Theory1

FromFundamentalsofJazzImprovisation:

WhatEverybodyThinksYouAlreadyKnow

Dr.MarkWatkins DirectorofJazzStudies BrighamYoungUniversityIdaho

2010byMarkWatkins Materialshereinareprovidedforpersonaluse.Nopartmaybereproducedwithout writtenpermissionfromtheauthor.

JazzTheory
Thistextisdesignedforstudentswhohavehadatleastoneyearofcollegelevelmusictheoryand eartraining.Principlesuniquetoorofmoreemphasisinjazzareexpoundedupon.Topics include: PartI ModesoftheMajorScale Major Dorian Dominant Intervals Chromaticism TheiiV7Iprogression Piano: MajorVoicing MinorVoicing DominantVoicing iiV7IVoicing1,2,3 BluesVoicing1,2 Tune:StudentChoice Worksheets: Major: Scale,Arpeggio,Chord,Pattern Minor:Scale,Arpeggio,Chord,Pattern Dominant:Scale,Arpeggio,Chord,Pattern Intervals ChordSymbolChart Chormaticism:DominantBebop,MinorBebop,MajorBebop,PickupandPassingNotes, DiatonicEnclosure,ChromaticEnclosure,InclusivePattern iiV7I:VoicingI,VoicingII,OneMeasurePattern,TwoMeasurePattern Theorycoveredinothersections: ChordProgression ChordSubstitutionandTurnaround IntroandTag FormandStructure Blues RhythmChanges

EarTrainingConcepts
Practicallyeveryprincipleandexercisetaughtinjazzimprovisationhelpstodeveloptheear. Hereareafewthingstoconsider: ActiveListening:Listeningforsomethingfocusestheearaccordingtotheelementof concentration:bassline,instrumentation,harmony(consonant/dissonant;simple/complex), articulation,subdivision,dynamic,inflection,etc. PracticeTechniques:Eachtechniquefocusesonsomethingspecific. PT1: Practicingcircularpatternstunetheeartotheparticularchord/scalespectrum.Itcan helptoplaythecompanionchordonthepianowhilepracticingcircularpatterns. PT2: Samemodesequencessaturateoneinaparticularmode.Shiftingtherootwhile maintainingthemodehelpstofocusonthequalityofthemodeversesthememorization, physicaloraural,ofspecificpitch. PT3: Takingapatternthrough12keyshelpsonetocomprehendthecharacterofthepattern bothauralandrhythmic.Itiswisetoincluderhythmasanelementofeartraining.Like PT1,itisvaluabletoplaytherequisitechordonthepianothenplaythepattern.Italso helpstosingthepatternwiththepianochordthrough12keys. PT4: Applicationofmanyconceptsismadeinthisexercise.Theyareappliedtoarecorded accompanimentthatremainsinasinglemode.Sustainingeachchordtoneandlistening tothequalityofsoundisavaluableeartrainingexercise.Applyingthevarious techniquesoverasinglechordhelpsfamiliarizeonetothatquality. PT5: Chordprogressionlearningtechniquesapplytoeartrainingasabove.Usetherecorded accompanimentwithopenearsbutnotasacrutch.Singtheexercisesasmuchas possible. PT6: Allprinciplesofindependenceapplytoeartraining.Keepinmindthatoneshouldbe abletosingwhatoneplays.Theprinciplesofindependenceareagreatpractice techniquetostrengthenthisability.Dontbeafraidtotry.Ofcourse,singingan improvisedsolowithanaccompaniment,recordedorlive,isadditionallyinvaluable. Piano:Practicingjazzchordvoicingsonthepianohelpsustobecomefamiliarwithhowchordsare realizedinajazzsetting.Itisagoodwaytobecomefamiliarwiththejazzidiomharmonic sound. Theory:Itisimportanttolearnwhatoneisattemptingtohear.Thisintellectualknowledgewill transfertoappliedknowledge;itmust,oronecannotplayjazz.Alargepartofhavingagood earcomesfromknowledgeofwhattoexpect.Certainchordprogressions,forexample,have distinctivesoundssuchasiiV7I.Knowingthetheoryinvolvedhelpsusidentifywhatweare hearingand,consequently,expandsourears. TuneLearning:Singingthemelodiestotunes,playingharmoniesin12keys,listening;learning jazztunescanincludealltechniques,principles,andmethodsknowntoenhanceauraland physicalskillneededforjazzimprovisation.Overtime,thesetechniqueswilldeveloptheear eveniftheworkisntlabeledeartraining.

