IMPROVISING & ARRANGING ON THE KEYBOARD James Earl Pennington ASPltr PRENTICE-HALL INC., Englewood Cliffs, New Jersey 07632 Library of Congress Cataloging in Publication Data Oestereich, James. Improvising &: arranging on the keyboard. (A Spectrum Book) Includes bibliographies. CONTENTS: Basic diatonic theory arranging froID lead sheets.-Folk and country music.-[etc.J 1. Improvisation {Music} 2, Music, Popular (Songs. etc,)-Instruction and study. L Pennington, Earl. joint author. [[. Title. MT68.04 786.1 '028 80-27054 ISBN 0-13-453563-4 ISBN 0-\3-453555-3 (pbk.) 1981 by Prentice-Hall, Inc., Englewood Cliffs, New Jersey 07632 A SPECTRUM BOOK All rights reserved. No part of this book may be reproduced in any form or by any means without permission in writing from the publisher. 10 9 8 7 6 5 4 3 2 1 Printed in the United States of America Editorial/production supervisionand interior design by Frank Moorman Cover design by Judith Kazdym Leeds Manufacturing buyer: Barbara A. Frick PRENTICE-HALL INTERNATIONAL, INC., London PRENTICE-HALL OF AUSTRALIA PTY. LIMITED, Sydney PRENTICE-HALL OF CANADA, LTD., Toronto PRENTICE-HALL OF INDIA PRIVATE LIMITED, New Delhi PRENTICE-HALL OF JAPAN. INC., Tokyo PRENTICE-HALL OF SOlITHEAST ASI./\ PTE. Lm., Singapore WHITEHALL BOOKS LIMITED, Wellington, New Zealand Contents Preface, v Introduction, 1 1 Basic diatonic theory, 7 2 Keyboard arranging from lead sheets, 33 For Coltrane, 33 3 Folk and country music, 37 Ragtime Tune, 55 Mother Jones Song, 57 Lowdown Hostess Rose, 59 4 Contemporary rock and pop, 61 Disco Dan, 79 Without the Soul, 80 Easy Rock, 83 5 Playing the blues, 91 Blues, 103 ... 111 iv :# Contents 6 Developing a working application of jazz rhythm, 113 7 Modal jazz, 117 Twilight Journey, 137 A Rose in Winter, 141 8 Stride piano, 147 Don't Fool Around Much Anymore, 148 Later, 154 9 Bop and Mainstream piano styles, 157 Two Five Jive, 162 Blues A La Carte, 179 Preface In a text on the subject of keyboard improvisation, the distinction between aspects of the craft and styles of improvisation is an important one to clarify. Improvisation certainly has to do with such things as scales, chords, and arpeggios-but these aspects of the craft have an applied stylistic history that can assist in defining how they are used by a keyboard player. Many students of improvisation approach their studies with the goal of playing in certain styles they are familiar with, and they are often confused by books that deal only with parts of the stylistic whole they are hoping to learn. By stylistic whole, we are referring to the total collection of techniques and devices used to create characteristic keyboard sounds at various historical points. This whole includes chord structures, rhythmic patterns, phrasing styles, melodic concepts, and methods of arranging them at the keyboard. Too often a beginning improvisor will become attracted to the particular "licks," "riffs," or other musical ideas of one or more famous keyboard players without understanding the arranging concepts that underlie that player's individual style. Since keyboard arranging and improvising is more complex and involved than improvising on a single instrument, the purely imitative approach can lead to total confusion, unless the player has exceptional hearing abilities. Hence the thrust of this book is to clearly illustrate and demonstrate the essential arranging and improvising concepts used in selected modern keyboard styles. Clear knowledge of such conv vi # cepts can and should lead the involved musician to a personal style based on creative application rather than piecemeal imitation. Since the historical field of twentieth century improvisational styles is very broad, we have selected six major areas of concentration-folk and country, contemporary rock and pop, blues, stride piano, modal jazz, and Bop and Mainstream jazz. Basic chapters on theory, chord symbols, and jazz rhythm will help you prepare to play in these styles. Special features of the text include a comprehensive applied theory section, a section devoted to rock rhythm, a lengthy treatment of the modal jazz style, and a concluding section on walking bass solo piano style. Each chapter concludes with a workbook section for the educator or the involved student. These features should provide plenty of food for musical thought to players at all levels of skill and experience. The material is presented in a clear step-by-step manner which will enable keyboardists of varying abilities to develop a systematic approach to the styles. Special attention has been given to the clear definition of basic improvisational music vocabulary to help the beginning player avoid needless confusion. These methods have been extensively tested in our college and adult courses, and we would like to express our appreciation to the hundreds of students who assisted in clarifying the material. We would also like to express our appreciation to Duane Claussen for copying the music manuscript and to our typist Eileen McCabe. James Oestereich Earl Pennington Boston, Massachusetts IMPROVISING & ARRANGING ON THE KEYBOARD To our families JAMES OESTEREICHis a piano improvisation instructor at Cambridge Center for Adult Education and resident composer and musical director of Little Flags Theatre Foundation of Boston. EARL PENNINGTON is a piano instructor at Tufts University and Bunker Hill Community College and a composition and improvisation instructor at the Cambridge Center for Adult Education. He is also a former director of private studies at Berklee College of Music. Introduction HOW TO USE THIS BOOK Naturally, the effective use of a book about music requires the ability to read music. This book is no exception. But let us hasten to add that the musical examples have been purposefully designed to be readable by almost anyone with a basic reading ability. The book moves from simple to more advanced styles, so it can be studied in the order given by those interested in spending some time learning about each of the six areas. However, each chapter is also constructed in a very methodical way so that it can be worked with individually ifso desired. Each chapter contains a workbook section to aid in the development of drills and exercises on the points covered. This workbook should be consulted periodically as you study the chapter so the drill suggestions can function at the proper place in your learning process. The first two chapters contain basic material on music theory and chord symbols relevant to the study of improvisation-this is critical material for those not versed in theory, and it will provide enough background to facilitate study ofthe other chapters. Chapters 3-5 cover Folk and Country, Rock and Pop, and Blues styles. Each of these is presented in very basic ways and would be a good starting point for the beginner even if his/her main interest lies with the jazz material. The second half of the book begins with a short chapter on jazz rhythm that should be studied carefully, with special attention to 1 2 # Introduction the workbook. After this we cover Modal Jazz, Stride Piano, and Bop and Mainstream Jazz. These latter are three very different and distinct areas of jazz keyboard stylings and should leave the reader with a good grounding in the field of jazz improvisation. One final note-this material was written to be played at the keyboard. Some of the text may not be fully understood unless the examples are played as they are mentioned. So work with this book at the keyboard, take your time and work with each example until you understand it. Studied in this way, we are confident that steady improvement will result. TERMINOLOGY Here is a brief capsule summary of some basic musical terms used in the book. This material is intended to aid those not familiar with common terms used in improvisational materials. It is not a complete glossary since many musical terms are clearly defined in the text. Backbeat This is a term used in rock music to designate a method of accenting the second and fourth beats of a standard measure of 4/4 time. Here are some examples: Comping In jazz or improvisational playing com ping refers to the practice of playing rhythmically "under" a soloist. In several chapters comping patterns are given. Chromatic and Diatonic Diatonic refers to the "natural" scale, or the basic major scale. For example, C to C ascending or descending on the white keys. These tones would be C, D, E, F, G, A, B, C. Music is said to be diatonic if the scales and chords utilize only those notes. Keep in mind that there is a corresponding major scale of diatonic tones for each of the twelve keys. Chromatic music involves the use of half-step tones between the regular diatonic scale tones. For example, the chord progression C-F-G-C would be diatonic, while the progression C-C# -Dm would be chromatic. Introduction # 3 Motif-Riff-Lick These are three terms, classical-colloquial-slang, for a short musical idea. The terms usually refer to a melodic idea, such as a brief series of tones or notes used as a theme. Familiar examples would be the opening four notes of Beethoven's Fifth Symphony or the musical phrase for the showtune "My Mama Done Told Me." Rhythmic Notation A series of symbols representing the duration of sound or silence relative to a given tempo (tempo being the pulse of the piece). Here is a breakdown of the basic rhythmic notation used in this book. Basic one-to-one divisions-One whole note equals two half notes. One half note equals two quarter notes. One quarter note equals two eighth notes. One eighth note equals two sixteenth notes. 1 r ....r.. R,,,. : I e"ft,H" I ;t. afI II S I ,.,I "'" M/Il.f .2 S.AnI1I1Lf HoT""0 .1 Ultl) f""'" I .1 3 rJ $'" .t 46Af ,J &Ioi 1. BEAr 4 # Introduction Dotted notes-When a note appears with a dot beside it, the dot adds one half the value of the note. J. bont6 :::: QUtlATeR fl\orE J. = I III "boHle-I) E.I; ..tI'tri t.\o-n; J, :: 3J04 &AT There are some other terms that refer to different aspects of rhythmic notation. They are time signatures, articulation marks and syncopation. The following notes offer definitions. Time signatures-These are fraction numbers found at the beginning of a piece of music. The top number indicates the number of beats per measure. The bottom number indicates what type of note receives one count. 