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Copyright © 2000, 2010 by Jamey Aebersold Jazz®. All Rights Reserved. Printed in U.S.A.International Copyright secured. All copyrights used by permission

No portion of this book may be reproduced in any way w/o express written permission.

Published byJAMEY AEBERSOLD JAZZP.O. Box 1244New Albany, IN 47151-1244www.jazzbooks.com

GENERAL INFORMATION ........................................2Valuable Jazz Information........................................3SOLOING by Jamey Aebersold ...............................4Jazz: The Natural Music ...........................................5Suggested Listening–Jazz Artists ..........................7+LVWRULFDOO\6LJQL¿FDQW5HFRUGLQJV ........................8Tips For Learning A New Tune ................................9Practice Procedures For Memorizing Scales and Chords To Any Song ....................................9Practice Procedures–Musical Examples ..............10SONG LIST for Beginners ......................................11SCALES ...................................................................12Introduction to the SCALE SYLLABUS ................13SCALE SYLLABUS .................................................14NOMENCLATURE ...................................................15The Dominant 7th Tree of Scale Choices .............16Ten Basic Exercises–TREBLE CLEF ....................17Ten Basic Exercises–BASS CLEF .........................18TREBLE CLEF SCALES .........................................19BASS CLEF SCALES ..............................................20Ear Training .............................................................21Interval Chart ..........................................................22Basic Keyboard and the Chromatic Scale ...........23The Circle of Cycle of Fourths ..............................24Scales/Modes Based on the Major Scale .............24HOW TO PRACTICE by Jerry Coker .....................25HOW TO PRACTICE by David Liebman ................25

CONTENTSCover Photo is Jamey Aebersold

Things That Create Interest When Soloing ..........26Starting A Phrase or Melody ..................................26Jazz ARTICULATIONS ............................................27Jazz RHYTHMS .......................................................29The BLUES SCALE and Its Use .............................30F BLUES & Bb BLUES PROGRESSIONS: For TREBLE CLEF C Instruments ....................31 For Bb Instruments ............................................31 For Eb Instruments ............................................32 For BASS CLEF C Instruments .........................32PLAYING THE BLUES ............................................33What Does “To Hear” Really Mean? .....................34VARIATIONS ON BLUES ........................................35Values–Plato Quote–Bill Evans Quote .................36BEBOP CHARACTERISTICS by David Baker ......37Short List of Bebop Players ..................................38BEBOP SCALES .....................................................38Transposition Chart ................................................39Two Interesting Short Stories ................................39Jamey’s JAZZ THEORY ASSIGNMENTS ..............41II/V7/I Progression With Emphasis On The 7th Resolving To The 3rd ..................................46PIANO VOICINGS: Blues Voicings ....................................................47 Major and Dominant 7th Voicings ....................48 II/V7/I Voicings ....................................................49Jamey’s POINTS TO REMEMBER .........................52

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This booklet is provided FREE OF CHARGE by Jamey Aebersold Jazz.If you would like a complete catalog of the thousands of jazz educational materials available,

please call 1-800-456-1388 or visit www.jazzbooks.com

1

GENERAL INFORMATION

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VALUABLE JAZZ INFORMATION

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SOLOINGby Jamey Aebersold

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Some of Jamey’s Recommended Play-A-Long Volumes are:1, 24, 3, 21, 116, 84, 54, 70, 47, and 120

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PRACTICE PROCEDURES FOR MEMORIZINGSCALES AND CHORDS TO ANY SONG

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³,¶YHDOZD\VWULHGWRUHFUHDWHPHORGLHVHYHQEHWWHUWKDQWKHFRPSRVHUVZKRZURWHWKHP,¶YHDOZD\VWULHGWRFRPHXSZLWKVRPHWKLQJWKDWQHYHUHYHQRFFXUUHGWRWKHP7KLVLVWKHFKDOOHQJHQRWWRUHDUUDQJHWKHLQWHQWLRQVRIWKHFRPSRVHUVEXWWRVWD\ZLWKLQWKHSDUDPHWHUVRUZKDWWKHFRPSRVHUVKDYHLQPLQGDQGEHFUHDWLYHDQGLPDJLQDWLYHDQGPHDQLQJIXO´-- tenor saxophonist Joe Henderson

(Taken from Jamey’s volume 1 book: “How to Play and Improvise”)

9

10

PRA

CTI

CE

PRO

CED

UR

E FO

R M

EMO

RIZ

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SC

ALE

S A

ND

CH

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ght e

xerc

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list

ed b

elow

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nt th

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pica

l jaz

z ap

proa

ch to

lear

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the

basi

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for t

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lues

in B

b. Y

ou’ll

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vary

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to a

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nd

mor

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u ca

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e th

is a

ppro

ach

for l

earn

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NY

song

. Th

e B

b bl

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prog

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from

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Volu

me

42 “

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emor

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d/sc

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prog

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scal

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once

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, a

mid

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(4-b

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Afte

r you

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fam

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ou w

on’t

need

to g

o th

roug

h th

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actic

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whe

n w

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n a

new

tune

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u’ll

alre

ady

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need

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cale

s an

d ch

ords

mem

oriz

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mit

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11

SONG LIST FOR BEGINNERS

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Memorize the melodyMemorize the chord progression

Memorize the various scales/chords

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12

SCALESMajor = = 1 2 3 4 5 6 7 8Dom. 7th = 7 = 1 2 3 4 5 6 7 8Minor = = 1 2 3 4 5 6 7 8(Dorian)

These are the three most-used scales and chords.

Half-dim. = Ø = 1 2 3 4 5 6 7 8 BØ = C = B C D E F G A B BØ 2 = B C D E F G A B

Half-diminished scales are the same as a major scale 1/2 step above.