Transcription:Liftingasolooffarecordingisfundamentalintheprogressofonesauraland rhythmicability.Somemaystartbyhenpeckingindividualnotesbuteventuallyoneshould workwithlargerunits.Singthemfirst,andthenplaythemotifs.Learnthewholesoloby memory.Also,payattentiontothemethodoutlinedfortranscribingchords.Listeningforone elementatatimehelpstofocustheear. EarTrainingClass:Althoughprimarilyclassicalinorigin,anyeartrainingcourseregardlessof idiomisinvaluabletothejazzmusician. TunesforEarTraining:Thisisachartontunesthatcanhelpstudentsrecognizeintervals.Itis designedtorecognizeintervalsthroughalreadyfamiliarmeans.Theycaneventuallybecome independentofthereferencetunes.

TunesforEarTraining
Thefollowingchartliststunesthathaveprominentmotivesutilizingtheintervalindicatedtothe left;theyarenotalwaysthefirstnotes.Findtunesthatarealreadyfamiliar.Onewillbeginto realizethatmanyintervalsarealreadyknownandrecognizable.
2 Ascending CountYourBlessings DidYouThinkToPray? FatherinHeaven,WeDoBelieve(do) HowInsensitive IAmaChildofGod(achild) ILeftMyHeartInSanFrancisco IRememberYou IllRememberApril ImGettingSentimentaloverYou JosephSmithsFirstPrayer LordIsMyShepherd,The(Iknow) NiceWorkIfYouCanGetIt WhatsNew 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) PolkaDotsandMoonbeams RedeemerofIsrael RudolphtheRedNosedReindeer Sakura SilentNight ThereWillNeverBeAnotherYou ThisLandIsYourland UpontheCrossofCalvary WeAreAllEnlisted WeThankThee,OGod,foraProphet WoodynYou YoudBeSoNicetoComeHomeTo AbidewithMe;TisEventide AngelsWeHaveHeardonHigh BlueTrane BluesbyFive Descending Birdland Bye,ByeBlackbird(onBlackbird) Come,YeChildrenoftheLord FlyMetotheMoon FortheBeautyoftheEarth JoytotheWorld LadyIsATramp,The MajorScale(descending) OLittleTownofBethlehem(town) Solar(MilesDavis) SophisticatedLady StellabyStarlight Theme,The(MilesDavis) Welcome,Welcome,SabbathMorning TisSweettoSingtheMatchlessLove AbidewithMe BeStillMySoul BeThouHumble Corcovado(QuietNights) DoWhatIsright DontGetAroundMuchAnymore Fever HotCrossBuns Jesus,theVeryThoughofThee Jesus,theVeryThoughtofThee(thever) JollyOldSaintNicholas Lord,DismissUswithThyBlessing Lord,IWouldFollowThee MaryHadaLittleLamb Mercy,Mercy,Mercy NowLetUsRejoice PoorWayfaringManofGrief,A PreciousSavior,DearRedeemer SatinDoll SoWhat SunnymoonforTwo TheFirstNoel ThemefromM*A*S*H ThreeblindMice TuneUp WeThreeKingsofOrientAre

M2

500MilesHigh AmericatheBeautiful AprilinParis CaissonSong,The(OverHill,OverDale)