4 = Four beats to a measure, quarter note gets one beat 4 3 = Three beats to a measure, quarter note gets one beat 4 2 = Two beats to a measure, quarter note gets one beat 4 2 = Two beats to a measure, half note gets one beat 2 3 = Three beats to a measure, eighth-note gets one beat 8 Articulation marks-These are the standard articulation marks used in the book. These marks indicate how a note is played. > = Regular accent (emphasis mark) /\ = Short accent, used primarily in jazz = Tenuta mark, means hold for the full value of the note = Staccato mark, means to play the note short '-' = Tie, means connect two or more notes of the same pitch Syncopation-Syncopation involves a shifting of emphasis or accents to beats not normally emphasized. This proceeds from the fact that a 4/4 measure is normally accented on the first and third beats, while a 3/4 measure is normally accented on the first beat. Syncopation shifts the emphasis to other beats. Here is an illustration. Introduction # 5 . I J j J J II j J j J II J J NoIU'4ttc.. .!)'Neo'...TLON ,. - > :.J j j j J I j j 1$1 II II J II fl Voicing The term "voicing" is used constantly in improvisational material for keyboard. It simply refers to the arrangement of chord tones at the keyboard. For example, a C chord contains the tones C, E, and G. These tones can be placed in several different places at the keyboard, and each arrangement of the tones will produce a slightly different sound. There are five terms that make the concept of voicing a little more specific. They are Root Position, Inversion, Close Voicing, Open Voicing, and Modal Voicing. Example A shows standard inversions for a basic C chord, while example B shows the C seventh chord in its inversions. ROOT Pou:r:;:OH II ;:sa ;Z ZZ II Example C takes that same seventh chord and shows close and open voicing positions. The close voicing sets the chord down in its basic root (bottom). third, fifth, seventh arrangement; the open voicing spreads the same tones out across treble and bass clefs. There are many different kinds of open and close voicings, but at least the concept should be clear from the example. OPE.N Vore.nlE. Jl iJll :> 6 # Introduction Modal vaicings are used a great deal in modern jazz, and our chapter on the subject will explain the details. For now we will introduce the basic type of modal voicing-the fourth voicing. This is a type of chord arrangement that uses a series of fourth intervals rather than the third intervals seen in the above chords. Here is a sample of how a modal jazz player might voice a D minor chord. II.b ItINI>R Basic diatonic theory To begin arranging and improvising even the simplest kind of song requires both an understanding and an applied knowledge of basic theory. By applied knowledge we mean the ability to be able to play the material (scales, chords, progressions) at the keyboard. This section, therefore, is designed not only to provide you with an intellectual knowledge of basic theory, but also to provide a step-by-step procedure for playing it. The aim will be a working knowledge of the keyboard. Let's begin with the major scale. The C major scale falls on the white keys of the keyboard between C and C: The scale consists of seven different tones-one for each letter of the musical alphabet-plus a repeat of the first tone at the octave, which completes the scale. To determine how the scale has been constructed, we examine the sequence of whole and half steps between each tone of the scale (a half step is the distance between any two adjacent notes: C to C* , C* to D, 1)# to E, E to F, etc.; a whole step is two half steps). 7 9 8 # Basic diatonic theory Examining the sequence of whole and half steps between each tone enables us to construct a formula-l, 1, 1/z, 1, 1, 1, 1/z. Using this formula we can now begin with any tone and (making sure we use all the letters in consecutive order) construct any major scale. Let us do so with the tone D: f\. " 1\I I \ II. Notice that as we proceed from the second to third degree of the scale (the second step in our formula), we proceed from E to F# . The formula at this point calls for a whole step, and because we must use the letters consecutively, the note a whole step above E is named F#, not Gb. This occurs again between the sixth and seventh degrees. Proceeding from the note B, a whole step is called for, and, as we must use consecutive lettering, the next note is named C#, not Db. Let's now build a major scale beginning with the tone F. [k] 14 Ox it A A A A, I V:a. I I I 1'.:1As we proceed from the third to the fourth degree, we have established the notes F, G, A (F, 1 step, 1 step) and a half step is called for. The fourth degree is named Bb, not A#, as we already have an A and our formula calls for consecutive lettering. Every major scale except the C scale will contain a certain number of sharps or flats-one or the other, but not both. Now construct the following major scales in this order: G, D, A, E and B. Use your ear along with the formula as you build each scale. As you complete each scale write it down and memorize it. What pattern occurs with the number of sharps in each scale as you build them in the above order from G to B? When you have completed the construction of each of the above scales, build the remaining six scales in this order: F, Bb, Eb, Ab, Db and Gb. What pattern occurs with the number of flats in each scale as you build them in the above order from F to Gb? dfI!I",,6 "A A " 1\ I I 'I!!.Basic diatonic After you have completed constructing all twelve major scales, you should play each scale-using the proper fingering-as many times as you feel are necessary to gain a working knowledge of it. (The correct fingering for all of the major scales is given below in Example 5). If you have not practiced scales before, we suggest you play each scale hands separately at first, then hands together. Play each scale one octave, then two, then three and finally four octaves. The secret for memorizing the fingering for any kind of scale is the placement of the fourth finger. For example, when playing the C major scale, the fourth finger of your right hand will always be playing the note B, and B will always be played with the fourth finger. When playing this scale with your left hand, the fourth finger will always be playing the note D, and D will always be played with the fourth finger. 01 M ..t e. foIMOC G S' .(' -I ..,. f/ MMo( :. 3 I 3 ( ;+ ....l""l I ..., I s .., !f T I 10 # Basic diatonic :I, , ro.r Z ,.> Z II ..- .... e--. .. ... .. -e-,. .... I I s.tep"" 3 1) "I SUPS 10 If we examine the types of intervals that result between C and the other notes of the C major scale in Example 6B, we find the second, third, sixth, and seventh are major intervals; the unison, fourth, fifth, and octave are perfect. (A perfect unison is the same note sounded simultaneously, which is not possible on the keyboard of course, but is possible between two voices or instruments.) A minor interval may be formed from a major interval by decreasing the distance one half-step. This may be done in one of two ways-by lowering the upper tone one half-step: 1,.71 m ,2'. m3Q1) m (.'\10. m711. 61 ;> II z -e.-b, ..._li' 47 < .... 'I.. I srel's &TtY:, or by raising the lower note one half-step. []!I] /II ,ailO J!I ",.,A tn7t1 " ,21'111I i ' j-o?'" .,...... Z -4Ii-z II'! tJ EJf >J:eIII])"" E.m) &, B"'1 (1,5) C. .. r:tINfJ, &7 It .. , 8",,(1.5)C.."" f"fN, :1>"'7 E"" J ;JIJ e i' ? s-I s :J J J J I Pi Ji' II" bi Wi,e ! r r ! F II :r ::sz: III :J: r Play the following melody over the chords. flc e \, I I I Let's now accompany this melody with four different left hand patterns. We will use arpeggiated (Example 3), root-chord quarter-note (Example 4), country style rolling eighth-note (Example 5) and classical style broken-chord patterns (Example 6). Itr,3j f "4 F , .. I L..JIi If- f" II r .... v V v .,.t ......., F elf I....J I 1!'" .,. oCt I Folk and country music # 39 c F Fie I I ....I '--J < -t,... I, , '-oJ ill m rn m m m , ,-.:7- - -r r "'" I Ir r r r -r -t - I r ....,( I f With the above patterns you should be able to work out accompaniments for many folk songs. If working out arrangements by ear is new to you, a good place to start is to use some of the ideas above to accompany some simple songs like "London Bridge" or "Three Blind Mice." Once you are comfortable with this procedure of accompaniment, melodic improvisation can be approached. MELODIC DEVELOPMENT A basic type of improvisation is derived by developing an already existing melody. The classical genre abounds with examples of this type. Let us begin by working with a simple folk tune. [E.,71 h A7 (J7 ft-i1&4e I I iT-,Q I J D ) I' .jD I J J J11 I + n b ir A7 11,;. ;. I II I , I ,I J I ,I) I II.FJ " J D Use the following left hand accompaniment for the tune. ldl 1:> 117 117 1>Ir,e r f1 r r r r r I r fl r I r f3 f .1) G- l>Jr r==f r i R f "7I , r=r r I r r: II In our first improvisation we will construct a melody based on the chord tones of the harmony. I I J) b fl7 117, I J14\c J I fj, I I j Ifft) n , fJ ..1 ..... ..,..+ + .ll 1>7 G- 1/7 ) I 71:P ,:it I ,I 19 I I 01] r IJ I r r " .I + I A further variation is adding approach tones. The approach tone most commonly used is the half-step below the third of a chord, which usually moves up to the third-such as C to C# on the A7 chord. The approach tones are circled in the following example. ft, III f>1&111:8Btol ,I 0, & 117 f.)I j J f; r I , n .g + ,I II " 40 Folk and music # 41 Next we will mix the chord-tone approach with various scale lines. To prepare for this, play through the scales for each of the chords. These are scales that contain the accidentals of the key (D in this case) and begin and end on chord tones of the specific chords. For example, on the A7 chord, the scale would be a scale that begins on A and ascends or descends to either another A or another chord tone of the A7 chord such as C# or E. Here are the scales for the chords used in the tune. D 6, _A \ It would be valuable to note here that we are only using a few chords from the key. Each major key contains seven diatonic chords, and the same general principle regarding scale formation applies to each chord. Here are the seven scales contained in the key of D. Practicing all the diatonic scales for the key you are working with will give you a very thorough familiarity with the JrI 0 - c-e- CI'..... I.lr X eHoRll JI1 ellOtO .... .g. , key. .. " ( DI elklto 1>, ;p: IS"".. 111 CllalloF1f.,....... ......Dr (!_ (:, .g. n .,--'" ....Jt C."'