2 =“Half-dim. 2”, like:

Blues scale = 1 3 4 4 5 7 8Major pentatonic = 1 2 3 5 6 8Minor pentatonic = 1 3 4 5 7 8Minor pent. = 1 2 3 5 6 8(J. Coltrane)

Scales are your best friends—get to know them inside out. They’ll do whatever you ask them to do. Make sure you know them well.

1) = Major 7th, it can mean a major scale (C ) or it can mean a major 7th note (C )

2) 7 = Lowered 7th 3) – = Minor (usually Dorian Minor) 4) O = Diminished scale or chord 5) Ø = Half-diminished scale or chord 6) + or = Raise the note 1/2 step 7) or = Lower the note 1/2 step 8) 3 = Minor third interval (= 3 half-steps) 9) 9 after a letter (dom.7th chord) means there

are 3 altered tones: 9, 9 & 4 10) 9 after a letter (dom.7th chord) means there

are 4 altered tones: 9, 9, 4 & 5

b

13

INTRODUCTION TO THE SCALE SYLLABUS

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14

CHORD/SCALE SYMBOL SCALE NAME WHOLE & HALF STEP SCALE IN KEY OF C BASIC CHORD CONSTRUCTION IN KEY OF C C Major W W H W W W H C D E F G A B C C E G B DC7 Dominant 7th (Mixolydian) W W H W W H W C D E F G A B C C E G B DC Minor (Dorian) W H W W W H W C D E F G A B C C E G B DCØ Half Diminished (Locrian) H W W H W W W C D E F G A B C C E G BC° Diminished (8 tone scale) W H W H W H W H C D E F G A A B C C E G A (B )

5. DIMINISHED SCALE SCALE NAME W & H CONSTRUCTION SCALE IN KEY OF C BASIC CHORD CHOICES IN KEY OF C C° Diminished (8 tone scale) W H W H W H W H C D E F G A A B C C E G A

4. HALF DIMINISHED SCALE NAME W & H CONSTRUCTION SCALE IN KEY OF C BASIC CHORD SCALE CHOICES IN KEY OF C CØ Half Diminished (Locrian) H W W H W W W C D E F G A B C C E G BCØ 2 (CØ9) Half Diminished #2 (Locrian #2) W H W H W W W C D E F G A B C C E G B DCØ (with or without 2) Bebop Scale H W W H H H W W C D E F G G A B C C E G B

3. MINOR SCALE SCALE NAME W & H CONSTRUCTION SCALE IN KEY OF C BASIC CHORD CHOICES* IN KEY Of C C or C 7 Minor (Dorian) W H W W W H W C D E F G A B C C E G B DC or C 7 Pentatonic (Minor Pentatonic) 3 W W 3 W C E F G B C C E G B DC or C 7 Bebop (Minor) W H H H W W H W C D E E F G A B C C E G B DC (maj. 7th) Melodic Minor (ascending) W H W W W W H C D E F G A B C C E G B DC or C 6 or C Bebop Minor No. 2 W H W W H H W H C D E F G G A B C C E G B DC or C 7 Blues Scale 3 W H H 3 W C E F F G B C C E G B DC ( 6 & maj. 7th) Harmonic Minor W H W W H 3 H C D E F G A B C C E G B DC or C 7 Diminished (begin with W step) W H W H W H W H C D E F F G A B C C E G B DC or C 9 6 Phrygian H W W W H W W C D E F G A B C C E G BC or C 6 Pure or Natural Minor, Aeolian W H W W H W W C D E F G A B C C E G B D

2. DOMINANT 7th SCALE NAME W & H CONSTRUCTION SCALE IN KEY OF C BASIC CHORD SCALE CHOICES IN KEY OF C C7 Dominant 7th W W H W W H W C D E F G A B C C E G B DC7 Major Pentatonic W W 3 W 3 C D E G A C C E G B DC7 Bebop (Dominant) W W H W W H H H C D E F G A B B C C E G B DC7 9 Spanish or Jewish scale H 3 H W H W W C D E F G A B C C E G B (D )C7+4 Lydian Dominant W W W H W H W C D E F G A B C C E G B DC7 6 Hindu W W H W H W W C D E F G A B C C E G B DC7+ (has 4 & 5) Whole Tone (6 tone scale) W W W W W W C D E F G B C C E G B DC7 9 (also has 9 & 4) Diminished (begin with H step) H W H W H W H W C D D E F G A B C C E G B D (D )C7+9 (also has 9, 4, 5) Diminished Whole Tone H W H W W W W C D D E F G B C C E G B D (D )C7 Blues Scale 3 W H H 3 W C E F F G B C C E G B D (D )DOMINANT 7thSUSPENDED 4thC7 sus 4 Dom. 7th scale but don’t emphasize the third W W H W W H W C D E F G A B C C F G B DC7 sus 4 Major Pentatonic built on 7 W W 3 W 3 B C D F G B C F G B DC7 sus 4 Bebop Scale W W H W W H H H C D E F G A B B C C F G B D

1. MAJOR SCALE SCALE NAME W & H CONSTRUCTION SCALE IN KEY OF C BASIC CHORD CHOICES IN KEY OF C C (Can be written C) Major (don’t emphasize the 4th) W W H W W W H C D E F G A B C C E G B DC Major Pentatonic W W 3 W 3 C D E G A C C E G BC +4 Lydian (major scale with +4) W W W H W W H C D E F G A B C C E G B DC Bebop (Major) W W H W H H W H C D E F G G A B C C E G B DC 6 Harmonic Major W W H W H 3 H C D E F G A B C C E G B DC +5, +4 Lydian Augmented W W W W H W H C D E F G A B C C E G B DC Augmented 3 H 3 H 3 H C D E G A B C C E G B DC 6th Mode of Harmonic Minor 3 H W H W W H C D E F G A B C C E G B DC Diminished (begin with H step) H W H W H W H W C D D E F G A B C C E G B DC Blues Scale 3 W H H 3 W C E F F G B C C E G B D

LEGEND:+ +DOI6WHS: :KROH6WHS 0DMRUWKRU UDLVH+ RU ORZHU+ Ø +DOIGLPLQLVKHG +0LQRU7KLUGTHE SCALE SYLLABUS

FIVE BASICCATEGORIES

MAY BEWRITTEN

G-/C

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15

NOMENCLATURELEGEND: or = raise 1/2 step; or = lower 1/2 step; H = Half Step; W = Whole Step

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CHORD/SCALE TYPE ABBREVIATED CHORD/SCALE SYMBOL

* 0$-25,RQLDQ::+:::+&'()*$%& C C &PDM&PD&PD&PDM&0&0&PDM&PDM

* '20,1$176(9(17+0L[RO\GLDQ::+::+:WK0RGHRI0DMRU&'()*$% C C7&&&

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* These are the most common chord/scales in Western Music.

