MB21420 MOVEABLE SHAPES · mb21420 mel bay publications, inc. #4 industrial drive pacific, mo 63069...
Transcript of MB21420 MOVEABLE SHAPES · mb21420 mel bay publications, inc. #4 industrial drive pacific, mo 63069...
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MB21420
MEL BAY PUBLICATIONS, INC.#4 INDUSTRIAL DRIVE
PACIFIC, MO 63069
Mel Bay Guitar University Series
JAZZ CURRICULUM
BY SHERYL BAILEY
TM
MOVEABLE SHAPES CONCEPTS FOR REHARMONIZING ii-V-I’s
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© 2009 SHERYL BAILEY. ALL RIGHTS RESERVED.EXCLUSIVE SALES AGENT MEL BAY PUBLICATIONS, INC. INTERNATIONAL COPYRIGHT SECURED. B.M.I. MADE AND PRINTED IN U.S.A.
No part of this publication may be reproduced in whole or in part, or stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopy, recording, or otherwise, without written permission of the publisher.
Visit us on the Web at www.melbay.com — E-mail us at [email protected]
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Mel Bay Guitar University Series
JAZZ CURRICULUM
BY SHERYL BAILEY
MOVEABLE SHAPES CONCEPTS FOR REHARMONIZING ii-V-I’s
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ContentsPreface ........................................................................................................................................3
Chapter 1:Move it or Lose it ....................................................................................................................4
Chapter 2:A Cut Above ..........................................................................................................................10
Chapter 3:The Combined Effort..............................................................................................................16
Chapter 4:A Major Discovery ................................................................................................................22
Chapter 5:From Major to Minor ............................................................................................................28
Chapter 6:Tune In....................................................................................................................................34
About the Author ......................................................................................................................39
AcknowledgementsI would like to acknowledge the following colleagues for their inspiration, guidance and workon this project:
Kyle Clark (Finale Set-up)Jimmy WybleJack WilkinsJohn MaioneCorey ChristiansenBruce Saunders
I hope the material here will bring you inspiration and spark your creativity to new levels.Love and Light,Sheryl Bailey
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PrefaceIntroduction:
The fundamental chord progression for jazz improvisors is the II-V-I. It is the bread and butter of standard and contemporary jazz harmony. This book presents a modern concept forimprovising over this essential chord progression. By superimposing chords and scales ontothe II, V, and I we will create substitutions that alter and extend the basic chord sounds. Theresult will be fresh and exotic sounding harmonies.
How the book is organized:Each chapter focuses on a particular substitution and begins with chord voicing studies. It isimportant to play through these studies to learn their unique sound and to open your ear. I suggest recording a bass line to play along with to fully hear the substitutions. Also usethese chords in comping or chord solos to cement them into your playing.
The latter part of each chapter focuses on single note lines. The first two pages of these studies clearly outline the substitutions. The second two pages use chromaticism and containwider melodic leaps, making the substitutions less obvious.
Comments on chord voicings:The chord voicings in this book are, for the most part, derived from basic drop-2 and drop-3voicings. I’ve added extensions to the basic forms. If you are unfamiliar with the basic drop-2 and drop-3 chord shapes, study them. Drop-2 Concept for Guitar, by Charles H.Chapman, available at www.melbay.com, is a great place to start.
The extensions available for the basic chord types are listed below for handy reference:
Minor 7: 9, 11, 6, maj7Dominant 7: f9, 9, s9, 11, s11(f5), f13(s5), 13Major 7: 9, s11, s5, 6
There are many rules for usage, but, because those rules are derived from how they sound,my advice is to experiment. You’ll learn much faster by doing than by memorizing rules.When you discover the ones that sound good to you, add them to your style.
Comments on notation:I’ve often notated enharmonic notes (notes of the same pitch which are spelled differently) sothey correspond to the chord substitution rather than the original chord. For example, insteadof B on a G7 chord, Cf is used as a part of an Af-(maj7)/G substitution.
Editors Notes:-7 refers to minor 7th chords. Chord symbols with a slash ( / ) are chords above bass notes.For example: F-7/G = Fmin7 above a G bass note. In the single note studies keep in mind thataccidentals are in effect for the bar in which they occur, and are cancelled at the following barline.
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Chapter 1: Move it or Lose itLet’s explore moving -7 chords within the II-V-I progression in the key of C.
Here is the chord progression we will jazz up:| D-7 | G7 | Cmaj7 | Cmaj7 ||
1) In measure one, use a D-7 arpeggio or the D dorian scale.