>ltll :n CtloltO Jl]f C,otW 4 a... CltWl$: t .s...... , Folk and music IF 4342 IF Folk and music IThe following improvisation uses the scales of the chords. ! I 11,I I' , .,..,..( ) < f'1.. tfI LL if-i *-i 1 rr I I I b c;. :) In Example 16, two chords are used (Bb and F) with an embelI jJ I (ted' f' 1,D2I hO f I li tPl r I .,. II lished figure for each. 1:1 lJ7 ....I ,I n[!1fJ Ivu jr !oJ For a more varied improvisation try mixing the categories used above. The following version uses scale tones, broken chords, and chromatic approach tones. b I [in .r@IW mJJ 11, 1>IHff ,Q=:j l,FrJfJ II CHORD EMBELLISHMENTS In folk and country music, there are several standard methods of maintaining variety and movement within the chords. Since many tunes in this style contain only a few chord changes, it is a challenge to keep the music interesting. One very characteristic figure involves the use of the second and fourth tones of a chord scale to form improvised embellishments on the chord. For example, on a G major chord, instead of sounding the triad in root position on the first beat of the measure, use an embellishment involving the tones A and C. Notice that the chord has more variety and rhythmic interest when played in this manner. f " ,tJ V-V r +i Utrv-f 1 I I . Examples 17 and 18 demonstrate two additional samples of this kind of figure. I 1 jJ,"" ""I t f f- f I , i 1 I I I I I I f I I r rIIJ Ul-id I f I l 44 # Folk and music Dominant chords can be embellished in similar ways, except that the flat-seventh scale degree is often included in the passage. Here is an example on an F chord. It.lql f ~ sl. ( < I t I 1 I ) I LJ tf I -There are hundreds of ways to embellish triadic chords in folk and country music. The point to absorb is that it is critical to keep the harmony active and interesting in your arrangements. ( CI \ I LlJj U \ . . --.::tJ>ARPEGGIOS AND BROKEN CHORDS Many folk and country arrangements utilize combinations of arpeggios and broken chords. A thorough knowledge of these possibilities is important. The arpeggio is a series of chord tones moving up or down. Here is a standard arpeggio in F. In a folk arrangement, the arpeggio usually omits the third in the lower register to avoid a muddy sound. Folk and music # 45 r ~ \.r 1 tJY ~ A11 1Jh = A broken chord is a more random concept which simply refers to the striking of chord tones individually at different points in the rhythm. Example 23 demonstrates an example on the F chord. IEc.231 1$' iaJ J).ljl 3113 Ei r I Often accompaniment figures in this style will mix arpeggios and broken chords freely to maintain a flowing line. IE. ~ I I ~ c Pfl Qfj II The following examples demonstrate this principle in more detail. * *A good sourcebook for folk arrangements in the above styles is the Judy CoWns Songbook, particularly the song "My Father." V 46 # Folk and country music Folk and countlY music # 47 n, -+ .... -# -# A ...------.... A / It is also possible to play this kind of inner line in a more concealed way. /I / / / , ,i A /"'--.., ..... r--. .....,r-o r--.'" '--1 U L..-J< .... /f .... ....-1 ...... c. -#- ri:\ ....-1 , "' ..... --...J -.........J ,W f r-I ... ....-1r----.,J. 1- ...,1/ /&11Or the line can be played in the bass. , < I , I l nitk +- -#- -#- + L...J'" I...Jt.---L-I "I I--.J \...-'""L ;- JI t- :- f -: + -t-INNER LINES Another inner line figure begins on the 9th of a chord and moves in a pattern such as this: When the same chord is repeated for several measures, there is an obvious problem of finding a way to "move"- the chord. A method often used is one which involves the playing of an inner line. Here /I/ is an example of a standard inner line pattern on an A chord. i ,I ,I ,I 4 , J I IE..,J.I $. Here is an arpeggiated accompaniment for this line. 2,I ,I) II fI , nJr i / / t---r+ .,.. ...L#- ...L++ ..,... .... ..,... -#--#- -#-T -#- d /Here is the same line played within an arpeggio. I 48 # Folk and r-rH,nt,"" music Yet another active line can be formed by moving from the root of a chord down to a lowered seventh scale degree. This makes the chord a dominant chord which will then move nicely to a chord located a fifth down. such as A. to A7 to D. Here are some examples. I E ~ J ~ i II 117 ..b R 117 b 11 117 D -! ", 8I J ~ ' ,I ,. , raj 'j e! I ,I, IIOSe- -e ~ COMBINING MELODIC AND ACCOMPANIMENT TECHNIQUES A good folk arrangement will blend various types of embellishments and broken-chord figures. Here is an example of a broken chord pattern followed by a suspended 4th tone on a G chord. G ( i ~ ' >':;: .... ~ ....) I I I ...Here is the melody line and chord changes for "My Old Kentucky Home." Develop your own arrangement for it using the above material as a general guide. G I ' ~ 'Gil ,I C/& fr e G..I)7 (j,. A, JJ,I ,e I bi tf r ' ~ I A ,)1 J Xli J. 4'):";A I (j,.\ J I ", e/r, A I ti (j,.A, '/D tt j ,0 I I, I., ~ Go/J ,0 I j, \ II Folk and country music # 49 THE TENTH INTERVAL Tenth voicings are widely used in folk and country music to provide triadic sonority and to connect important chords of the harmony. The tenth is formed by moving the third of a chord up an octave from its position in a close voicing. The tenth interval can be formed with any type or quality of chord. Here is a series of diatonic tenths in the key of Bb. In a folk or country arrangement, the tenths would most likely be played in the following manner. Here are two standard passages using tenths going from the I to the IV chord. lOt/.50 # Folk and country music Folk and country music # 51 "f i i r!-/O+-I . f, I' 4 I, .(\ , This type of passage is often played with either a syncopated ... III r=I I -1-1If , '.J- ..,.. ,. ....\0 ". r t I I'> ,b,, -y o- j r I t>I' ,::, I 1'0:::Z: i(e;r OF e.: I. 1I - .nr - I/arJ - jC (!.:) f t./E b ... Jrhythm or with eighth-notes or triplets. c.)1.1 !.1 ( f-.zr 'T T T iY ' -J-' T .". I I eo-I I J I , SIXTHS AND THIRDS n e 1> e/. ,: .) r i" "'I '1-.T r t orI I '/ 1 ,'"It\0 1 1 Jl , 1 J I l' Tenth passages can be either diatonic or chromatic. They almost always link important basic chords in a folk or country tune. Here are some standard patterns to practice. A. DIATONIC TENTHS B. CHROMATIC TENTHS 1. I up to IV 1. I-II-"III-I/3rd to IV 2. IV down to I 2. V-VI-bVII-VII to I 3. IV up to V 3. IV to IF (dominant) 4. V down to IV 5. I down to V 6. V up to I 7. IV up to I There are several rhythmic and voicing possibilities for the above patterns. The following examples demonstrate some of them. Practice in several keys is strongly advised. Accompaniment and improvisational figures of sixth and third intervals have been essential components of this style for decades. The ragtime music of Scott Joplin and others contains countless examples of sixth and third passages in the right hand, and this material provides excellent training for aspiring improvisers. Here is a scale passage using both sixths and thirds in the right hand. b.) f ffEI'f f f frEY I Here is the same passage transposed to the key of A. I " ., 14Wi 14 HJJJ II f rf rf r f j II r r f 52=11 52 11 Folk and music Play this sixth and third scale pattern in all keys until it is comfortable. Then place a left hand beneath the pattern. These sixths and thirds can be played in a countless variety of rhythms. Example 46 demonstrates a few possibilities. :r Dr :v: :!it., 0.) R ];:, C /'.7 II E I : I F fJ 001 : I e 1:>", G- 6-7 r I AI I I-J. L...l l L.! i ., (1+ I ,. 5;/1 I rTTI , c.) r ,. ni In ,. ,. L---... rl , I---t I..-J '-' I ,-;:, knJw j -6? I!'.)"'" I n )'" * . ,... ,. ,. l.....J # II:.-' 1.-1 L....J ". " ,. ,. - ,, , I 64 # Contemporary rock and pop # 65 fit ,I c r3 n rFI , 'L.....:' L...,I I.....t:i LJ +f...L-Jl r= ;- - r-r-=:. r-1 r-;::::; .1 , --4 I .J!!II'c ,. ... .-1 :t J JlJJ I,. !"....... r-I to ,. ,....... I Irl ( I L...J J.-.Z .......... < -I ,. ,. c -" ........ , t :J ...,.. 11' , , -4,-4 .. ..,.. 4 VI ""VI G J: -J "' ......... - I r1 ITii I '-' >---'--'---1 ......... ''"-'' :> ,..,. ,...I r-r r-T""T"""1 r "'-F , ... ..L.. oj I II -r""--'" .. ,. IF! M I ........... - WJJ < , ,..". -'I' < \ ,. 1 ,.

.:J/I'I I , .,J!J ,. ,.. ,.....,. -I I -' -T ... L >,. "'1 ,.. , . I C:::!::!::I , .. ,.. too ,.. > 1>"'-" == ,. ,. r-= =,...., c.F , .. UU" ; r:I .... .\ e G.k Fit:.I ....... ...................... UilifJ; ft r-7 = r-=l r-r-r-I r, ;I .; .; iI .; /I ". ,..;::: I ,., l:I '---= = ""Wt , .. 1 i\. .. F1 rt=l Fl9'i f .. .. p.) CHORD TYPES Rock music, in its many varieties, uses all the chords we have considered thus far in the book. Percussive soundings of triads and seventh chords, with occasional passing diminished and other chromatic chords, form the harmonic backbone of most major rock styles. Example 5 illustrated several of these chords in 66 ;; Contemporary rock and pop typical keyboard arrangements. Some other chord types to be familiar with are 1. Suspended chords, 2. Ninth chords, and 3. Two-part chords. The following material demonstrates these chords. SUSPENDED CHORDS The suspended chord is one of the most widely used sounds in rock and pop music, in both up-tempo tunes and ballads. The use of suspended chord tonality adds subtle and interesting harmonic feeling. There are two types of suspended chords used in this style-the suspended fourth and the suspended ninth. They are usually symbolized by the abbreviations sus4 and sus9. The sus4 is formed by replacing the third of a triad or dominant seventh with the fourth scale degree. The sus9 is formed by replacing the root or third of a triad with the second (ninth) scale degree. Example 6 demonstrates the formation of both types. c. C$"1, S II e-::::Z; The suspended chord forms can be applied to both major and minor chords. Example 7 shows a resolution to both major and minor. Examples 7 band c demonstrate the use of suspended chords in typical ballad style chord patterns. lli1] t51 ,0 IJ)22 I::;:;;-s r ; ) yo.... Go A fu.. - :tN. :!p l'''! t/fff ,9:)$0 ; I z\z I I III II (I f 31 f rf QhlfT TKi\1 V-. \>001 ('oT IS R_-l"" Yo "lIflT f"'I '" f. 1.",., Il', -II-!' '/The B. section contains a series of extended dominant chords. The Bop and Mainstream chapter contains full explanations of these (f,i"'f/'tfl1 11', '< I ,0 J I J 1"1 f!J chords. Here is an accompaniment pattern for this portion of the , II ..4 song. \i1Ito. :bf!1IOI our 1'\0- /I.f ..,.. ... .. "" , -; '1 , -fF# . , , , :b"7 8, 1, -J..;. , &.ef -If. I T A solo break can be arranged by working out a left hand pattern for the first two chords of the song and playing a Db major scale against it. Here is the left hand figure. I , 1'\ --. J ( I l,,, j UT f3f: , , , , :> :> ,. J . ... (,I EASY ROCK In the next tune we will explore several ways of working with a simple ballad style rock tune. Here is the lead sheet. fAir IOGr. f1l C f/A Goj n \. is'; ,L :g .,. --'-, :> :> >-. -Ell>- (I A sample right hand passage might look like this. I,1$ C (; Q , " I II n ,I J )1 I ,Q r I eI,Q2J I , JUt" c r/A Ii] f G-(j 1Jt'1tI1I/',,/w =1 iD -IIil I I , r C' a I#9 J ), ft 1# I (1) f fI (! ;;;;::::iC!, I ,g 3 ISoa1 I r I:% , II J1;82 84 # The tune is sixteen measures long with a repeat. The first four measures contain a pattern of five chords that is repeated in the second four measures. The opening pattern contains a descending diatonic bass line that begins on C and ends on G. The second and third chords in the pattern require inversions with the third of the chord in the bass. The third line includes a passing diminished pattern and the last line is a simple IV-V-I cadence. We will begin by working out a half-note voicing pattern for the chord changes alone. Here are the first four measures. I G- It? II G7 oS"" 'I 6-7... 