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THE DOMINANT 7th TREE of SCALE CHOICES

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EXAMPLE: ||&|&| F | F |$E|$E|'E|'E|| (PEHOOLVKWKHPHDVXUHVZLWKWKHVHFKRUGV&DQG$E

The altered tones are in bold type7KRVHWRQHVXVXDOO\UHVROYHE\half-stepWRDVFDOHRUFKRUGWRQH7KLVDPRXQWVto tension then release,W¶VDQDWXUDORFFXUUHQFHLQPXVLF7KHUG¶VDQGWK¶VDUHXQGHUOLQHG

SCALES

1. DOM.7th & &'( F G A %E& 7KLV LV WKH EDVLF GRPLQDQW WK VRXQG %HFDUHIXOKRZ\RXWUHDWWKHWKWRQH8VHLWDVDSDVVLQJWRQH

2. BEBOP & &'( F G A %E B& 3OD\%QDWXUDODVDSDVVLQJ WRQH ,W VKRXOGDOZD\V DSSHDU RQ DQ XSEHDW never on the GRZQEHDW

3. LYDIAN DOM. & &'( F# G A %E& 7KHZDVLVDIDYRULWHQRWH,WXVHGWREHFDOOHGDE

4. WHOLE-TONE & &'( F# G# %E& 7KLVVFDOHRQO\KDVWRQHV,WLVDV\PPHWULFDOscale used often in cartoon music and by 'H%XVV\DQG5DYHO[Has a #4 and #5]

5. DIMINISHED = &E &Db D# ( F# G A %E& 7KLVVFDOHKDVGLIIHUHQWWRQHV,WLVV\PPHWULFDODQG LVDOVRXVHG LQFDUWRRQPXVLF0LFKDHO%UHFNHULVDPDVWHURIWKLVVFDOHVRXQG[Has a b9, #9 and #4]

6. DIM. WHOLE-TONE & &Db D# ( F# G# %E& 7KLVVFDOHKDVIRXUDOWHUHGWRQHVZKLFKKHOSFUHDWHWHQVLRQ [Has a b9, #9, #4 and #5]

7. SPANISH or JEWISH SCALE &E &Db ( F G Ab %E& 7KLV VFDOH LV XVHGRIWHQZKHQSOD\LQJ LQ DPLQRUNH\,W¶VWKHVDPHDV)KDUPRQLFPLQRU[Has a b9 and b6]

8. CHROMATIC SCALE & &C#'D# ( F F# G G# A A#%&WKH0XVLFDO$OSKDEHW &Db'Eb ( F Gb G Ab A Bb%&

$Q\WLPHWKHUHLVDGRPLQDQWWK\RXPD\ZDQWWRH[SHULPHQWZLWKWKHVHVFDOHV7KHSURSHUXVHRIWKHVHYDULRXVVFDOHVLVSDUWRIZKDWPDNHVMD]]VRDSSHDOLQJ(QGOHVVYDULHW\LQWKHKDQGVRIDPDVWHUPDNHVEHDXWLIXOPXVLF'RQ¶WEHDIUDLGWRWU\WKHVHVRXQGV,WPD\WDNHVRPHWLPHIRU\RXUHDUVWREHFRPHDFFXVWRPHGWRWKHVRXQGDQGWKH¿QJHULQJV7KHERRNFDOOHGPatterns For Jazz$HEHUVROGSURGXFWFRGH³P-T´IRUWUHEOHFOHILQVWUXPHQWV³P-B´IRUEDVVFOHIOLVWVMD]]SKUDVHVEDVHGRQPDQ\RIWKHVFDOHVDERYH

16

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TEN BASIC EXERCISESTREBLE CLEF

³$GXOWVRIWHQKDYHWR¿JKWWKHLUZD\EDFNWRLQWXLWLRQ´*HRUJH%RXFKDUGAuthor of “Intermediate Jazz Improvisation”

17

18

PREP

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Bel

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ese

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Afte

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Jazz is creative. Creation involves change. How much are you willing to change?

TEN BASIC EXERCISESBASS CLEF

19

TREB

LE C

LEF

TREBLE CLEF SCALES

Your voice has been with you much longer than your instrument.Use it to sing with; then transfer the music to your instrument.

20

BA

SS C

LEF

BASS CLEF SCALES

It doesn’t hurt to think or to use your mind. Of course, your ego will tell you otherwise.

