter,areclosesttobeingtrulymodalandaptlynamed.

Thus,thejazzmodesarethoughtofasmode=aspectI,referringtoitsrelationtomajorasaboveor

otherknownscalebasisincludingascendingmelodicminorandharmonicminor.Thejazzmodes

arenotmodalintheclassicalorhistoricalsensebutarescales.


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Worksheets

Worksheetsareorganizedintopackets:

1. Major:Scale,Arpeggio,Chord,Pattern2. Minor:Scale,Arpeggio,Chord,Pattern3. Dominant:Scale,Arpeggio,Chord,Pattern4. Chormaticism:DominantBebop,MinorBebop,MajorBebop,PickupandPassingNotes,

DiatonicEnclosure,ChromaticEnclosure,InclusivePattern

5. iiV7I:VoicingI,VoicingII,OneMeasurePattern,TwoMeasurePattern

Additionalworksheetsinclude:

IntervalsChordSymbolChart

ImprovSoloComposition:SoWhat,SatinDoll,Blues

ScalesandArpeggios

Writeallscalesandarpeggiosuptothe9thanddown.

Donotusekeysignatures.Includeaccidentalsascendinganddescending.

Chords

Writechordvoicingsasintheexamplegiven.

KeepvoicingscenteredaroundmiddleC.Playallchordsonthepiano,listen,becomefamiliarwiththesoundofthejazzvoicing.

Playthecompanionscale,arpeggio,andpattern.

Patterns

Severalexamplesaregivenforeachquality.Thechordmostappropriatetothepatternincluded.

Findtwopatternsforeachpatternworksheetthatarespecifictothequalityindicted.Sources

mightincludeatranscription,ajazzimprovisationtextbook,Aebersoldplayalongseries,abookonjazzpatternssuchasJerryCokersPatternforJazz,areputableprofessional(i.e.Aaron

Miller,RyanNielsen,MarkWatkins,JayLawrence,KeithPhillips,JustinNielsen).Addpatternstothelogtoincreasevocabulary.

Chromaticism

BebopScales:Dominant,Minor,Major;Bebopscalesuseachromaticpassingtonetokeepchord

tonesinlinewithbeatemphasis.Thedominantandminorbebopscalesusethesamepitches,

asislogicalforuseiniiV7Ipatterns.


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PickupandPassingNotes

DiatonicEnclosure

ChromaticEnclosure

iiV7I

ChordVoicingsI,II,III

OnemeasurePatterns

TwomeasurePatterns


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WorksheetPacket#1:Major

Scale

Writeallscalesuptothe9thanddown.

Donotusekeysignatures.

Includeaccidentalsascendinganddescending.

Arpeggio

Writeallarpeggiosuptothe9thanddown.Donotusekeysignatures.


Chords

Writechordvoicingsasintheexamplegiven.KeepvoicingscenteredaroundmiddleC.

Playallchordsonthepiano,listen,becomefamiliarwiththesoundofthejazzvoicing.


Patterns

Severalexamplesaregivenwiththechordmostappropriatetothepatternincluded.

Findtwopatternsthatarespecifictothequality(major).Sourcesmightincludeatranscription,a

jazzimprovisationtextbook,Aebersoldplayalongseries,abookonjazzpatternssuchasJerryCokersPatternforJazz,areputableprofessional(i.e.AaronMiller,RyanNielsen,Mark

Watkins,JayLawrence,KeithPhillips,JustinNielsen,oravisitingguest).Includetheappropriatechordsymbolandpatternsource.

Addpatternstothelogtoincreasevocabulary.


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ScaleExample:


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Arpeggio

Example:


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Chord


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Patterns(treble)

Examples:


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Patterns(bass)

Examples:


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WorksheetPacket#2:Minor

Scale




Arpeggio



Chords




Patterns


Findtwopatternsthatarespecifictothequality(minor).Sourcesmightincludeatranscription,a





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ScaleExample:


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Arpeggio

Example:


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Chord


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Patterns(treble)

Examples:


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Patterns(bass)

Examples:


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WorksheetPacket#3:Dominant

Scale




Arpeggio



Chords




Patterns


Findtwopatternsthatarespecifictothequality(dominant).Sourcesmightincludea

transcription,ajazzimprovisationtextbook,Aebersoldplayalongseries,abookonjazzpatternssuchasJerryCokersPatternforJazz,areputableprofessional(i.e.AaronMiller,Ryan

Nielsen,MarkWatkins,JayLawrence,KeithPhillips,JustinNielsen,oravisitingguest).Includetheappropriatechordsymbolandpatternsource.



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ScaleExample:


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Arpeggio

Example:


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Chord


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Patterns(treble)

Examples:


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Patterns(bass)

Examples:


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WorksheetPacket#4:Chromaticism

PickupandPassingNotes

ChromaticPickupNote:Anydesirednoteofemphasis,usuallyachordtone,canbeapproachedby

1/2stepeitheraboveorbelow.

PassingTone:1/2stepscanconnectchordtoneswithinachord,asinthebebopscales,orbetweenchordsasbelow.

Transposepatternexamplein12keys.

Includechordsymbols.Donotuseenharmonics.

Scale


Donotusekeysignatures.Includeaccidentalsascendinganddescending.

DiatonicEnclosure

Precedechordtonebythediatonicscaletoneaboveand1/2stepbelow.Transposepatternexamplein12keys.

ChromaticEnclosure

Precedechordtoneby1/2aboveand1/2stepbelow,orvisaversa.


InclusivePattern

Noticeintheexamplethatthiscontrivedpatternincludesbothchromaticpassingtonesandenclosures.



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PickupandPassingNotesExample:


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BebopScale:Dominant

Example:


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BebopScale:Major

Example:


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BebopScale:Minor

Examples:


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Enclosure:Diatonic

Examples:


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Enclosure:ChromaticExample:


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InclusivePatternExample:


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WorksheetPacket#5:iiV7I

iiV7IVoicings

Writechordvoicingsasintheexamplegiven.

KeepvoicingscenteredaroundmiddleC.

Followthesequenceindicated.Playallchordsonthepiano,listen,becomefamiliarwiththesoundoftheiiV7I.

Voicingoptionsareprovidedfor:

Shell

3note4note

Patterns


Findtwopatternsthatarespecifictothequality(major).Sourcesmightincludeatranscription,a




WorksheetsforoneandtwomeasureiiV7Ipatternsareprovided.


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iiV7I:shellvoicing


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iiV7I:3note


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iiV7I:4note


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Patterns:1measure(treble)

Examples:


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Patterns:1measure(bass)

Examples:


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Patterns:2measure(treble)

Examples:


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Patterns:1measure(bass)

Examples:

piano theory

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