1!1-S.. :# 11 I JJTJ:, $7 , , I I I I I -df Now expand this pattern to include all the chord changes of the song. When you have worked out all the chords try placing the melody over the pattern while keeping the half-note pulse beneath. Again, here are the first four measures. c.r A very basic way to begin placing a left hand figure with the tune is to work out simple quarter- and eighth-note accompaniments. a,/e 7 1 ........ ........ d 1 I n , #- ..... ..... 1+ I I +-- I I \ ... tl>- ft.. "-III. III., r I # 85 c GIs f l r--. .,-/1 ..,. L.....!....lJ LJ---L-' LLU 1 1 II! I I I LiD These approaches are elementary and only intended to develop a feel for the tune. Let's now expand on these accompaniment methods by exploring four arranging areas. 1. Inner voicing movement against melody or chords alone. 2. Accompaniment patterns not containing the melody. 3. Bass and melodic line rhythmic interplay. 4. Improvised new melodies against the chord changes. First. an example of inner voice movement. Here is a quarter-note inner pulse. n ... "C.tEE o. f MA1f>lt Se"rr"",': -e ....."/\ I. !L Ill: 11: u.. YIr Theoretically, and for practical usage, each of these structures (with a D root played or implied in the bass) has the sound quality of a D minor (tonic) chord. Modal # 123 124 # Modal (Momentarily, switch the structures in Example 19 to your right hand and playa D in the bass with your left hand to get a better aural conception of this.) The structures built on the third and seventh degrees of the scale in Example 19 contain tritones (3 steps), and do not have a tonic sound quality. They can be used; but if they are stressed for any measurable period of time, they will detract from the basic sound of the mode. They are best used as passing chords. Left Hand Rhythmic Foundation Now, to get a basic left hand pattern that will furnish the harmonic and rhythmic foundation for the improvisation. Take the first two structures in Example 19, and at a medium tempo, play them on the first and third beats of each measure-thinking of twomeasure phrases. It."JOI 12'# F r The two structures can be played in any sequence. INQ.) , I Any sequence of the two structures can be the harmonic foundation for the improvisation. To make it swing rhythmically, vary the chords with long and short attacks. A - _. A Iz: ij rIF rJf J r r F) Ii:: c.) A ; f j\ ) A - d.) - - - !\ ,,r FIF F r Modal # 125 Again, any rhythmic pattern you choose will swing ifyou vary the long and short attacks. Practice the left hand over and over in two measure phrases, varying the attack and sequence of the chords. Remember, you don't have to stick to anyone harmonic or rhythmic sequence. The idea is to get the left hand playing as automatically as possible. Single-Note Runs When you feel you have your left-hand moving automatically and playing with a good rhythmic feeling, start improvising in the right hand using single-note runs derived from the D Dorian scale. The runs may begin and end (cadence) on any note of the scale. Make sure that your runs contain good jazz rhythms and are in two-measure phrases. Observe the following examples: C-,) -> d.)/l _ .> > IINotice when you cadence the run on the root or fifth of the scale (a, b, e of Example 23) that the phrase has a feeling of completion. When the run cadences on a note other than the root or fifth of the scale, the phrase has a tendency to want to go on. As you begin making up your own runs, be sure to keep them fairly simple and let your left hand keep the time of the twomeasure phrase for you. Playing in Four-Measure Phrases When you feel comfortable improvising runs in two-measure phrases, start playing in four-measure phrases by: a) repeating a two-measure phrase. b) adding a different two-measure phrase to the first one. I 0.:) '" >14' Gte; an n' ! IG:ii r:n in. II Modal # 127126 # Modal ::.Here are a few more examples that are more interesting because of + their varied rhythmic makeup. u II e. lI,.. Em 1)""r----Ir--lWhen you get to the point where you can play and feel a fourmeasure phrase, you will be well on your way to accomplishing 1,95I I 1]/IUi,'TL If one of the most important and difficult aspects of jazz improvis ing. Since most jazz tunes are still written in four- or eight-bar c.. h", E-. ;:. ($ A,...sections, feeling a four-bar phrase enables you to feel part or all of C) r--, r--r I r--l r---l r---l a section. nnn r IBroken Triads Another melodic technique used in contemporary modal improvisation is a device that makes use of broken triads. Simply take the Another interesting way to use broken triads is to devise patterns triads of the D Dorian scale and instead of playing all three notes using two broken parallel triads. Any two parallel triads can be of a chord simultaneously, play each one as a broken chord or used. In the following example, the G major and A minor triads arpeggio. are used. I.. " , ,, , I, " I '.' I , , I" , , I , ., II'l>m F __________ I I I I ____ G If... Ii "" G A...,Now, starting with the first, then second inversion, play each triad as a broken chord. As you continue improvising using broken triads as your melodic device, keep in mind that we have given only a few representative examples, and that any pattern or combination of patterns is , , , , + possible. You should experiment with as many combinations as I , , 6; II , , trl' ' II you can, and remember to phrase in two- and four-measure phrases.F b_ E... F Broken Fourths Play the broken triads of the scale, ascending and descending, Another contemporary melodic technique that you can make use starting at each inversion. Play these as many times as you need to of in modal improvisation is a device using broken fourths. As until they feel comfortable under your fingers. you have already explored these structures for use as the harmonic and rhythmic foundation for your left hand, you should not When you feel comfortable with the broken triads, start using have much difficulty transferring them to your right hand and them in different patterns for improvisation. Here is a very simple using them as broken chords. rhythmic example using broken triads in sequence. . I , I ...... ,. ..L I I -, I .. .. II I1$ , I .. I I II I II 11[ m: 1: U- K " ' I 128 # Modal Use them as you used the broken triads-in a sequence. I r I r ,I.' ;I JJ I 11 Or use as two parallel structures. b.)As with the broken triads, any pattern or combination of patterns using broken fourths is possible. The number of good melodic ideas that you can come up with using broken triads or broken fourths is almost endless, so continue to experiment with as many combinations of which you can conceive. At this point, we are ready to go into some ideas for more extensive improvisation. But before we do, it might be wise to stop and consider for a moment what we've done so far. At this juncture, you should be able to provide a rhythmic and harmonic foundation in your left hand, and play two- and four-measure melodic patterns consisting of single-note runs, broken triads, and broken fourths in your right hand. These melodic, rhythmic, and harmonic patterns with which we have worked and those with which we will continue, are only mechanical devices that all good jazz pianists use. It is hoped that these devices will provide methods and give you ideas to spark your own creativity. As we continue with more extensive improvisational techniques, and as you feel yourself getting control of the mechanics of each, you should strive to become as creative as possible with the devices with which you are experimenting. A hundred different pianists may use the same device a hundred different ways. The way you choose to use these devices, even at this stage in your improvising, will begin to determine what will eventually become your own sound and your own personal style. COMBINING MELODIC DEVICES Even though an entire piano solo could consist of anyone particular melodic device that we have covered, most good melodic solos in a contemporary jazz modal style would probably have :r. Modal # 129 phrases which are made up of combinations of single-note runs, broken triads, and broken fourths. Since the combination of these is endless, there really are no rules on how to put them together except with good melodic judgment and with your own personal creative instinct. Here are some examples that should help you: a) a combination of broken triads and single-note runs, b) a combination of broken triads and broken fourths, and c) a combination of all three melodic devices. ,2 A -Continue improvising in two- and four-measure phrases, combining any two or all three melodic devices within the phrase. Eventually you will reach a stage where you will find that your ear and hand are guiding your improvisation. It is not always necessary to be consciously thinking of a particular melodic device. IMPROVISATION FROM A MOTIF One of the most important, inventive, and enjoyable ways of improvising is working a motif or theme from a tune that you have first played, into the piano improvisation that is to follow. This is an attractive kind of improvisation for the aware listener as well, for if the motif or theme is used skillfully, the intelligent listener will almost always make the connection (even if it is not always a conscious connection), and