21

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22

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23

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25

HOW TO PRACTICE IMPROVISATIONby JERRY COKER

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HOW TO PRACTICEby DAVID LIEBMAN

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26

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THINGS THAT CREATE INTEREST WHEN SOLOING

27

ARTICULATIONS:How To Better Express Yourself

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28

29

30

THE BLUES SCALE AND ITS USE

The blues scale consists of the following: Root, b3rd, 4th, #4th, 5th and b7th. EXAMPLE: F blues Scale = F, Ab, Bb, B, C, Eb, F

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31

Blues Progressionsfrom Volume 21 “Gettin’ It Together” of the Aebersold Play-a-long Series

32

Blues Progressionsfrom Volume 21 “Gettin’ It Together” of the Aebersold Play-a-long Series

33

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IMPROVISATION: PLAYING THE BLUES

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CONCLUSIONS: 3OD\ZKDW\RXKHDULQ\RXUKHDG5HFRUG\RXUYRLFHDQGWUDQVFULEHLWRQ\RXUJLYHQLQVWUXPHQW 6LQJZLWK\RXUYRLFHZKLOHGULYLQJVKRZHULQJZDONLQJHWF7KLQNDERXWWKHLQWHUYDOV\RXDUHVLQJLQJ$UH\RXVLQJLQJ

ELWVDQGSLHFHVRIVFDOHVRUFKRUGV" /LVWHQWRMD]]SOD\HUVSOD\WKHEOXHV &KHFNRXW9ROXPH³1RWKLQJ%XWWKH%OXHV´SOD\DORQJERRNDQG&'VHW,I\RXDOUHDG\KDYHWKLVYROXPHKDYH\RX

WULHGSOD\LQJZLWKDOOWKHWUDFNVRUKDYH\RXMXVWSOD\HGWKHEOXHVLQ%EDQG)"7LPHWRPRYHRQ 5HPHPEHUOHDGLQJWRQHVDUHWKHUGDQGWKXVXDOO\7KHVHWRQHVVKRXOGEHHPSKDVL]HGLQRUGHUWREULQJRXWWKH

KDUPRQLFPRYHPHQWIURPFKRUGWRFKRUG 8VHHYHU\WKLQJ\RXKDYHOHDUQHGDERXWPHORGLFFRQVWUXFWLRQZKHQSOD\LQJRQDEOXHV'RQ¶WMXVWSOD\RQWKHEOXHVVFDOH

7KDWVRXQGFDQZHDUSUHWW\WKLQLQWKHKDQGVRIDQRYLFHEXWFDQVRXQG¿QHZKHQLQWHUVSHUVHGZLWKSKUDVHVIURPWKHRULJLQDOKDUPRQ\

7UDQVFULEHDVRORRUDSRUWLRQRIDIDYRULWHVRORDQGSOD\LWRQ\RXULQVWUXPHQWZLWKWKHVDPHLQÀHFWLRQVDVWKHUHFRUGHGYHUVLRQ7KHMD]]WUDGLWLRQKDVEHHQSDVVHGGRZQE\LPLWDWLRQDQG\RXFDQEHQH¿WJUHDWO\E\WUDQVFULSWLRQV

34

WHAT DOES “TO HEAR” REALLY MEAN?³7R+HDU´JLYHVFRQ¿GHQFHLQSHUIRUPDQFHSUDFWLFLQJWHDFKLQJFRPSRVLQJDQGOLIHLQJHQHUDO³7R+HDU´JLYHVPRUHHQMR\PHQWDVDOLVWHQHU+HVKHKHDUVDWDGHHSHUOHYHORIDSSUHFLDWLRQDQGXQGHUVWDQGLQJDQGWKLVOHYHO

JURZVDVWKH\HDUVSDVV³7R+HDU´ZLOOHDUQ\RXDSSUHFLDWLRQDVWHDFKHUSHUIRUPHUEHFDXVH\RXUSOD\LQJDQG\RXUWHDFKLQJFRDFKLQJZLOOUHÀHFW\RXU($5¶6

NQRZOHGJH<RX¶OOVD\DQGSOD\WKLQJVZKLFKUHÀHFW\RXUNQRZOHGJHDQGWKLVFDQEHH[WUHPHO\KHOSIXOWRRWKHUVLQWKHLUPXVLFDOTXHVW

³7R+HDU´LQVWLOOVLQGHSHQGHQFHLQDJRRGVHQVH,WKHOSVGLVSHOWKH³P\WKV´RIMD]]DQGRSHQRQH¶VFUHDWLYHFKDQQHOV³7R+HDU´UHPRYHVEXUGHQVDQGEDUULHUV

³7R+HDU´PDNHVRQHIHHOZRUWK\RIEHFRPLQJSDUWRIWKHZKROH,WSURYLGHVDFHUWDLQDPRXQWRIVHFXULW\DQGFRQ¿GHQFHZKLFKDOORZVXVWRDSSURDFKZLWKDVVXUDQFHWKHVSULQJERDUGRIRQH¶V³LQQHUPXVLF´³7R+HDU´UHPRYHVLQVHFXULW\ZKLFKDOORZVWKHPLQGWRIXQFWLRQSURSHUO\LQLWVQDWXUDOVWDWH

³7R+HDU´XOWLPDWHO\PHDQVIUHHGRP

35

S T U D I OImprovisation / by Jamey Aebersold Variations on Blues

My last article dealt with the Blues (12 bar blues), so I would like to follow up with variations on the blues progressions that have been in common use in the jazz idiom. The term “three chord songs” are usually referring to the simplest of blues progressions. If you are in the key of F, the three chords which form the basis of the blues in that key are F7, Bb7, and C7. F7 is called a roman numeral I (one) chord. 7KH%ELVFDOOHGWKH,9IRXUEHFDXVHLWLVEXLOWRQWKHIRUWKVFDOHVWHSRIWKH)VFDOHDQGWKH&LVFDOOHGWKH9¿YHFKRUGXVXDOO\FDOOHGD9FKRUGEHFDXVHLWLVIRXQGRQWKH¿IWKVFDOHVWHSRIWKH)VFDOH$WKUHHFKRUGWXQHFRXOGDOVREHFDOOHGDVRQJWKDWXVHVRQO\,,9and V chords.

As blues evolved in the hands of the jazz musicians across the country by way of the radio and home stereos, more and more musicians played blues and naturally some would take liberties with the chord structure and alter the chords to match what they were hearing in their mind’s ear. As the various alterations were passed from musician to musician, they became part of the blues structure.