M3

Boplicity BrahmsLullaby Confirmation FoggyDay,A GeorgiaonMyMind GoTellItontheMountain GodBeWithYouTillWeMeetAgain Greensleeves IllGoWhereYouWantMetoGo(notbe) ImpossibleDream,The InRemembranceofThySuffering MinorChord SpringCanReallyHangYouUptheMost StompinattheSavoy WeThreeKings(Oh) WhileofTheseEmblemsWePartake Worksong Come,ListentoaProphetsVoice ICantGetStarted IHeardtheBellsonChristmasDay INeedTheeEveryHour Kumbaya LittleTomTinker(goyburned) MajorTriad MarinesHymn,The Michael,RowtheBoatAshore OhWhentheSaints OnTopofOldSmoky PraisetotheMan SweetHourofPrayer RoundMidnight AlltheThingsYouAre AuldLangSyne AwayinaManger(HymnBookversion) BeholdtheGreatRedeemerDie Bingo CJamBlues Come,LetUsAnew DownintheValley Doxy Hark!theHeraldangelsSing HaveIDoneanyGood? HereComestheBride HighOnaMountainTop HowFirmaFoundation HowHightheMoon ISawThreeShips IStandAllAmazed ImprovetheShiningMoments LoveMeTender(auraLee) MaidenVoyage MoreHolinessGiveMe NowstheTime OhChristmasTree Ornithology Rejoice,theLordIsKing Reveille ShadowofYourSmile,The Shenandoah SomedayMyPrinceWillCome SongforMyFather StraightNoChaser Taps TheDayDawnIsBreaking TheSpiritofGod TwelveDaysofChristmas,The WeWishYouaMerryChristmas WeWishYouaMerryChristmas WhenIFallinLove YeeldersofIsrael AngelEyes(1stto3rdnotes)

P4

CamptownRaces ForAlltheSaints FrostytheSnowMan GirlfromIpanema,The GlorytoGodonHigh HeyJude HowGreatThouArt IronRod,The(holdto) Jesus,OnceofHumbleBirth Kookaburra(oldgumtree) Misty OGod,theEternalFather OnTopofOldSmoky(smoky) ShortninBread StarSpangleBanner,The ThisOldMan WhatisThisthingCalledLove AbidewithMe(2ndand4thnotes) ComeRainorComeShine Come,FollowMe DownintheValley(valley) GiantSteps HeIsRisen!(risen) HowGentleGodsCommands Lord,DismissUswithThyBlessing(2ndand4thnotes) Nearer,DearSavior,toThee Shoo,fly,DontBotherMe SkiptoMyLou Summertime SwingLow,SweetChariot TenorMadness(SonnyRollins) AllCreaturesofOurGodandKing(thouBurningSun) AllofMe Bluesforalice Clementine GoodKingWenceslaus(lookedout) GreatIstheLord HopeofIsrael(Irael) IDidntKnowWhatTimeItWas IveBeenWorkinOntheRailroad LittleTomTinker(Ma) MightyfortressIsOurGod,A OhComeAllYeFaithful OldMacDonaldHadaFarm SoftlyAsaMorningSunrise ValseHot Walkin(afterintro) WhatisThisThingCalledLove? WhenJohnnyComesMarchingHome YardbirdSuite

TT

BlueSeven(SonnyRollins)

P5

+5,6

Maria ThemefromTheSimpsons AllGlory,Laud,andHonor AllthePrettyLittleHorses Angeleyes Baa,Baa,BlackSheep BagsGroove GodRestYeMerryGentlemen IronRod,The LetUsOftSpeakKindWords MyFavoriteThings NicasDream PraisetotheLord,theAlmighty PressForward,Saints ScarboroughFair Twinkle,TwinkleLittleStar Twinkle,TwinkleLittleStar WayfaringStranger WhileShepherdsWatchedTheirFlocks YouCanMakethePathwayBright(2Xs) HomeontheRange(buffaloroam) Lor,IWouldFollowThee(Ilearn)

Sakura(12thand14thnotes,giriofkagiriorthesky) BringaTorch,Jeannette,Isabella BuffaloGals Feelings HaveYouMetMissJones ItDontMeanaThing

M6

7 M7 P8

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 AsNowWeTaketheSacrament LordIsMyShepherd,The(Ifeed) ThemefromStarTrek Ceora CalledtoServe ChristmasSong,The LetItSnow OldFolksatHome(Swanee) SingaSongofsixpence(sixpence) SomewhereOvertheRainbow