be more able to identify with your improvisation. Let's take the following motif, assume it is from a tune you have just played, and work with some methods for using it in improvisation. ijC IIII 130 # Modal This two-measure motif could be the main theme ofthe tune, one that recurs during the tune, or just one of several motifs from the tune that you've decided to work into your improvisation. One of the simplest methods of using a motif is to transpose or begin the motif on other degrees of the scale. In doing this you can: a) transpose the entire motif, or b) use only a part ofthe motif as you transpose it. 1)1!JnJ.Jl!l'", I A second method of improvising on a motif is to change the note values of any or all of the notes in the motif. As in the previous examples, the entire motif or any part of it may be used. The following examples a and b use the entire motif with a change of note values. Example c uses only three notes from the motif. II Take the motif given in Example 34 and use it to create two- and four-bar improvisational phrases, working with the three methods we have just demonstrated. Experiment with both the entire motif and any part of it. You should be able to invent numerous possibilities. Other ways of working with a motif are combining any of the three previous methods that we have demonstrated, transposing all or any part of the motif, or changing the note values and adding other notes to the motif. These can all be combined to produce an incredible number of interesting phrases on any given motif. Take again the motif given in Example 34 (or devise a similar one of your own) and try combining any two or all three methods, working in two- and four-bar phrases. When you feel fairly accomplished at doing this, try putting together improvised piano solos of eight, sixteen, or thirty-two measures, using the combined methods. Here is an example of an eight-bar piano solo based on the motif in Example 34 combining the methods with which we have been working. ,.33] Modal # 131 I ije I IiE;',Still another method of working with a motif is to add notes to the original. With this method, some change in the note values of the original motif will almost always occur. In the following examples, the notes of the original motif are noted by arrows. I' c ,n] uri tt t' n 1$, - I " .,. .,. .,. t -#A final word on themes and motifs-again, these are only devices to help you discover and organize melodic, harmonic, and rhythmic ideas. It is hoped that creative improvisation will eventually evolve from them. As with the other techniques demonstrated in this chapter, feel free to use them in any way that helps you to invent new musical ideas and inspire your improvisations. NONDIATONIC TONES Unlike some other jazz idioms, modal jazz as it is composed and performed today is basically a diatonic form of music; it is pretty much restricted to the notes and chords of the particular mode being used at the time-and with good reason. For, as we have discovered at the beginning of this chapter, each mode has its own characteristic scale quality and chordal sound. Most jazz composers and performers, however, add additional notes and chords to \ I Modal jazz # 133 132 # Modal jazz the to one extent or another, depending on the type of tonahty they want to achieve. Obviously, the more non-diatonic notes and chords you add to a mode, the further away you get from the basic sound quality of that mode. Let's investigate a few basic melodic methods and, a little later in the next section, some harmonic methods of using non-diatonic notes and chords to add color to the modes. Be aware as we begin that adding certain non-diatonic notes to a mode and stressing them rhythmically, or allowing them to sustain, will detract from the basic sound quality of the mode. For instance, adding to our of D Dorian a stressed or sustained F#(major third) or C# (major (both of which are primary notes in the D major scale) wIll detract from the basic minor quality of the Dorian mode. Rhythmic stress or long duration on the note Bb will give the D Dorian mode an Aeolian character, and the note Eb, if stressed or sustained, will tend to give the mode a Phrygian quality. A of adding non-diatonic notes to a modal melody is the utIhzatIon of passing chromatic tones. Passing chromatic tones .can be used in a variety of ways, ascending and descending and, If they are not of too long a duration nor rhythmically they.can add color to the mode without detracting from Its basIc quahty. Notice in the following examples in D Dorian that the passing chromatic tones are neither rhythmically stressed nor of long duration. 0...\ " ;t -. iije &Vii 1 II' ,A fJ .D, J II , ,im II .,d:.lI ,Q I f:J , s II l' $') II I IJ II .,.II II II Try in two- and four-measure phrases using passing chromatIc tones to color your improvisation. Combine them with some of the melodic techniques you have learned thus far. A bluesy sound can be produced in minor modes by adding a flatted fifth degree of the scale, stressing it rhythmically and using it in certain kinds of melodic patterns. It will, however, drastically alter the sound of the mode. II To get an even funkier kind of bluesy sound, use the flatted fifth degree of the scale as a tritone interval with the root of the scale. IE_. a.:)" - $j: \: II e: d)?J )1' Ih, ft] I. I Experiment using the flatted fifth in improvisational phrases of two and four bars. Remember, however, that it produces a radical departure from the sound of the mode, and should only be used at times when you want to effect a particular bluesy sound. In the first section of this chapter we began our modal improvisational studies by devising two left hand structures consisting of two perfect fourths built on the first and second degrees of the scale. We have used these in a few simple but effective patterns that have provided a solid rhythmic and harmonic foundation for our right hand improvisations. Since then, we have concentrated our studies on several different methods and devices which we have used to organize and develop creative melodic improvisations for the right hand. Let's now look at some devices for the left hand that will harmonically enrich and add more harmonic and rhythmic activity to our improvisations. MORE FOURTH CHORDS One way to begin is to make use of all or several of the three-note structures of the mode that contain intervals of a perfect fourth-I, n, IV, V, VI (see Example 19 of this chapter). Experiment with several different left hand patterns, retaining the two measure left hand rhythmic phrasing that you have been using. These examples will help you. 134 # Modal II When you find and choose the new left hand patterns that you want to make use of, play them over and over again until they become automatic. Then begin using them as the foundation for your right hand improvisations. When you feel you are in complete control of your new patterns, begin changing the patterns as your ear dictates while you are improvising, as you did in a similar manner with your two original left hand structures at the beginning of this chapter. When you accomplish this, you will be improvising a much more sophisticated and harmonically interesting foundation with your left hand. CHROMA TIC PASSING CHORDS A device that can really change the harmonic and rhythmic complexity of your left hand foundation is one of chromatic passing chords. All the tones of the chord pass chromatically-either up a half step: II or down a half step: 17: : Like single passing chromatic tones, chromatic passing chords can be used in a variety of ways-ascending and descending. If they are not rhythmically stressed or sustained, they will add color and a great deal of harmonic and rhythmic activity to your improvisations without destroying the basic sound of the mode. Modal # 135 Here are some examples of how to devise left hand patterns using chromatic passing chords. II n Devise several two-measure patterns that make use of chromatic passing chords and practice using them in improvisations. Begin making a decision on how much you want to make use of them, for the degree with which you decide to use them will be an important factor in the evolution of your modal style. THE SUSPENDED FOURTH CHORD Thus far, we have restricted our left hand to the most commonly used modal structure-a three-note chord consisting of intervals of a perfect fourth. Let us now take a look at another very similar structure that is also commonly used-the suspended fourth or sus4 chord. The sus4 chord, though similar in sound, is richer and denser harmonically than the three-note chord we have been using. It is a four-note structure that uses the three notes of the fourth chord, plus an additional note an interval of a perfect fifth above the root. Another way to think of the chord is that it is like a dominant or minor seventh chord with a perfect fourth replacing the third in the chord. ])"'" tl7 117 -+ +- +-, '!J MfCl6 : J OpT II 136 # Modal In the Dorian mode, sus4 chords can be built diatonically on the I, II, IV, and V degrees of the scale. It" ifil .l7 E, G-T '''''1 II, .... -(/I>- ..L ;' ;'11' ...... +-I T II Ii: ::r In modal improvisation these sus4 chords can be used in exactly the same way as the three-note fourth chord, including the use of sus4 chromatic passing chords. I b, '\ :,>","1 6, Eo, i.... '1 '''''I l:>., Iit 0:') D -I- ..I.. b.) ii. .........L, -;' , :' :4 : !' " Devise left hand patterns using sus4 chords in the same manner that you devised your three-note fourth chords, and use them in improvisation. After you feel comfortable with them, use them in your improvisations as separate patterns or in patterns combined with three-note fourth chords. ADDITIONAL LEFT HAND PATfERNS The final type of left hand patterns that we will discuss is one that requires a good deal more left hand movement. These patterns consist of the root of the scale (played in a lower register) bined with our three-note fourth chords (played in the register in which you have been playing them). This type of left hand pattern will add a great deal of scope and depth to the sound of your entire improvisation, for the patterns not only make use of an additional low register, but also include regular movement in the left hand of an octave or more. Here are some examples of this moving type of pattern. Modal # 137 A )-Ii: SF If fJ IT,-I J fI L& Ufo' Tlit Zl ifj,. e) 1''' F...... THE &11""f MII.,OIU 1N e". As with our other left hand patterns, chromatic passing chords may be included. 