I have listed 17 different blues progressions found in Dan Haerle’s book “Jazz/Rock Voicings for the Contemporary Keyboard Player”, pub-lished by Studio P/R, Inc. The progressions read from left to right! The ones at the top are the easier, simpler progressions. As you move down the page they become more altered and present more of a challenge to the up anc coming jazz player. It is best to practice with one complete progression until you feel comfortable with it, then move on to the next one. You may also want to substitute a measure in one blues with the same measure in another blues below or above. Number 14 is one that Charlie Parker used on a blues called Blues For Alice and another called Laird Bird. Number 16 uses a steady stream of minor chords (ii) moving to dominant 7th chords (V7) usually called ii/V7’s or a series of ii/V’s. Experiment with the various progressions.

Begin slowly so you can hear the root progression clearly. In time, your mind will remember it and you can move more rapidly. Try to memorize each progression as you are working on it. Memory is a key process in improvising! Listen to jazz players on records and see if you can hear when they are substituting chords or scales or licks or patterns over the basic three chord progression. The masters do it all the time and with such ease that often our ears don’t even realize they have deviated from the basic progression being played by the rhythm section. You may want to check out Volume 2 “Nothin’ But Blues” in my play-a-long book/cd series. It contains eleven different blues progressions played by the rhythm section and you can play and practice along with them. Bass players and piano players can even turn off one channel of their stereo and substitute themselves for the player on the recording. It is a great way to practice with a profes-sional rhythm section.

,QRUGHUWRSOD\EOXHV\RXKDYHWROLVWHQWRSHRSOHZKRSOD\EOXHV/LVWHQWRWKH¿QHVWSOD\HUVDOZD\V

EXAMPLES OF BLUES PROGRESSIONS(In the Key of F)

by Dan HaerleRead from left to right!

1 2 3 4 5 6 7 8 9 10 11 12MeasureNo.

1. F7 F7 F7 F7 Bb7 Bb7 F7 F7 C7 C7 F7 F7 2. F7 F7 F7 F7 Bb7 Bb7 F7 F7 C7 Bb7 F7 C7 3. F7 Bb7 F7 F7 Bb7 Bb7 F7 F7 G7 C7 F7 C7 4. F7 Bb7 F7 F7 Bb7 Bb7 F7 D7 G7 C7 F7 C7 5. F7 Bb7 F7 F7 Bb7 Bb7 F7 D7 Gmi7 C7 F7 Gmi7 C7 6. F7 Bb7 F7 F7 Bb7 Eb7 F7 D7 Db7 C7 F7 Db7 C7 7. F7 Bb7 F7 Cmi7 F7 Bb7 Eb7 F7 Ami7 D7 Gmi7 C7 Ami7 D7 Gmi7 C7 8. F7 Bb7 F7 Cmi7 F7 Bb7 Eb7 A_7 D7 Gmi7 C7 Ami7 D7 Gmi7 C7 9. F7 Bb7 F7 Cmi7 F7 Bb7 Bmi7 E7 F7 E7 Eb7 D7 Gmi7 C7 Bb7 Ami7 D7 Gmi7 C710. FM7 Emi7 A7 Dmi7 G7 Cmi7 F7 Bb7 Bo7 A_7 D7 Ab_7 Db7 Gmi7 C7 Db_7 Gb7 F7 D7 Gmi7 C711. FM7 Emi7 Eb_7 Dmi7 Db_7 Cmi7 Cb7 BbM7 Bbmi7 Ami7 Ab_7 Gmi7 C7 Ami7 Ao_7 Gmi7 Gb12. FM7 BbM7 A_7 G_7 Gb_7 Cb7 BbM7 Bbmi7 Ami7 Ab_7 Gmi7 Gb7 FM7 Ab_7 Gmi7 Gb13. FM7 BbM7 A_7 G_7 Gb_7 Cb7 BbM7 Bbmi7 Eb7 AbM7 Ab_7 Db7 GbM7 Gmi7 C7 Ami7 D7 Dbmi7 Gb 14. FM7 Emi7 A7 Dmi7 G7 Cmi7 F7 BbM7 Bbmi7 Eb7 Ami7 Ab_7 Db7 Gmi7 C7 Ami7 D7 Gmi7 C7 15. FM7 Emi7 A7 Dmi7 G7 Gbmi7 Cb7 BbM7 Bmi7 E7 Ami7 Ab_7 Db7 Gmi7 C7 Bb7 Ami7 D7 Gmi7 C716. F#mi7 B7 Emi7 A7 Dmi7 G7 Cmi7 F7 BbM7 Bbmi7 Eb7 AbM7 Ab_7 Db7 GbM7 Gmi7 C7 Ami7 D7 Gmi7 C717. FM7 F#mi7 B7 EM7 EbM7 DbM7 BM7 BbM7 Bmi7 E7 AM7 Ami7 D7 GM7 GbM7 FM7 AbM7 GM7 Gb

NOTE: Portions of these progression could be combined with each other to create hundreds of slight variations of the above. Notice that SUDFWLFDOO\DOOEOXHVSURJUHVVLRQVIROORZDVLPLODUEDVLFIRUPZKLFKLVDVIROORZV)LQDOPHDVXUHV9¿YHFKRUGRULL9VXEVWLWXWHreturning to a I (one) chord.

36

5HSULQWHGIURP-,03,(5&(¶6³%LJ*ROGHQ7UXPSHW(QF\FORSHGLD´3XEOLVKHGE\&KDUOHV+DQVHQ0XVLF%RRNV

VALUES

THE GREATEST HANDICAP --- FEAR THE BEST DAY --- TODAY EASIEST THING TO DO --- FIND FAULT MOST USELESS ASSET --- PRIDE THE GREATEST MISTAKE --- GIVING UP THE GREATEST STUMBLING BLOCK --- EGOTISM THE GREATEST COMFORT --- WORK WELL DONE MOST DISAGREEABLE PERSON --- THE COMPLAINER WORST BANKRUPTCY --- LOSS OF ENTHUSIASM BEST TEACHER --- ONE WHO MAKES YOU WANT TO LEARN GREATEST NEED --- COMMON SENSE MEANEST FEELING --- REGRET AT ANOTHER’S SUCCESS BEST GIFT --- FORGIVENESS GREATEST KNOWLEDGE --- GOD GREATEST THING IN THE WORLD --- LOVE

SUGGESTION: Put these values as a pin-up in your practice room.