JustFriends(5thand6thnotes) LetUsAllPressOn(presson) Misty(1stto3rdnote) PleaseDontTalkAboutMeWhenImgone TaketheATrain(5thand6thnotes) YoureEverything(ChickCorea) Indiana LoveOneanother(haveloved) NobodyKnowstheTroubleIveSeen ThereIsSunshineinMySoulToday(sunshine)

HuneysuckleRose(1stand3rdnotes) WatermelonMan ILoveYou WillowWeepforMe

ScaleSyllabus
Scalesarechordswithextensions.Forexample,CEGBiseveryothernoteoftheCMajorscale:C DEFBABC.Ifonecontinueswiththiseveryothernoteconcept,aCMaj.13chordresults:CEGB DFA.Onmajorchordsthe11th(Finthiscase)isusuallyomittedbuttheprincipleremainsintact. Thus,playingthenotesofascalehorizontallyinanyorder(asinamelodyorimprovisation), whilestayingtruetothecollectionofpitches,isthesameasplayingtherelatedchord harmonically.Granted,thenotesarenotsoundedsimultaneouslysonottechnicallyachordbut thenoteswillfitandtheprogressionwillbeheard.Allofthenotesinthescalesontheleftinthis chart,withthedisputedfourthnoteofthemajorscale,willworkasnotechoices,againinany order,forthechordsindicatedtotherightofthechart. Major

Minor(Dorian)

Dominant(Mixolydian)

DominantBebop

MinorBebop

MajorBebop

Blues

HarmonicMinor

DominantSharp5(WholeTone)

DominantFlat9(Diminishedstep1st)

DominantAltered(Superlocrein,DiminishedWholeTone,Altered)

Halfdiminished(Locrian)

HalfdiminishedMajor9(Locrian#2)

Diminished

MajorSharp11(Lydian)

DominantSharp11(LydianDominant)

MajorPentatonic

MinorPentatonic

Sus4

ChordSymbolChart
Manymorechordqualitiesexistthanareincludedinthischart.UseofMformajorandmfor minorisnotrecommended.Onemayalsosee+forsharpandforflat.Theprefixofachordisits rootletternamesuchasAforA7.Thesuffixofachordiswhatfollowstoindicatequality, extension,and/oralteration.
Quality Major Major6 Major6/9 Minor/Dorian Minor6 Minor6/9 Dominant Minor/Major DominantFlat9 Halfdiminished Halfdim.Major9 DominantSharp5 DominantAltered MajorSharp11 DominantSharp11 Sus4 Diminished PossibleChord Tones 1357913 1356 13569 1b35b791113 1b356 1b3569 135b7913 1b3579 135b7b913 1b3b5b7 1b3b5b79 13#5b79 13b5#5b7b9#9 13579#11 135b79#11 1457913 b1b3b5b b7 Quality MajmajM ma MajmajMma(or none) MajmajMma(or none) Minminm mi Minminm mi Minminm mi none Minminm mi none Minminmim (aloneorwith7) Minminmmi (aloneorwithext) none or+(with7or9) none MajmajM ma none sus Dimdim Extensions 7913 6 69 791113 6 69 7913
791113

Examples(RootandSuffix)

7913 7(b5) 9(b5)11(b5) 7(#5)9(#5) 7altor specific 7

(#11)

(#11)

7(#11)9(#11) 7913 b b7

Intervals
Db Eb Gb Ab Bb Db Eb Gb Ab Bb Db Eb # # # # # # # # # # # # C D F G A C D F G A C D C D E F G A B C D E F G A B C D E HalfStep:thedistancefromonekeytothenextclosestkey,upordown. WholeStep:twohalfsteps,twonotesonthekeyboardwithoneinbetween. MelodicIntervals Scale:apatternofwholestepsandhalfsteps

MajorScaleIntervals:majorandperfect(distancefromthefirstnoteofthescaletothenotein question)

NaturalMinorScaleIntervals:minorandperfect(exceptsecondandninth)

HarmonicIntervals

Intervalscanbemeasuredascendingordescending.Whendeterminingintervals,bothmelodic andharmonic,maketheassessmentbasedonthelowestnote.