1,1 Select a few of the patterns shown in Examples 50 or 51 (or devise some of your own), and practice them for use in improvisation. These patterns, when combined with right hand improvisation, require quite a bit more dexterity and coordination between hands than any of the previous patterns we have used. And you will need to practice them a great deal, both separately and in combination with your right hand before you can comfortably integrate them into a creative improvisation. ARRANGING Now that you have spent some time practicing and working with a good many improvisational techniques, let us take two contemporary modal compositions, establish some methods for arranging them on the keyboard, and begin improvising on them. The first, titled "Twilight Journey," is a 32-measure tune that repeats, making it 64 measures in actual performance. IE.;,s,,1 :P1 'Id 9 tf.: fJ I '1- 813 c. 1 i'p r7f757F - i [c I }, I ,n J2221A 2JJP ,==__ -r7 t V ----1S>2!i -11 'ttf tr-- itJl1 =, Su, .f I*G t71Z y-i7 -, I I r, '14. ::-:-.. 1 u -,-6 I e, $it,/( f!!!F- - f?b 12.- , *r j Ildl{ ....---::: 6I"', 7F=s= 3f?b - II The song begins in the mode of D Dorian or D Mixolydian and goes through a series of modulations before ending in the original mode. Each mode uses for its harmonic foundation a sus4 chord and, in this tune, each sus4 chord represents a Dorian or Mixolydian mode. Begin by playing the melody alone in the right hand. The tune should be played at a medium-fast tempo at about a metronome setting of a quarter note 138. After you have played the melody through, construct the sus4 chords in your left hand and play them several times over in sequence. If.,lll :b) to....... C1 '104 '/ f? 1;1.1&'1 , Sw'/-#-,-II-+- ....&..s121 ;' II 'f II II :' I LEFT HAND RHYTIfMIC FILLS As you can see, this tune has been composed with a lot of space, and it will be necessary to fill the space to keep this tune moving. The manner in which the space can be filled will vary, depending 138 Modal jazz # 139 on the tempo and melodic-harmonic makeup of any particular tune. In this tune we can accomplish this by establishing a constant two-measure rhythmic pattern in the left hand using the sus4 chords. This particular rhythmic pattern is devised by attacking the second and third beats of the first measure and the first and third beats of the second measure. A AI': a t 1$ i Jl'1 Work with the left hand alone playing through the tune several times using this pattern, changing the chord structure every four measures in accordance with the form of the tune. When you feel your playing of the rhythmic pattern has become automatic, add the melody in the right hand. As you can hear, the rhythmic pattern fills the space and keeps the tune moving. TIlE IMPROVISED MELODIC FILL Our arrangement as it now stands can serve adequately as a basic keyboard arrangement of the song. There are, however, some additional musical devices that will render us a more sophisticated and elaborate arrangement. One such device, the improvised melodic fill, can add additional melodic interest and activity to our arrangement. Let us begin improvising melodic fills for use in our arrangement where the melody of the tune sustains. Keeping the rhythmic pattern moving in the left hand, devise fills using the Dorian or Mixolydian modes consistent with the melodic improvisational devices of this chapter. Insert them into the second and third measures of each line in place ofthe sustaining melody. Here are some examples. b.) 111;&" ]$; II } 1 -II 140 # Modal SUSPENDED FOURTH CHORDS WITH ADDED NINTH Another musical device, a method of adding depth and harmonic interest to our arrangement, is incorporating both hands into the established rhythmic pattern, adding another note, a ninth, to our sus4 chords. In constructing this ninth chord, the left hand plays the root of the chord in the lower register, while the right hand plays the remaining tones (fourth, fifth, seventh, and ninth) in any inversion. < To involve both hands in the rhythmic pattern, play the first measure as you have been, using the left hand only for the rhythmic pattern. Beginning with the second measure, move to the two-hand position of the sus4 chord with the added ninth and continue playing the rhythmic pattern with both hands while the melody sustains or rests. ( "n f"...., v-A 10 ,. 1 I /../1. ,. L.II 7!'S Z5 r JO lA-II . :;jfJj1l ::i!fj .... )f fi?!! .......1'r?H.-4 Modal jazz # 141 After you have worked out the kind of arrangement you would like to use in playing the tune (a basic left hand rhythmic pattern alone or with improvised melodic fills, or the two-handed rhythmic pattern), begin to prepare the tune for improvisation. IMPROVISING ON SUSPENDED FOURTH CHORDS Each sus4 chord represents the harmonic foundation of a Dorian or Mixolydian mode-whichever you choose to use. You may use all Dorian or all Mixolydian modes as you improvise, or mix them in any combination-D Dorian, C Mixolydian, F Mixolydian, E Dorian. Decide on the modes you would like to use and then play over the scales, triads, and fourths that will be involved in each. In improvising, use the sus4 chords in your left hand for your harmonic and rhythmic foundation and apply the improvisational melodic techniques we have worked with in this chapter. Let us now look at our second composition, "A Rose In Winter" (Example 58). la.,581 ;Sf .:D 'l>OfU.M "$ e; ;11 U tJ I! 1;/l.Q:]) I J, -- G-7 (!""7 fr\).) 7$0' , toI c II i!J IIr f r';t1' 1 r I ' 'F Practice changing unsyncopated lines into syncopated lines as demonstrated in the previous examples. Stride, to this day, remains a wonderful solo style to play because its rhythmic completeness requires no bass player or drummer for rhythmic support. Listen to some of the marvelous contemporary stylings of Teddy Wilson, Jaki Byard, Marian McPartland, and Dave McKenna. DERIVING LEFT HAND VOICINGS Let's begin putting together an arrangement in a basic stride style by deriving left hand voicings from the chord changes of an original tune, "Don't Fool Around Much Anymore." J)t)N'T .. f'li4'" IEll.! I I. FAl7 6'1 e", /1.. -,1 p HIn1lp i I'} UHpi {/!lJ f, I -II C"'II At., 4" II,P ir Prpl &r rr I ' pUP r Iq P F Cf tat, a"'1 f,. Ii., t, Uj (f) r Pr 6f T' vr I G r (t {f(, t, (If) 11111 Ii, t., !I'" II, i'rz f) f , I 1 T!11J, I ' } GPf I .f7l) -Using a basic left hand stride pattern for the first eight measures-roots on the first and third beats, chords on the second and fourth-play the first chord Eb6 in root position, as it has a good solid sound in that register. tilt, 12'i I II Once the position of a chord is determined, the following chord can generally be voice-led from it. Since there usually are a number of positions available, the idea is to voice-lead from chord to chord or choose chord positions that move smoothly from one to another and sound good to your ear. E"" B7 C.?C'4) f"'7 12'iP, 1f;,11 1 Jf ::J i '''1 The ninth may be used in place of the root on dominant seventh chords. II II Stride # 149 - -150 # Stride Our final choice of left hand voicings, then, might be these. approach notes. The use of approach notes will add a rhythmic and textural variety to your arrangement. In place of the left hand chord on the fourth beat of measures 1, 2, 3, and 4, approach the up-coming chord by a half step. A"7 Continue working on the bridge in the same manner as the "An section-deriving left hand voicings, adding the melody, then harmonizing the melody with the right hand. BREAKING TIlE STRIDE A method of adding rhythmic variety to your arrangement is to break the stride at some point. The stride is usually broken on the "turn-around" of a section, when the melody rests or sustains. We will break it here on the last six beats of each section by playing the root and seventh of the chord in the left hand, while the right hand plays the third and a simple improvised line. f., ( .) \ \ 'r ,. .d -+ LEFT HAND OCTAVES ANDTENTIIS 1'l"" f t -... To add sonority to the left hand stride, there are two further devices that may be employed-octaves in place of single notes in the bass, or, for those whose hand span will reach, tenths. e"" 17\\ + f t l, 6.... J fJ :f rrtll G,I ; fj, til f I .1 Play over your choice of vaicings until you are playing them comfortably and in time. Then add the melody with the right hand (when playing the "A" section of the tune, play the melody an octave higher than written; this puts it in a much better piano register for stride style). HARMONIZING TIlE RIGHT HAND To get a full stride piano sound, the next step will be to harmonize the melody with chords in the right hand. This is done by filling out the chord or part of the chord below the melody. (Sometimes using the entire chord does not facilitate playing the melodic line). Bb1 lb' II EMBELLISHMENT OF TIlE LEFT HAND PATTERN The first four measures of the "bridge" or middle section of the tune affords us, because of the one chord change per measure, an opportunity to break the left hand pattern of root-chord-rootchord. A standard method of breaking this pattern is by use of Q.) l- t .) t ;;iF ""if il f 152 #: Stride Either of the above devices may be used at any time; use them prudently, however. as their value lies in adding sonority. If used continuously, the octaves may become too plodding and the tenths over rich in texture. When you arrive at a point where you have constructed and are playing a good sounding arrangement, you will be ready to begin improvising. IMPROVISATION As we begin improvising, we will adhere to the left hand pattern of our arrangement and explore several devices for right hand improvisation. Using the left hand pattern that you have constructed, play each of the following improvisational examples several times. After you have played and examined each example, devise several similar ones of your own. Melodic variation is a basic approach to improvisation. Keeping the melody in mind, create a variation on it. 0", IQIiJ II Arpeggiated figures work very well in stride. Use the chord tones of each chord to create an arpeggiated melodic line. flo" C.7(1kt)fMl Bill C1r7 {1 6" I r' I SI II I,m :5 gtttGct II Passing tones color an improvisation and add melodic and harmonic interest. Use passing tones-a tone not present in the chord-between chord tones. Stride #: 153 ,(!Jt1 fM1 gil? fbt, .1'%'i}I.DpD -II Another improvisational technique is the use of scale lines. Create a scale for each chord. The diatonic chords-EbS, Fm1, AbS, Bb7-will take scale-tones from the diatonic scale of Eb. To create scales for the non-diatonic chords, use the chord-tones of each chord plus an additional tone between each chord-tone. Let your ear be your guide. Use the scales you form to create a melodic improvisation. I I l'EJnPgpp 11 )2#. ft I + I :" I I Tn 1,.\ } 1.0 JJ 1 r}1tljk II Any of the above single line melodic examples can be harmonized with the right hand, using the same approach we followed earlier with the original melody (see Example 10). As you devise a single line in improvisation, using the above methods, harmonize it with chords in the right hand. A very full, syncopated sounding improvisation can be created by forming full chords in the right hand and using them in short off-the-beat phrases against the on-the-beat chords of the left hand. le",111 Gbi., C-,ll. fM1 .... 1 6- G-7 A"",f)1t1 J Vfl -Il1 1$ '" -,if-Ai E(p e,(li'l F_7 e.'1 ej, (!7 {'-II f7 1 I 1 1 J. I ,\ , \ I! , 1f' " 1\" II II # 155 154 # Stride Breaking the stride, occasionally, during several choruses of improvisation adds rhythmic variety and interest to the overall improvisation. The stride rhythm can be broken during "turnaround" sections (see Example 12) or at any other point that you desire. Stride, certainly, is not the easiest of styles to play, and a considerable amount of practice using various melodic lines and chord progressions is necessary to acquire a comfortable playing facility. The following workbook assignments will provide ample material for practice. WORKBOOK ASSIGNMENTS 1. Derive left hand voicings and improvise on the following 8-bar progression.II G6 I G6 G#dim7 II D7 I G7 II 2. Syncopate the following 8-measure melodic line; derive left hand voicings from the chord changes and harmonize the right hand. SOt.. E"1 j)"'7 G,7 C7 I ,-e .I ::l J I ,FJ " I j I "=! I .0I " b\,. f7 B"0 7 I j ,::l tI =t e , n}J .. I I e I I"P 3. Derive left hand voicings and improvise on the following 8-bar progression.II: f6 Dm7 I Gm1 C7 I Am7 D7 I G7 C7 I I f6 Dm7 I Gm C7 I F6 D7 I Gm7 C7 : II 4. Create a keyboard arrangement and improvise on the following original tune. 'D, -" III,va pf' I 5. Select two standard tunes from your lead sheets or sheet music. Create keyboard arrangements and improvisations from them in a stride style. iI Some suggestions: "Georgia," "I've Got Rhythm," "These Foolish Things," "I'm Gonna Sit Right Down and Write Myself a Letter," "After You've Gone," "Manhattan." ':7 r J II , I I fiG' tr, c, " IrPUUiJI I Bop and Mainstream piano styles Bop or Bebop came into being during and immediately following World War II. Some of the major innovators of the music were Charlie Parker, Dizzy Gillespie, Thelonious Monk, and Bud Powell. Among the many innovations of the style were the evolvement of new concepts within the rhythm section and the development of a new harmonic and melodic vocabulary. For their repertoire, Bop musicians used standard tunes from the 1920's, 1930's, and 1940's, plus original compositions. Many of their original compositions were based on chord changes from standard tunes. Bop is highly complex rhythmically, harmonically, and melodically and set the basis for post Bop and Mainstream styles of the 1950's, 1960's, and 1970's. These styles are still being developed by Mainstream musicians. Playing Bop or any of the Contemporary Jazz styles that have been derived from it requires a specialized rhythmic, harmonic, and melodic vocabulary. In an earlier section, we presented material on Jazz rhythm and at this point you should have the ability to create a swinging melodic line. In this section, the emphasis will be on Jazz Piano Voicings and Jazz Scales. Bop and the contemporary piano styles that have been derived from it are primarily styles where the pianist is not playing solo. 157 158 # Bop and Mainstream piano styles These piano styles were conceived and evolved in settings that utilized a bass player. In these non-solo piano styles, the line played by the bass player is an essential ingredient in the sound of the music. The concern of the pianist's left hand in these styles, then, is primarily harmonic and less rhythmically oriented than in solo piano styles. TIlE DOMINANT NINTII AND TIlIRTEENTII CHORD Let's begin with piano voicings for the dominant seventh chord. In the styles we are discussing, the root and fifth of the chord are replaced by the ninth and thirteenth, respectively. The two most common voicings being those with the ninth or thirteenth in the lead. Practice each voicing chromatically both ascending and descending. Play the root in the right hand, the chord in the left hand. :il7 \ - .. e eft. , 101'" -6> os ..fifiJ- W When you have completed this exercise, shift the chord to the left hand and practice each voicing chromatically, omitting the root. :; b;) 11$ Bop and Mainstream piano styles # 159 TIlE CYCLE OF FIFTIlS The cycle of fifths is a method of moving through all twelve tones of the chromatic scale. C'r'CLe.. Of C In Bop and Standard tunes, a large percentage of the root movement from chord to chord is down a perfect fifth or the inversion, up a perfect fourth. Play the following example. The left hand moves through the cycle of fifths, down a fifth then up a fourth. Each tone represents the root of a dominant seventh chord. 8b 1)-1 1S, ()7 (;7 C7c? f, 7 7 I", 1 B, 041 IZi II 0 I.e i ' '0 ..eo "Z5()' ro "'1G" C......i1 ..01'\ f lE jit II The second four measures are made up of dominant seventh chords moving through the cycle of fifths. Begin with the E7 chord with the ninth in the lead and voice-lead the chords through the cycle of fifths from E7 to G7. [=_.1(, I lET1J7 G7-&- -& ;R fo I!": if!It I Bop and Mainstream piano styles :/I 163 The progression for the next four measures is rrm7_vn_Imai7 in the key of F. The G7 chord in the eighth measure voice-leads very nicely into the Gm7 of the ninth measure and establishes a good sounding inversion for the lJill7_V7_Iffiaj7 progression in F. 1 8" 171 (;.1 G"" r...tU1 jO IT Ir J For the final four measures, we return to our original II-V-I progression in C. (See Example 15.) LEFT HAND RHYTHMIC PATIERNS Now that we have derived voicings for the tune, our next step will be to set up a rhythmic "comping" pattern for the left hand while the right hand is playing the melody. N ormall y, when th ere are no melodic anticipations, the left hand can play the changes on the first and third beats of the measure. A rhythmic problem is involved in where to place the left hand chords when there are melodic anticipations. Here is a general rule to follow-when the anticipation is tied to a quarter-note or less, play the left hand change with the anticipation. b.7 When the anticipation is tied to a note more than a quarter-note in duration, play the left hand change on the beat following the anticipated beat-the second or fourth beat. r-.......,...,T I ' I 164 # and Mainstream Following our rule for anticipations, then, the left hand rhythmic pattern would sound like this: 1141" rfVe. Jnt ~ CMn, .-- --r-1 ~ ,...../ ( u ~ c : ~ ""P- ~ J ! . I '--'-' fit. p.- p-~ li="-~ *-< I 0 I ~ ~ Y ~ t. ~ I'L ~ a.. CHORD SCALES AND HARMONIC ANALYSES A book itself would be required to provide a harmonic analysis of any significant depth of Bop and Standard tunes. We will attempt Bop and Mainstream piano styles # 165 here, in the limited space available, to provide you with a good working guide for analyzing progressions and selecting chord scales for them. In addition, a chord scale chart will be provided at the end of this section. As many of the chord scales we will be discussing are modal scales or scales derived from modes, an understanding of modal theory is essential to understanding the harmonic and melodic material presented in this section. If you have not yet read the chapter on Modal Theory presented earlier in the book, it is prerequisite to do so before continuing with this section. The scale for any chord is determined by the function of that chord within the chord progression. By correctly analyzing the function of a chord, the chord scale can then be determined. DIATONIC CHORDS Chord scales for diatonic chords follow a basic harmonic rule. A diatonic chord (a chord in the key) takes a diatonic scale. DOMINANT SEVENTH CHORDS Any dominant seventh chord moving down a perfect fifth to another dominant seventh chord takes a mixolydian scale. Play the following examples. ADDED SCALE TONES A chord scale represents the basic scale for each chordchromatic passing tones may be added to any basic chord scale. Example 23 demonstrates an improvised line using only the basic tones of each chord scale. Examples a and b are constructed with arpeggiated figures; Examples c and d are built from stepwise scale lines. 166 :# Bop and Mainstream piano styles -CijJ I EP 51 rti II C1 filii", 1 )@11i r 1J:J )! fjJfr" II -II 6.) G ...., (!, F ,) AIT 'pIt V r ,9 I ; -I FfIlAr 1 Example 24 demonstrates the use of chromatic tones added to the basic chord scales. Many players make frequent use of adding a flatted third and/or flatted fifth to the basic scale for each chord. C!. Mlll7 II and Mainstream :# 167 TIlE ALTERED DOMINANT SEVENTII AND DOMINANT SEVENTII (FLAT NINE) CHORD A dominant seventh chordmoving down a perfect fifth to a minor chord is almost always altered or contains a flatted ninth. 1:..\ ci)t.0'111II t, AI1 II t7,m fld1 II The altered dominant chord contains a flat nine and flat thirteen. Two of the most commonly used voicings are those with the flat nine and flat thirteen in the lead. II TIlE ALTERED DOMINANT SCALE Here is the chord scale for the altered dominant chord: TIlE SHARP NINE CHORD Observe that the scale contains both a b9 and a #9. Many pianists use a voicing for the altered dominant chord that has the sharp nine in the lead. 168 # Bop and Mainstream piano styles Or a three-note voicing omitting the b13. I C7 0.1i IIi "If: The voicings involving the #g produce a "bluesier" sound than those using a flatted ninth. The voicings demonstrated in Examples 28 through 30 are the most commonly used voicings for the altered dominant chord and may be used interchangeably. When the chord symbol indicated is a bg, the chord and scale may be altered in the same manner as demonstrated in Examples 27 through 30, except when a natural thirteen appears in the melody. When a natural thirteen appears in the melody and the chord symbol indicated is bg, a chord and scale other than the altered dominant should be used. The most functional chord voicing in this situation is a dominant seventh chord made up of the third, fifth, seventh. and bgth. 1E- .).4 I l! 7 1t' I Since the chord is symmetrical, it sounds equally good in each inversion. t7(D'I) 12' 1 I TIlE MIXOLYDIAN bg SCALE The most functional chord scale for the above voicing is the Mixolydian bg scale. Bop and Mainstream piano styles # 169 II Observe that the Mixolydian bg scale is identical to the Mixolydian scale except for the bg (or b2) degree. TIlE bII7 CHORD A very common progression in Bop and Standard tunes is a dominant seventh chord moving down a half step. It is called a bIF chord. bJf7 bJI7 1Il!7 a, Gb y ;;;;:ijibltlM, $ ;;::j "'1 r 57 II II II TIlE LYDIAN b7SCALE The bIP chord takes a special scale. The scale is called Lydian b7The scale is similar to a Lydian scale except for the flatted seventh degree. TIlE bVIF CHORD The bVIP chord is a dominant seventh chord built on the flatted seventh degree of a major key. The bVIF chord usually progresses directly to the I chord. 1&,371 KEY e KE.Y E. b Kfl' or c;. of 01' IIllIl r IIIAf1 .:mr7 ::fit>:m:t7 I" C" 11 ojz ! #' lAb II f, ?f' G. II 170 #: and Mainstream Like the bIF chord, the bVIF chord takes a Lydian b7 scale. THE bVIImai7 CHORD The bvnmaj7chord is a major seventh chord built on the flatted seventh degree of a major key. The bvnmai7usually progresses directly to the I chord. ktY t KEf OF Go::r ::or ....17 bJUlIIW, 1".1t17 J: ".1t.7 1lmz: 1u1r I ....1, r!lliU, CIIU, II lhuM, h'-jugI ... II The bvnmaj7chord takes a regular Lydian scale. fib M/IiI7 epepOl11$ o,ell (> e eO'S, 1lT"'1 ::r 1II.t'1 .:nr """.7 1ll: "'7 J1I WIT PM!!!? Il;n, I ...... d!1M, II 'Md, I aIM? ] .... G'''1 II The Ivm7 chord takes a Dorian scale. THE MINOR SEVEN (bS) CHORD The m7(bS) chord usually appears as part of a nm7(b5LV7(b9) progression. 1$ Smt (W) The m7(b5) chord always takes a Locrian scale. nm7_V7 SEQUENCES Progressions involving sequences of nm7_V7 chords are often encountered in Bop and Standard tunes. I ][1117 $7 :n:. ....7 1/:7 ][m7 1[.7 A",?14 ,/''''7 A'I I ,:PM1 G71II These sequences usually involve a dominant seventh chord moving through a cycle of fifths. II The most direct harmonic approach for repetitive IIm7_V7 sequences is to treat each rrm7_V7 as a separate key and use diatonic scales for each key. I Kef aF c;.11"'1THE DIMINISHED SEVENTH CHORD Diminished seventh chords almost always function as passing chromatic chords. The two most commonly encountered are the #' Idlm7 and the blIIdim7. The #' Idim7 chord passes chromatically from the I up to the II. 1,_,&01 Key 01' C. Mr GI", J17 ~ 1 I I I 1 " 1 7 $"" :E, I ~ e(j ~ " ~ ' - ~ I -Jf""1 i' " ~ " 7 01' I -L'Jij" I ::; nnt, G, II EJ dfit, B#Jip, 14 Aid, is II The bIIIdim7 chord passes chromatically down to the II. Key of C. I:Et OF iT'-1-/ffiI-J-;""-z"'"'1 -'II' If'"7 :J1i Ii1lf.1;"'7 I -- :r"'7 :r, THE WHOLE TONE-HALF TONE SCALES The chord scale for the diminished seventh chord is an eight tone scale called the whole tone-half tone scale. .,.. There are three whole tone-half tone scales, beginning on e, eland D. Each scale serves as the scale tones for four diminished seventh chords. This concludes our condensed section on harmonic analyses. It should, if studied, provide you with enough harmonic concepts to begin analyzing progressions and selecting chord scales. Further study material is provided in the workbook assignment section for this chapter. We also suggest, at this point, that you begin analyzing chord progressions from your lead sheets and sheet music. CHORD SCALE CHART of Chord of Scale Diatonic DiatonicIpn7 V7 sequences Lydian Dominant 7th moving down a half step (hIF) Lydian b7 Dominant 7th moving down a perfect fifth to another dominant seventh or major Mixolydian chord (V7) Altered Dominant (V7 alt) Altered Dominant Altered Dominant or Dominant seventh flat nine (V7(h9)Mixolydian b9 Dorian Locrian Diminished seventh chord Whole tone-Half tone 172 173 174 # and Mainstream The above chord chart should be used as an overall guide to selecting chord scales. Remember, when working with Bop and Standard tunes you are involved with chromatic music, and chromatic music that sometimes has rapidly shifting tonal centers. Different players and different "schools" of players use different scales and different concepts of tonality. For example, many players in the Bop era played altered dominant scales on all dominant seventh chords regardless of the chord function. Listen and experiment. The final arbiter should be your ear. Thus far in our chapter on Bop and Mainstream styles, the material has been oriented toward non-solo piano styles. Let's now investigate a solo style. LEFT HAND WALKING BASSA SOLO PIANO STYLE In this complete sounding solo style, the left hand, instead of playing chords, plays a four to the bar single-note line, imitating the sound of a walking bass. [Wi] BbllllAil7(7"'7 e.1!\7 f1I,,;t r r rft I j r I "*r I r r r qr Ie r As in other Jazz styles, the right hand plays a written or improvised line, harmonizing the line at points where the line technically lends itself to harmonization. For obvious reasons involving playing facility, it is easier to harmonize the line at points where the notes of longer melodic duration occur. -I- It+ "'.

I I I II r1 n -"I , , , fII' " --" ' -:...9 +' , I I I \ I I I rt -+h+ Playing Example 55 over several times will give you a good idea of the coordination and technique needed to play with some facility in the style. Bop and Mainstream piano styles # 175 Constructing Walking Bass Lines Constructing good bass lines should be easy if you listen to good bass players and use the following guide lines: 1. Walking bass lines are constructed of chord tones (roots, thirds, fifths, sevenths) plus passing tones. [ME 1/""1 HZ;1:2'\t I I r r if Ir F II ( r 'r I r ., r r r r R PI' 3 Pr R .3 (> R 3 5 PT .32. Bass lines move stepwise or in thirds with occasional leaps for variety. Ie,.51l C-WNl A7tb"'7Go7 -+ , I! 1"* rI?IE .(1 r I I rI r r I * I I I r I II I I 3. Try for the root on the first beat of each chord change. An occasional third or fifth is okay. It.,SI I e7 Gl f7Col.... b. -# I ;. r t r \ I IIii I I' "r I r r r r III I It ..I f $ 4. Try to approach each new chord stepwise. The strongest approach is by a half step. 1/""7-+, I I I f I ( r Here now are some examples of good bass lines for chords moving at every interval. For our examples, we'll use a C7 chord. If the chord called for is a major or minor seventh, alter the third or seventh degree accordingly. f 176 # Bop and Mainstream piano styles For chords moving down a half step or up a major seventh: 8 q b + ,It II! r(II(11 Chords moving down a major second or up a minor seventh: Qb" Ibrf I II Chords moving down a minor third or up a major sixth: JEII.,,;I Co"? A C, A C, A Q.'l -+ If' i) e) Ii: e ! r Ftlf IIrf r [ I r II r f rr I r I Chords moving down a major third or up a minor sixth: AJ.I I r IfChords moving down a perfect fourth or up a perfect fifth: Chords moving down a perfect fifth or up a perfect fourth: If.. /,I., 1 F C ;:: e.7 f e7 7 c..." ill) ... e) .. 12:' r r r -r I r II I r r I r II I r .i J I r II and Mainstream # 177 A minor seventh chord may utilize the raised third as a passing tone on the fourth beat. This is a strong line to use on a nm7_V7 progression. Chords moving a tritone (a diminished fifth or augmented fourth): fJ ftl

eMili, III (btl u...7 ..Il. I r r r 4 I r ( II r'F I r !I I E 1 Once you have decided on a bass line, play it over and over until you are playing smoothly and automatically. A good way to begin working with your bass line before trying it with a melody is to play the chord changes over it in the right hand. ,...... ,....-' .. .. S: ... ... IvJ l "I: b. !'\"JI:::::2!I--4rI I I I :3: ..., -IF f-' " + " , e1 4I II r IF I 6, (,sf) ,f r I I Bop and Mainstream piano styles # 181 When you are playing the above exercise without difficulty, try playing your bass line with the melody (Example 78). Once you are playing the melody smoothly, try harmonizing in the right hand at points you feel it to be technically feasible. Improvisational lines should include melodic figures derived from chord scales and arpeggiated figures. Try some of the improvisational techniques presented earlier, in this and other chapters. Here is a written example of an improvised chorus on "Blues A La Carte." lex, 'Ii Sill'"''CMIN 7 FI!\It\l7 I'C J. ., , ; , Q j Some well-known pianists who have made recordings in left hand Walking Bass style are Dave Brubeck, Lennie Tristano, and the major exponent of the style, Dave McKenna. WORKBOOK ASSIGNMENTS 1. Play the dominant seventh chords through the cycle of fifths with your left hand (see Example 9). Play the chord scales for each chord (Mixolydian) with the right hand. 2. Play the nm7_V7_ImaJ7 progression with your left hand. Play the chord scale for each chord (diatonic) with the right hand. Play through all 12 major keys in the following order: C. F. G. Bb, D, Eb. A. Ab. E, Db, B, Gb. 3. Transpose Example 23a into all 12 keys using the key scheme given in the above exercise. As you learn to play the line in each new key in the right hand, add the chords with the left hand. 4. Transpose Example 25 a and b into the following keys: G, Bb, Eb, Ab. As in the previous exercise, add the chords with the left hand. 5. Learn the three altered dominant voicings (Examples 27 and 29) in all keys. Practice them chromatically. 6. Practice the altered dominant scale (Example 28) in all keys. 182 # Bop and Mainstream piano styles 7. Practice the dominant seventh flat nine voicings (Example 33) and the Mixolydian flat nine scale (Example 34) in all keys. 8. Play the dominant ninth and thirteenth chords with your left hand chromatically descending. Play the Lydian b7 scale (Example 36) for each chord with the right hand. 9. Learn the three whole tone-half tone scales (Example 53). Practice them with the right hand. As you learn each scale, add the corresponding diminished chords with the left hand. 10. Analyze, derive voicings, and select chord scales for the following chord progression:II Gm7 I C7 Fmai7 Bbmai7 Am7 D7 Gmai7 I A 7ait Gm7(bS) C7(b9) Fmai7 II 11. Play over Examples 56 through 77. After you play each example, transpose it to new keys. 12. Construct a walking