BILL EVANS - piano player

(YDQVIRUJHGDZKROO\RULJLQDODQGFRPSOHWHO\SHUVRQDODSSURDFKWRMD]]SLDQR(YDQVRQFHVDLG³0XVLFVKRXOGHQULFKWKHVRXOLWVKRXOGWHDFKVSLULWXDOLW\E\VKRZLQJDSHUVRQDSRUWLRQRIKLPVHOIWKDWKHZRXOGQRWGLVFRYHURWKHUZLVH,W¶VHDV\WRUHGLVFRYHUSDUWRI\RXUVHOIEXWWKURXJKDUW\RXFDQEHVKRZQSDUWRI\RXUVHOI\RXQHYHUNQHZH[LVWHG7KDW¶VWKHUHDOPLVVLRQRIDUW7KHDUWLVWKDVWR¿QGVRPHWKLQJZLWKLQKLPVHOIWKDW¶VXQLYHUVDODQGZKLFKKHFDQSXWLQWRWHUPVWKDWDUHFRPPXQLFDEOHWRRWKHUSHRSOH7KHPDJLFRILWLVWKDWDUWFDQFRPPXQLFDWHWRDSHUVRQZLWKRXWKLVUHDOL]LQJLWHQULFKPHQWWKDW¶VWKHIXQFWLRQRIPXVLF´

Musical Trainingis a more potent instrument than any other,

because rhythm and harmonyÀQGWKHLUZD\

into the inner places of the soul. -- Plato

37

BEBOP CHARACTERISTICSCompiled by David Baker

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38

BEBOP SCALES: MAJOR = 1, 2, 3, 4, 5, 5, 6, 7, 1 -- C D E F G G A B CDOM.7th = 1, 2, 3, 4, 5, 6, 7, 7, 1 -- C D E F G A B B CMINOR = 1, 2, 3, 3, 4, 5, 6, 7, 1 -- C D E E F G A B CHALF-DIM = 1, 2, 3, 4, 5, 5, 6, 7, 1 -- C D E F F G G B C

PROPER USE OF THE BEBOP SCALE WILL INSTANTLY MAKE YOUR MUSICAL LINES MORE MATURE AND ALIVE.

CHECK OUT JOE RIPOSO'S BOOKS ON BEBOP SCALES:BEBOP SCALES AND PATTERNS - (Order Code: BEBOP (Treble) or BEBOP-BC (Bass Clef)TARGET AND APPROACH TONES (Order Code: TAT)

$OORIWKHVHERRNVDUHDYDLODEOHIURP-DPH\$HEHUVROG-D]]YLVLWRXUZHEVLWHDWwww.jazzbooks.com

BEBOP SCALES

7KH³%(%23´VFDOHFDQEHXVHGRYHUDQ\TXDOLW\PDMRUPLQRUGRPWKRUKDOIGLP,WLVSUREDEO\XVHGPRVWRIWHQRYHU'RPWKDQG'RULDQPLQRUFKRUGVFDOHVC7 Bebop scale = C D E F G A Bb B C -- (This is also called the 7th scale.)'RQ¶WDOORZWKH%WRIDOORQDGRZQEHDW,W0867IDOORQWKHXSEHDW%HDWVDQGDUHGRZQEHDWV*RRGEHJLQQLQJVWDUWLQJQRWHVIRUDVFHQGLQJHLJKWQRWHVOLQHVDUHE)RUGHVFHQGLQJHLJKWKQRWHOLQHVWKHVDPHDVDVFHQGLQJE7KHVHDUH$//FKRUGWRQHV:KHQ\RXEHJLQDSKUDVHRQWKHQGWKRUWKQRWHRIWKHVFDOH\RXPXVWXVHDSDVVLQJWRQHRUFKURPDWLFLVPVRPHZKHUHLQWKHSKUDVHLQRUGHUWRPDNHWKH%IDOORQDQXSEHDW%HFDUHIXOWRXVHSURSHUMD]]DUWLFXODWLRQRU\RXPD\QHJDWHWKHHIIHFWLYHQHVVRIWKH%HERSVFDOHVRXQGDoing the above will make your phrases sound natural and more like what you hear on records.

&KDUOLH3DUNHUDOWRVD['L]]\*LOOHVSLHWUXPSHW%XG3RZHOOSLDQR&KDUOLH0LQJXVEDVV0D[5RDFKGUXPV7KHORQLXV0RQNSLDQR6RQQ\6WLWWDOWRWHQRUVD[&OLIIRUG%URZQWUXPSHW:DUGHOO*UD\WHQRUVD[$O+DLJSLDQR+RZDUG0F*KHHWUXPSHW)DWV1DYDUURWUXPSHW5HG5RGQH\WUXPSHW---RKQVRQWURPERQH6RQQ\5ROOLQVWHQRUVD[-DFNLH0F/HDQDOWRVD[

A SHORT LIST OF BEBOP PLAYERS

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The circled note is the extra, added tone.