Quality Firstconsiderthenumericdistance(2nd,3rd,4th,etc.).Thisiscalculatedbyassociatingthe number(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;minorcanbemade diminished.Inenlargingintervals,majorcanbemadeaugmented.Perfectintervalscanbe diminishedoraugmented.Thereductionorincreaseisbyhalfstep. mM + P+ Practicalapplicationinjazzisasfollows: Unison:remainsunison,nodiminishedoraugmentedusage. Second:amajorsecondcanbecomeminororaugmented;augmentedisuncommon. Third:majorandminorthirdsarecommon;theaugmentedthirdisnot,itbecomesaperfect forth. 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.AtoDsharpis augmented,oftencalledsharpfourorplusfour. AtoEflatisafifthbecausefivelettersofthealphabetareinvolved.Enaturalisthenotefoundin themajorscale;itisaperfectfifth.AtoEflatisdiminishedoftencalledaloweredfifthorflatfive.

ModesoftheMajorScale
Themodesofthemajorscalearescalesderivedfromstartingonagivenscaledegreeand retainingthekeysignature.Forexample,thekeyofCMajorhasnosharpandnoflats.Ifwestart onD,retaintheCMajorkeysignature,andplayastepwisemotion,weareintheDorianmode.

IfwestartonGandusethosenotesintactasagroupwiththeCMajorkeysignature,itisthe mixolydianmode.

Adistinguishingelementisthechordthesescalesrepresent.Dorianisaminorscaleappropriate toaminorchordfromasimpletriadthroughextensions9,11,and13.Mixolydianisadominant scaleappropriatetoadominantchordfromthetriadthroughextensions9and13.Noticethatthe minorchordintheexamplebelowisamm7andthedominantisaMm7chord.Whenapplying extensions,includethe7thandkeepstackingthirds.Thenumbersarederivedfromscaledegrees beginningontherootofthechord(Ddorian:D=1,E=3,F=3,etc)ratherthantherelativemajor orthekeysignatureofthecomposition.

Thenamesofthemodesofthemajorscaleare:

Thedorian,mixolydian,andionian(Major)modesaremostsignificantduetotheirplaceinaiiV7 Ichordprogression.Thesequenceisderivedfromachordthatstartsonthesecondscaledegree ofthemajor,ortonic,scalethenmovestoachordstartingonthefifthscaledegreeandresolving totonic,orI.Thesechordsallsharethesamekeysignature.

 Asamatterofhistoricalperspective,oneshouldnotethatthejazzmodesdorian,mixolydianand thelikearescalesandnotcompositionalmodesasinMedieval,Renaissance,orotherclassical musicdefinitionsorusages. ThefirstoccurrenceofthesenameswasintheancientGreekperiod.Constructsofmusicwere derivedfromcombiningfournoteunitscalledtetrachordsasusedinkitharaplaying(aharplike instrument).Tetrachordswerecombinedtoformwhatwemightcallscalesandmusicwas composedwithinthesegroupsofnotes.Someofthescalesthusderivedparallelthejazzmodes innameandintervallicrelationship,suchasdorian,butothersdonot;someincorporatequarter tonesorhaveotherintervalrelationshipsverydissimilartotheabovejazzscales. Greekmusictheoryprinciplesprogressedthroughandweremixedwithothercultures,suchas HebrewandByzantine,totheWesternEuropemedievalmodesandcodifiedbythe9thcentury. Therewereeightmedievalmodes:dorian,hypodorian,phrygian,hypophrygian,lydian, hypolydian,mixolydian,andhypomixolydian.Onecanseethenamerelationstothejazzmodes. Thepitchrelationshipsofdorian,phrygian,lydian,andmixolydianrelatetothejazzmodesofthe samenames;however,usagewasnotthesame.Ionian,aeolian,andlocrianaremuchlater additions. Modalmusic,asitwasintheMedievalthroughtheRenaissanceeras,bydefinitionismusicthat usesaspecificgroupofnotessomewhatexclusivelywithoutattentiontochordprogression,with tonalcenterbutnotasinthemajor/minortonalsystemordiatonicmusic(whichbeganc.1600, codifiedinTraitdel'harmonie,1722byJeanPhilippeRameau).Medievalandespecially Renaissancetheoryismelodicwithconcernforintervallicharmony.ModaljazzsuchasSoWhat orImpressionsstayonasinglechordforalongperiodoftimeand,eventhoughtheyhavemore thanonetonalcenter,areclosesttobeingtrulymodalandaptlynamed. Thus,thejazzmodesarethoughtofasmode=aspectI,referringtoitsrelationtomajorasaboveor otherknownscalebasisincludingascendingmelodicminorandharmonicminor.Thejazzmodes arenotmodalintheclassicalorhistoricalsensebutarescales.