2) In measure two, move the D-7 arpeggio up a minor-third to an F-7 arpeggio or the F dorian scale and play them over a G bass note. The F-7 arpeggio played over G createsG7(sus4, f9, f13). Using the F dorian scale over G creates G7(sus4, f9, s9, f13).
3) In measures three and four, use any of the following: a Cmaj7 arpeggio, the C ionian scale(also known as the C major scale), the C lydian scale, or the C bebop scale (a major scale witha passing note between the 5th and 6th scale degrees).
F-7/G = G7(sus4, f9, f13)F dorian /G = G7(sus4, f9, s9, f13)
Now our progression looks like this:| D-7 | G7 | Cmaj7 | Cmaj7 ||| D-7 or D dorian | F-7 or F dorian | Cmaj7, C ionian, C lydian, or C bebop ||
The following are chord voicings that substitute F-7/G for G7. Having a repetoire of voicingsthat apply these substitutions will expand your chord vocabulary and give conviction to thelines you play. Use these voicings as much as possible. Hearing is believing!
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Chapter 2: A Cut AboveLet’s create an altered dominant 7th chord by substituting a -(maj7) arpeggio or melodicminor scale a half-step above the root.
The chord progression we will create substitutions for remains unchanged throughout thetext, until Chapter 6, when we will transpose it into different keys:| D-7 | G7 | Cmaj7 | Cmaj7 ||
1) In measure one, use a D-7 arpeggio or the D dorian scale.
2) In measure two, play an Af-(maj7) arpeggio over a G bass note. The Af-(maj7) arpeggioover G creates G7(f9, f13). Using the Af melodic minor scale over G creates G7(f9, s9, s11,f13) aka G7alt. Af melodic minor has the same notes as the G altered Scale.
3) In measures three and four, use a Cmaj7 arpeggio, the C lydian scale, the C ionian scale,or the C bebop scale.
Af-(maj7)/G = G7(f9, f13)Af melodic minor/G = G7(f9, s9, s11, f13) = G7alt.
| D-7 | G7 | Cmaj7 | Cmaj7 ||| D-7 or D dorian | Af-(maj7) or Af melodic minor | Cmaj7, C ion., C lyd., or C bebop ||
Beginning in this chapter, the chord voicings, though constructed using substitutions overbass notes, will be named from the bass note as the root. It is up to you to record a bass linethat contains those roots and to understand the chords from both perspectives.
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16
Chapter 3: The Combined EffortIn this chapter I will expand on all the previous concepts by combining them and adding anew substitution for I, creating fluid motion up in minor-thirds.
1) In measure one, use a D-7 arpeggio or the D dorian scale.
2) In measure two, move up a minor-third to F-7 or F dorian over a G bass note and then upanother minor-third to an Af-(maj7) or Af melodic minor over a G bass note. Using these substitutions one after the other creates G7(sus4, s9, s13) moving to G7(f9, s9, s11, f13).
3) In measures three and four, move up another minor-third to B-7 over a C bass note. B-7over C creates Cmaj7(9, s11). The related chord scale is B phrygian, which adds the additional color of 6 onto Cmaj7. B phrygian contains the same notes as C lydian.
F-7/G or F dorian/G = G7(sus4, f9, f13)Af-(maj7)/G or Af melodic minor/G = G7(f9, s9, s11, s13) aka G7alt.B-7/C or B phrygian/C = Cmaj7(6, 9, s11)
| D-7 | G7 | Cmaj7 | Cmaj7 ||| D-7, D dorian | F-7, F dorian and Af-(maj7), Af melodic minor | B-7, B phrygian ||
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22
Chapter 4: A Major DiscoveryThis time around let’s use maj7 chord structures and their related scales, as the basis for oursubstitutions.
1) In measure one, use Fmaj7 or F lydian over a D bass note. Both substitutions create D-7(9). The corresponding chord scale is F lydian. F lydian contains the same notes as Ddorian.
2) In measure two, move up a minor-third to Afmaj7 over a G bass note. This creates G7(sus4, f9, f13). The related chord scale is Af lydian. This scale over a G bass creates G7 (sus4,f9, s9, f13).
3) In measure three and four, move down a minor-second and play Gmaj7 over a C bass note.This creates Cmaj7(9, s11). The chord scale is G ionian. G ionian contains the same notes asC lydian.