39

TWO INTERESTING SHORT STORIES

7KHIROORZLQJWZRVWRULHVDUHWUXH7KH&KDUOLH3DUNHUVWRU\LVIURPDUHFRUGHGLQWHUYLHZZLWK/HRQDUG)HDWKHU,WLVDYDLODEOHLQWZRYHUVLRQVDVKRUWPLQXWHYHUVLRQDQGDORQJHUPLQXWHYHUVLRQ7KHORQJYHUVLRQLVIURPDUHFRUGWLWOHG³5DSSLQZLWK%LUG´7KHODEHOLV0((;$',6&2;DQGWKHUHFRUGDOVRFRQWDLQVHLJKWVRQJVE\%LUG

7KHVWRU\DERXWP\IULHQG-RKQ:HOFKZDVWROGWRPHE\KLPVHOILQ$IWHUUHDGLQJERWKVWRULHV,¶PVXUH\RX¶OOVHH%LUG¶VORYHRIPDQNLQGDQGKLVZLOOLQJQHVVWREHRIKHOS

Charlie Parker:³,NQHZKRZWRSOD\WZRWXQHVLQDFHUWDLQNH\WKHNH\RI'IRUVD[RSKRQHDOWRVD[)FRQFHUW,OHDUQHGKRZWRSOD\WKH¿UVWHLJKWEDUVRI/D]\5LYHUDQG,NQHZWKHFRPSOHWHWXQHWR+RQH\VXFNOH5RVH,QHYHUVWRSSHGWRWKLQNDERXWWKHUHEHLQJRWKHUNH\VRUQRWKLQ¶OLNHWKDW6R,WRRNP\KRUQRXWWRWKLVMRLQWZKHUHDEXQFKRIIHOORZV,¶GVHHQDURXQGZHUHDQGWKH¿UVWWKLQJWKH\VWDUWHGSOD\LQJZDV%RG\DQG6RXOORQJPHWHU\RXNQRZ6R,JRWRSOD\LQJP\+RQH\VXFNOH5RVHDQGWKHUHDLQ¶WQRIRUPRIFRQJORPHUDWLRQ\RXNQRZVRWKH\ODXJKHGPHRIIWKHEDQGVWDQGWKH\ODXJKHGDWPHVRKDUG,ZDVDERXWRUDWWKHWLPH,QHYHUWKRXJKWDERXWWKHUHEHLQJDQ\PRUHNH\V\RXNQRZ´

Jamey Aebersold:,WLVREYLRXVIURPWKHDERYHVWDWHPHQWVWKDW&KDUOLH3DUNHUGLGQ¶WNQRZWRRPXFKZKHQKHVWDUWHGRXW3UHWW\PXFKWKHVDPHDVPRVWRIXV,VXVSHFW,WLVFOHDUWKDW&KDUOLH3DUNHUPXVWKDYHVSHQWVRPHWLPHSUDFWLFLQJWKHULJKWWKLQJVOLVWHQLQJWRWKHULJKWSHRSOHDQGLQJHQHUDOJDWKHULQJDVPXFKNQRZOHGJHDERXWPXVLFDVSRVVLEOHEHFDXVHKHYHU\VKRUWO\EHFDPHDOHJHQGLQKLVRZQWLPH,UHFRPPHQGUHDGLQJWKHIROORZLQJERRNIRUPRUHLQIRRQ&KDUOLH3DUNHU¶VOLIHDOODUHDYDLODEOHIURPwww.jazzbooks.com

³%LUG/LYHV´E\5RVV5XVVHOO

TRANSPOSITION CHARTC Concert Instruments: Trombone, Piano, Flute, Guitar, Oboe, Organ, Violin, Cello, Viola, Harp, C Melody Sax, C Trumpet, Bass Guitar, Bass Violin,

Bb Instruments: Trumpet, Cornet, Clarinet, Tenor Sax, Soprano Sax

Eb Instruments: Alto and Baritone Sax, Eb Clarinet,

NOTE:&&RQFHUW,QVWUXPHQWVDUHQRQWUDQVSRVLQJ7KH\UHDGWKHLUPXVLFDVLV%ELQVWUXPHQWVPXVWSOD\WKHLUQRWHV83D:+2/(67(37KLVLVFDOOHGWUDQVSRVLQJXSDVWHS(ELQVWUXPHQWVPXVWSOD\WKHLUQRWHV'2:1WKUHHKDOIVWHSV0LQRUWKLUG7KLVLVFDOOHGWUDQVSRVLQJDPLQRUWKLUG

If we had a musical phrase comprised of these notes, here is how they would be transposed;

C Concert Instruments play: C E G Bb A G F D D G B E A

Bb Instruments play: D F A C B A G E E Ab C F B

Eb Instruments play: A C E G F E D B B E A C F

40

John Welch:³,ZDVHLJKWHHQ\HDUVROGDQGYHU\QDLYH,KDGVWXGLHGDUUDQJLQJZLWK%LOO5XVVR,ZHQWRXWWR6RXWK'DNRWDWRWKH8QLYHUVLW\WKHUHWRVWXG\PXVLFDQGIRXQGP\VHOIUHDOO\XQKDSS\ZLWKWKHVLWXDWLRQ,ZURWHEDFNDQGIRUWKWR%LOO5XVVRDQGKHJRWPHLQZLWK/HQQLH7ULVWDQRLQ1HZ<RUN&LW\IRUOHVVRQV6R,WRRNWKHEXVWR1HZ<RUNDQGP\¿UVWZHHNHQGLQ1HZ<RUN,ZHQWGRZQWRWKH9LOODJHZLWKP\KRUQWURPERQHWRDFOXEFDOOHGWKH2SHQ'RRU7KHUHZDVDELJVLJQRQWKHZLQGRZVD\LQJ³-DP6HVVLRQ6XQGD\$IWHUQRRQ´7KLVZDV6XQGD\DIWHUQRRQVR,ZHQWLQZLWKP\KRUQDQGDJURXSZDVSOD\LQJD%OXHVLQ)6R,WKRXJKWZHOOJUHDW,HQMR\SOD\LQJ%OXHVLQ),SXWP\FDVHRQWKHWDEOHWRRNP\WURPERQHRXWDQGMXVWZDONHGULJKWXSDQGVWDUWHGWRVLWLQZLWKWKHP0\SOD\LQJDWWKDWSRLQWLQP\OLIHZDVLQÀXHQFHGE\*HRUJH%UXQLHVD'L[LHODQGWURPERQLVWVR,VWDUWHGSOD\LQJWDLOJDWHWURPERQHZLWKWKLVJURXS7KH\LPPHGLDWHO\EURXJKW%OXHVLQ)WRDVFUHHFKLQJKDOWDQGWKHSLDQRSOD\HUVDLGµ&KHURNHHLQ(¶DQGWRRNLWDWDWHPSR\RXZRXOGQ¶WEHOLHYH,WKRXJKWZHOOWKDW¶VFRRO,GRQ¶WNQRZ&KHURNHHDQG,GRQ¶WSOD\YHU\ZHOOLQWKDWNH\DQG,VXUHFDQ¶WSOD\WKDWIDVWRQWURPERQHVR,¶OOVLWWKLVRQHRXW6R,ZHQWEDFNWRWKHWDEOHDQGODLGWKHKRUQLQWKHFDVHRQWKHWDEOHDQGVDWWKHUH(YHU\RQHZDVORRNLQJDWPHDVWKRXJKFDQFHUKDGDUULYHG)LQDOO\DJX\LQWKHDXGLHQFHFDPHRYHUDQGVWDUWHGXQVFUHZLQJP\KRUQWDNLQJLWDSDUWDQGSXWWLQJLWDZD\LQWKHFDVH$QGKHMXVWORRNHGGRZQDWPHDQGVDLGµ.LG\RX¶UHREQR[LRXV¶