Worksheets
Worksheetsareorganizedintopackets: 1. Major:Scale,Arpeggio,Chord,Pattern 2. Minor:Scale,Arpeggio,Chord,Pattern 3. Dominant:Scale,Arpeggio,Chord,Pattern 4. Chormaticism:DominantBebop,MinorBebop,MajorBebop,PickupandPassingNotes, DiatonicEnclosure,ChromaticEnclosure,InclusivePattern 5. iiV7I:VoicingI,VoicingII,OneMeasurePattern,TwoMeasurePattern Additionalworksheetsinclude: Intervals ChordSymbolChart 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,a bookonjazzpatternssuchasJerryCokersPatternforJazz,areputableprofessional(i.e.Aaron Miller,RyanNielsen,MarkWatkins,JayLawrence,KeithPhillips,JustinNielsen). Addpatternstothelogtoincreasevocabulary. Chromaticism BebopScales:Dominant,Minor,Major;Bebopscalesuseachromaticpassingtonetokeepchord tonesinlinewithbeatemphasis.Thedominantandminorbebopscalesusethesamepitches, asislogicalforuseiniiV7Ipatterns.

PickupandPassingNotes DiatonicEnclosure ChromaticEnclosure iiV7I ChordVoicingsI,II,III OnemeasurePatterns TwomeasurePatterns

WorksheetPacket#1:Major
Scale Writeallscalesuptothe9thanddown. Donotusekeysignatures. Includeaccidentalsascendinganddescending. Arpeggio Writeallarpeggiosuptothe9thanddown. Donotusekeysignatures. Includeaccidentalsascendinganddescending. Chords Writechordvoicingsasintheexamplegiven. KeepvoicingscenteredaroundmiddleC. Playallchordsonthepiano,listen,becomefamiliarwiththesoundofthejazzvoicing. Playthecompanionscale,arpeggio,andpattern. Patterns Severalexamplesaregivenwiththechordmostappropriatetothepatternincluded. Findtwopatternsthatarespecifictothequality(major).Sourcesmightincludeatranscription,a jazzimprovisationtextbook,Aebersoldplayalongseries,abookonjazzpatternssuchasJerry CokersPatternforJazz,areputableprofessional(i.e.AaronMiller,RyanNielsen,Mark Watkins,JayLawrence,KeithPhillips,JustinNielsen,oravisitingguest). Includetheappropriatechordsymbolandpatternsource. Addpatternstothelogtoincreasevocabulary.

Scale
Example:

Arpeggio
Example:

Chord

Patterns(treble)
Examples:

Patterns(bass)
Examples:

WorksheetPacket#2:Minor
Scale Writeallscalesuptothe9thanddown. Donotusekeysignatures. Includeaccidentalsascendinganddescending. Arpeggio Writeallarpeggiosuptothe9thanddown. Donotusekeysignatures. Includeaccidentalsascendinganddescending. Chords Writechordvoicingsasintheexamplegiven. KeepvoicingscenteredaroundmiddleC. Playallchordsonthepiano,listen,becomefamiliarwiththesoundofthejazzvoicing. Playthecompanionscale,arpeggio,andpattern. Patterns Severalexamplesaregivenwiththechordmostappropriatetothepatternincluded. Findtwopatternsthatarespecifictothequality(minor).Sourcesmightincludeatranscription,a jazzimprovisationtextbook,Aebersoldplayalongseries,abookonjazzpatternssuchasJerry CokersPatternforJazz,areputableprofessional(i.e.AaronMiller,RyanNielsen,Mark Watkins,JayLawrence,KeithPhillips,JustinNielsen,oravisitingguest). Includetheappropriatechordsymbolandpatternsource. Addpatternstothelogtoincreasevocabulary.