Fmaj7/D or F lydian/D = D-7(9)Abmaj7/G or Af lydian/G = G7(sus4, f9, s9, f13)Gmaj7/C or G ionian/C = Cmaj7(9, s11)
| D-7 | G7 | Cmaj7 | Cmaj7 ||| Fmaj7 or F lydian | Afmaj7 or Af lydian | Gmaj7 or G ionian ||
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28
Chapter 5: From Major to MinorThis chapter merges ideas from the previous chapters with a new substitution for I. I like thisparticular combination because it lends itself to flowing lines. By following the natural logicof ideas that move from major to minor you develop smooth transitions and continuousmotion.
1) In measure one, use Fmaj7 or F lydian over a D bass note.
2) In measure two, use F-7 or F dorian over a G bass note.
3) In measures three and four, move the F-7 arpeggio down a half-step to E-7 over a C bassnote. This creates a Cmaj7(9) sound. The chord scale can be E aeolian or E phrygian depending on what colors use want. These are the same chord scales as C lydian and C ionian.
Fmaj7/D or F lydian/D = D-7(9)F-7/G or F dorian/G = G7(sus4, f9, s9,s13)E-7/C = Cmaj7(9)
| D-7 | G7 | Cmaj7 | Cmaj7 ||| Fmaj7 or F lydian | F-7 or F dorian | E-7, E aeolian, or E phrygian ||
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29
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34
Chapter 6: Tune InThe final chapter is an etude using all the substitutions. The first five choruses use the substitutions in the order listed below. The sixth and final chorus combines the substitutions.
| D-7 | G7 | Cmaj7 | Cmaj7 ||becomes:| D-7 | F-7 | Cmaj7 | Cmaj7 ||| D-7 | Af-(maj7) | Cmaj7 | Cmaj7 ||| D-7 | F-7 & Af-(maj7) | B-7 | B-7 ||| Fmaj7 | Afmaj7 | Gmaj7 | Gmaj7 ||| Fmaj7 | F-7 | E-7 | E-7 ||
The etude is based on a well-known jazz tune that works its way through three different keys:D, C, and Bf. To fit with the keys in the tune, the substitutions are transposed.
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About the AuthorGuitarist Sheryl Bailey is rated among theforemost bopbased guitarists to have emergedin the 1990’s. Her attack can be direct andhard swinging, but she also exudes subtlety,elegance of phrase and a pure, warm, liquidsound. Bill Milkowski has written about her:“a modernist burner with an abundance of PatMartino-style chops, Bailey prefers angularlines, odd harmonies and the occasional touchof dissonance as she sails up and down thefretboard with fluid abandon.”—JazzTimesMagazine, Februrary 2005
Her musical activities aren’t confined togroups working strictly in the orthodox, bopbased jazz tradition, as she has toured andrecorded with bassist, Richard Bona and is amember of David Krakauer’s KlezmerMadness. Other artists are tenor saxophonist,Gary Thomas, Urban Folk and Jazz artist, KJDenhert, and pop diva, Irene Cara. While hermid 1990’s CD Little Misunderstood sees herplaying with total familiarity and command of the fusion idiom, her latest releases, Reunionof Souls, The Power of Three, and Bull’s Eye represent her love of contemporary straight-ahead jazz.
In 1995 Sheryl was awarded third place in the Thelonious Monk International Jazz GuitarCompetition, and has toured South America on behalf of the US State Department as a JazzAmbassador, honoring the music of Duke Ellington. She currently leads her own trio, TheSheryl Bailey Three (Gary Versace on Hammond B3 and Ian Froman on drums). Her 2002release, The Power of Three was critically acclaimed and charted in the top 20 of the JazzWeek radio charts. The trio conjures the essence of the Grant Green / Larry Young / ElvinJones band of the late 60’s.
She is also in demand as an educator. Sheryl has been an Assistant Professor of Guitar at theesteemed Berklee College of Music since 2000, and has been a popular clinician at theNational Guitar Summer workshop, The Stanford Jazz Workshop, The Duquesne Jazz GuitarSeminar, Uarts in Philadelphia, and at Southern Cross University in Lismore, Australia.
Sheryl’s latest release is titled, Bull’s Eye. The CD features nine new compositions and tightly woven improvisations from the trio. A track from the disc, “Old and Young Blues” wasfeatured in the Master Anthology of Jazz Solos, vol. IV (20387BCD) by Mel Bay PublicationsInc. She keeps a hectic itinerary touring, teaching, and recording.
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