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Jamey Aebersold:,IHHOWKDWWKHVHWZRVWRULHVJLYHXVDQH[FHOOHQWH[DPSOHRIVRPHRQHZKRVHHPLQJO\LQMD]]KDVPDGHLWWRWKHWRSEXWFDQVWLOOOHDQRYHUDQGKHOSWKHEHJLQQHUDQGJLYHHQFRXUDJHPHQWZKHQDOOHOVHVHHPVWRIDLO,ZRXOGOLNHWRWKLQNRQHRIWKH¿QHVWWKLQJVMD]]HGXFDWLRQFDQRIIHULVWKHGLVVHPLQDWLRQRIYDOXDEOHLQIRUPDWLRQWRHDFKFRUQHURIWKHPXVLFDOZRUOGZLWKRXWDQ\WKRXJKWRIUHWXUQ

...The music of Charlie Parker has certainly done this...

PLAY-A-LONGS FROM JAMEY AEBERSOLD FEATURING CHARLIE PARKER

VOL. 6 - CHARLIE PARKER - “ALL BIRD”,1&/8'(6 1RZ¶V 7KH 7LPH 'RQQD /HH %LOOLH¶VBounce Dewey Square <DUGELUG6XLWH 2UQLWKRORJ\

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Jamey Aebersold

H = Half Step, W = Whole Step, -3 = Minor Third (3 half steps)0DMRU6FDOH ::+:::+ :KROH7RQH6FDOHV ::::::0LQRU6FDOH :+:::+: 'LP6FDOH :+:+:+:+EHJLQZLWK:'RPLQDQWWK6FDOHV ::+::+: 'LP6FDOHV +:+:+:+:EHJLQZLWK++DOI'LPLQLVKHG6FDOHV +::+::: 'LP:KROH7RQH6FDOHV +:+::::+DOI'LPLQLVKHG6FDOHV :+:+::: %OXHV6FDOHV _:++_:/\GLDQ :::+::+0DMRUZLWK /\GLDQ'RPLQDQW :::+:+:

[ # and + means to raise 1/2 step. b or - means to lower 1/2 step. _3 means 3 half steps ]For additional study, I highly recommend Dan Haerle’s book, “The Jazz Language.”

WRITE THE NOTES TO THE FOLLOWING SCALES(use the above whole and half-step sequences as a guide)

1. B

2. A 7

3. B_7 4. BØ

5. D_

6. C 7

7. F _7

8. EØ

9. F_7

10. D7

11. G_

12. C7

13. F

14. AØ 2

15. Bb Major 4

16. A _

17. E 7

18. E_

19. B7

20. C7 4

41

42

THEORY ASSIGNMENTSUSE PENCILWRITE THE NOTES TO THE FOLLOWING CHORD SYMBOLS

WRITE THE NAME OF THE SCALE TO THE LEFT, ALSO

1. A7 4

2. B_

3. C7+9

4. B 4

5. DØ

6. A 4

7. CØ 2

8. F 4, 5

9. B _

10. E7 4

11. F7+5

12. E 7 4, 5

13. A 4

14. D 7 9

15. B7 9

16. G_

17. C7 9

18. GØ

19. D_

20. A7 9

43

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THEORY ASSIGNMENTSUSE PENCIL

44

ii V7 IUSE PENCILii - V7 - I sequences in major keys / ii - V7 - I sequences in minor keys

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MAJOR KEYS MINOR KEYS ii V7 I

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2 D_

3 B 7

4 A

5 G7

6 C7

7 G

8 A _

9 D 7

10 E7 11 C

12 B7

13 F_7

14 G

15 C_

16 F7

17 B_

18 A

19 E _

20 D7

ii V7 I

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2 A7+9

3 D7+9

4 EØ

5 A _

6 C7 9

7 FØ

8 CØ

9 B _7

10 G7 9

11 C Ø

12 G_7

13 F7+9

14 A_7

15 C 7+9

16 AØ

17 E _7

18 B7 9

19 BØ

20 D _

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THEORY ASSIGNMENTSUSE PENCILANSWER THE FOLLOWING QUESTIONS AS QUICKLY AS POSSIBLE

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Jamey Aebersold’s

POINTS TO REMEMBERTaken from his “Anyone Can Improvise!” Seminars

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ANYONE CANIMPROVISE!DVD Video

Jamey explains and demonstrates fundamental techniques used by all great jazz improvisers.

Product Code JAD - $19.95