Scale
Example:

Arpeggio
Example:

Chord

Patterns(treble)
Examples:

Patterns(bass)
Examples:

WorksheetPacket#3:Dominant
Scale Writeallscalesuptothe9thanddown. Donotusekeysignatures. Includeaccidentalsascendinganddescending. Arpeggio Writeallarpeggiosuptothe9thanddown. Donotusekeysignatures. Includeaccidentalsascendinganddescending. Chords Writechordvoicingsasintheexamplegiven. KeepvoicingscenteredaroundmiddleC. Playallchordsonthepiano,listen,becomefamiliarwiththesoundofthejazzvoicing. Playthecompanionscale,arpeggio,andpattern. Patterns Severalexamplesaregivenwiththechordmostappropriatetothepatternincluded. Findtwopatternsthatarespecifictothequality(dominant).Sourcesmightincludea transcription,ajazzimprovisationtextbook,Aebersoldplayalongseries,abookonjazz patternssuchasJerryCokersPatternforJazz,areputableprofessional(i.e.AaronMiller,Ryan Nielsen,MarkWatkins,JayLawrence,KeithPhillips,JustinNielsen,oravisitingguest). Includetheappropriatechordsymbolandpatternsource. Addpatternstothelogtoincreasevocabulary.

Scale
Example:

Arpeggio
Example:

Chord

Patterns(treble)
Examples:

Patterns(bass)
Examples:

WorksheetPacket#4:Chromaticism
PickupandPassingNotes ChromaticPickupNote:Anydesirednoteofemphasis,usuallyachordtone,canbeapproachedby 1/2stepeitheraboveorbelow. PassingTone:1/2stepscanconnectchordtoneswithinachord,asinthebebopscales,or betweenchordsasbelow. Transposepatternexamplein12keys. Includechordsymbols. Donotuseenharmonics. Scale Writeallscalesuptothe9thanddown. Donotusekeysignatures. Includeaccidentalsascendinganddescending. DiatonicEnclosure Precedechordtonebythediatonicscaletoneaboveand1/2stepbelow. Transposepatternexamplein12keys. ChromaticEnclosure Precedechordtoneby1/2aboveand1/2stepbelow,orvisaversa. Transposepatternexamplein12keys. InclusivePattern Noticeintheexamplethatthiscontrivedpatternincludesbothchromaticpassingtonesand enclosures. Transposepatternexamplein12keys.

PickupandPassingNotes
Example:

BebopScale:Dominant
Example:

BebopScale:Major
Example:

BebopScale:Minor
Examples:

Enclosure:Diatonic
Examples:

Enclosure:Chromatic
Example:

InclusivePattern
Example:

WorksheetPacket#5:iiV7I
iiV7IVoicings Writechordvoicingsasintheexamplegiven. KeepvoicingscenteredaroundmiddleC. Followthesequenceindicated. Playallchordsonthepiano,listen,becomefamiliarwiththesoundoftheiiV7I. Voicingoptionsareprovidedfor: Shell 3note 4note Patterns Severalexamplesaregivenwiththechordmostappropriatetothepatternincluded. Findtwopatternsthatarespecifictothequality(major).Sourcesmightincludeatranscription,a jazzimprovisationtextbook,Aebersoldplayalongseries,abookonjazzpatternssuchasJerry CokersPatternforJazz,areputableprofessional(i.e.AaronMiller,RyanNielsen,Mark Watkins,JayLawrence,KeithPhillips,JustinNielsen,oravisitingguest). Includetheappropriatechordsymbolandpatternsource. Addpatternstothelogtoincreasevocabulary. WorksheetsforoneandtwomeasureiiV7Ipatternsareprovided.

iiV7I:shellvoicing

iiV7I:3note

iiV7I:4note

Patterns:1measure(treble)
Examples:

Patterns:1measure(bass)
Examples:

Patterns:2measure(treble)
Examples:

Patterns:1measure(bass)
Examples: