Jazz Handbook Part 1

8/20/2019 Jazz Handbook Part 1

1/26

Scales, Chords, Patterns and Rhythms

Jeff Ellwood: director of

Instrumental Jazz Studies

Mt. San Antonio College

Jazz ensemble Handbook


2/26

Circle of 4th

’s

What is the Circle of Keys?

The circle of keys is a diagram used in music theory that

helps students memorize and understand the 12 major

and 12 minor keys used in music, key relationships, andmany chord relationships.

Learn to recite the notes on the circle from memory. Be

able to start on any note (not just C) and go all the way

around the circle in both directions.


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* œ œ œ œ œCm(maj7 ) Aº B 7 # 9

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Scales for ImprovisationMt. San Antonio College

Basic Major Scale: To be used on Major chords

Mixolydian Scale: To construct a Mixolydian scale-take a major scale and

lower the 7th degree of the scale by a 1/2 step.

Or can be thought of as the 5th degree of a Major scale (i.e. C7 mixolydian

shares the same key signature as a F Major scale

Dorian Scale: To construct a Dorian scale-take a major scale and lower the3rd & 7th degree by a 1/2 step

Or can be thought of as the 2nd degree of a Major scale (i.e. cmi7 Dorian

shares the same key signature as a Bflat Major scale

Jazz Melodic Minor scale: To construct a Melodic Minor scale-take a Major

scale and lower the 3rd degree a 1/2 step

The Melodic Minor scale is one of the most useful scales in jazz

improvisation


4/26

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CMaj7


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C 7

œ b * œ œ œ œ œ œ

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œ b * œ œ œ œ b* œ œ

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m(maj7 ) Aº B 7 # 9 œ œ œ œ œ b * œ œ

Scales for ImprovisationMt. San Antonio College

Basic Major Scale: To be used on Major chords

Mixolydian Scale: To construct a Mixolydian scale-take a major scale and

lower the 7th degree of the scale by a 1/2 step.

Or can be thought of as the 5th degree of a Major scale (i.e. C7 mixolydian

shares the same key signature as a F Major scale

Dorian Scale: To construct a Dorian scale-take a major scale and lower the3rd & 7th degree by a 1/2 step

Or can be thought of as the 2nd degree of a Major scale (i.e. cmi7 Dorian

shares the same key signature as a Bflat Major scale

Jazz Melodic Minor scale: To construct a Melodic Minor scale-take a Major

scale and lower the 3rd degree a 1/2 step

The Melodic Minor scale is one of the most useful scales in jazz

improvisation


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7

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&5 œ œ œ œCMaj7

œb œ œ œC 7

&7

œb œ œb œCmin7

œb œb œb œCÌ

Basic ChordsChords are constructed by taking the root, 3rd, 5th & 7th of a scale

1-3-5-7 1-3-5-b7

1-b3-5-b7 1-b3-b5-b7

Asending

Descending

7-5-3-1 b7-5-3-1

b7-5-b3-1 b7-b5-b3-1


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? c œ œ œ œC

Maj7

œ œ œ œ bC

7

?3 œ œ b œ œ bCmin7

œ œ b œ b œ bCÌ

?5 œ œ œ œCMaj7

œ b œ œ œC 7

?7 œ b œ œ b œCmin7

œ b œ b œ b œCÌ

Basic ChordsChords are constructed by taking the root, 3rd, 5th & 7th of a scale

1-3-5-7 1-3-5-b7

1-b3-5-b7 1-b3-b5-b7

Asending

Descending

7-5-3-1 b7-5-3-1

b7-5-b3-1 b7-b5-b3-1


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Ins t ruments

Root Progress ions

A guide to studying scales

Half-steps #1) Bb B C C# D Eb E F F# G Ab A

Whole-Steps #2) Bb C D E F# Ab / B C# Eb F G ACircle of 4ths #3) Bb Eb Ab Db F# B E A D G C FMajor 3rds #4) Bb D F# / B Eb G / C E Ab / C# F A

Minor 3rds #5) Bb Db E G / B D F Ab / C Eb F# A

Four Shapes: #1) ! #2) " #3) !" #4) "!

Things to Practice using Root Progressions:

1#) Scales

• Major

• Mixolydian

• Dorian

•

Melodic Minor

• Natural Minor

• Harmonic

Minor

2#) Chords:

•

Major 7• Dominant 7

• Minor 7

• Minor 7b5

#3) Number Patterns

• In 24 combinations

(1235, 5132, 3521, etc..)

Scale, chord, & pattern practice needs

to be done daily and with a metronome.

Pick one scale type, one chord type & one number pattern

and spend a week working on them.

Practice what you have chosen through all root

progressions and shapes at various tempos


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B f lat Instruments

Root Progress ions


Half-steps #1) C C# D Eb E F F# G Ab A Bb B

Whole-Steps #2) C D E F# Ab Bb / C# Eb F G A BCircle of 4ths #3) C F Bb Eb Ab C# F# B E A D G

Major 3rds #4) C E Ab / C# F A / D F# Bb / Eb G B

Minor 3rds #5) C Eb F# A / C# E G Bb / D F Ab B

Four Shapes: #1) ! #2) " #3) !" #4) "!


1#) Scales

• Major

• Mixolydian

• Dorian

•

Melodic Minor• Natural Minor

• Harmonic

Minor

2#) Chords:

• Major 7

•

Dominant 7

• Minor 7

• Minor 7b5

#3) Number Patterns


(1235, 5132, 3521, etc..)



Pick one scale type, one chord type & one number pattern

and spend a week working on them.




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b Ins t ruments

Root Progress ions


Half-steps #1) G Ab A Bb B C C# D Eb E F F#

Whole-Steps #2) G A B C# Eb F / Ab Bb C D E F#Circle of 4ths #3) G C F Bb Eb Ab Db F# B E A DMajor 3rds #4) G B Eb / Ab C E / A C# F / Bb D F#Minor 3rds #5) G Bb C# E / Ab B D F / A C Eb F#

Four Shapes: #1) ! #2) " #3) !" #4) "!


1#) Scales

• Major

• Mixolydian

• Dorian

•

Melodic Minor• Natural Minor

• Harmonic

Minor

2#) Chords:

•

Major 7• Dominant 7

• Minor 7

• Minor 7b5

#3) Number Patterns


(1235, 5132, 3521, etc..)



Pick one scale type, one chord type & one number patternand spend a week working on them.




10/26

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œ œ# œ# œ# œ œ# œ# œ

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œ# œ# œ# œ# œ# œ# œ# œ#

&9

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&13

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œ# œ œ# œ# œ

&17 œb œ œ œ œb œ œ œb œb œ œ œb œb œ œb œb œ# œ# œ# œ# œ œ# œ# œ# œ œ# œ# œ œ œ# œ# œ

&21 œb œ œ œ œb œ œ œb œ œ œ œ œ œ œ# œ œ œ# œ# œ œ œ# œ# œ œb œb œ œb œb œb œ œb

Root Progressions

Examples Jeff Ellwood

Example using Major scale, Major chord & 1-2-3-5 Number pattern

Major scale through root progression #1 using ascending shape (#1)

Major scale through root progression #1 using descending shape (#2)

Major Scale through root progression #1 using ascending & descending

shape (#3)

Major scale through root progression #4 using ascending & descending

shape (#3)

Major scale descending in whole steps (progression #2) using descending

shape (#2)

Major scale through root progression #5 using descending and ascending

shape (#4)

******Practice all scale types: Major, Mixolydian, Dorian, Melodic Minor,

Harmonic Minor, Natural Minor


11/26

&

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œ œb œ œb œ# œ œ# œ œ œ œ œ

&33

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&37

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œ œ œb œ œb

&41

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œ œ# œ# œ œ œ# œ# œ# œ# œ œ# œ œ œ# œ

œ#

2 Root Progressions

Major chords through root progression #1 using ascending shape (#1)

Major chords through root progression #1 using desending shape (#2)

Major chords through root progression #1 using ascending & descending

shape (#3)

major chords through root progression #5 using ascending & descending

shape (#3)

Major chords through root progression #3 using decending & ascending

shape (#4)

******Practice all chord types: Major 7, Dominant 7, Minor 7, Minor 7 flat5,

Diminished


12/26

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&49 œb œ œ œ œ œ n œ# œ œb œb œ œb œ œ n œ n œ œ# œ# œ# œ# œ n œ n œ n œ n œ œ# œ# œ œb œ n œ n œb

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&57

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œb œ œ# œ# œ œ œ œ œ n

œ œ# œ# œ# œ œ œ

œ n œ œ œ œ œb œb œ œb

3Root Progressions

1-2-3-5 number pattern through root progression #1 using ascending

shape (#1)

1-2-3-5 (descending) number pattern through root progression #1 using

descending shape (#2) 1-2-3-5 in descending shape becomes 5-3-2-1

1-2-3-5 number pattern through root progression #1 using ascending &

descending shape (#3)

1-3-2-5 number pattern through root progression #5 using ascending &

descending shape (#3)

*****Practice all 24 combinations of number patterns in Major, Minor, &

Minor 7flat5


13/26

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Cÿ C 7

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&5

œ œ œb œCÈ

œ œ œb œ œb œ œ œ œ œ œb œ

&9

œ œ œb œbCÌ

œ œb œb œ œb œ œ œb œb œ œb œ

Number PatternsMt. San Antonio college

Jeff Ellwood

Number Patterns are essential for developing improvisational skills

Number Patterns are a set of number arranged in various combinations

We will start with the number 1-2-3-5 of a given scale

1-2-3-5 can be arranged into 24 different combinations

Example: 1-3-2-5, 5-2-1-3, 3-1-2-5, 2-5-3-1, 1-5-2-3, 5-3-2-1, 3-5-2-1, 2-1-3-5, etc.

Below are examples of number patterns in Major, Mixolydian, minor, & minor flat-

1-2-3-5 2-5-3-1 3-1-2-5 5-2-3-1

1-2-b3-5 2-5-b3-1 b3-1-2-5 5-2-b3-1

1-2-b3-b5 2-b5-b3-1 b3-1-2-b5 b5-2-b3-1


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Autumn leaves (1) Alone Together (2) All the Things You Are (3) All of Me (1) All Blues (1)Beautiful Love (1)

Bessie’s Blues (Eb blues) (2) Blue Bossa (1) Blue Monk (Bb blues) (1)Body & Soul (3)Blues for Alice (2) Confirmation (3) Cherokee (3) Days of Wine & Roses (2) Dexterity (3) Donna Lee (3) Equinox (c minor blues) (1) Footprints (1) Four (2) Freddie the Freeloader (1)

Groovin’ High (2) Have You Met Miss Jones (3) How High the Moon/Ornithology (2)Impressions/So What (1)In a Sentimental Mood (3) Inner Urge (3)

Invitation (3)

Just Friends (2)Lady Bird (2)My Funny Valentine (2) Nardis (3) Night & Day (2) Out of Nowhere (2)Oleo/Anthropology (Ryhthm Changes) (2) Recordame (2)Round Midnight (3) Satin Doll (1)Song For My Father (1)Solar (2) Stella by Starlight (3) Take the A Train (2) There is No Greater Love (2) There Will Never Be Another You (2)

Well you Needn’t (2)

Download play-alongs athttps://app.box.com/playalongs

Mt. SAC Jazz 1Tune List

• Jazz band students are required to learn 1 jazz standard tune per semester.

• Upper division students and people holding solo chairs must learn 3 tunes.o The melody, scales and chord arpeggios must be memorized.

• This will be your final exam.

Easy (1)

Intermediate (2)Advanced (3)


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Bebop Lines

Developing lines

Jeff Ellwood

COPYRIGHT

Bebop passing link

7th degree = Major 7 5th degree = Minor 7 3rd degree = Half Diminished

Break the bebop scale up into 4 parts that connect chord tones using scale motion

1-5 3-7 5-1 7-3

5-1 7-3 1-5 3-7

same chords as above, but with the 2nd note displaced down an octave (this allows us the use the same concept

as above, but in a descending fashion)

After learning the scales motion, we must now learn arpeggio's built form primary chord tones (7-5-3)

Notice that a chord was not built from the root of the chord. Here we will just insert the bebop passing link

G7


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2

Bebop Lines

Here are sample lines using the arpeggio's built from chord tones with the bebop passing link. These line will

consist of the ascending and decending versions mixed together.

The formula will always move this way 7-5-3-bebop passing. (wash rinse, repeat) even if we start on another chord

tones, it still follows the same cycle (3-bebop passing-7-5, 5-3-bebop passing-7)


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ebop Lines

Now all the material must be worked out if there are alterations on the Dominant chord

We will now focus on applying the same concept to a chord

take the same scale shapes and alter the 9 13 (2 6).

Now the arpeggio's and their chord qualities need to be figured out

7th degree = Minor 7 5th degree = half diminished 3rd degree = diminished

displaced octave


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4

Bebop Lines

These ideas work great over dominant 7 chords, but what do we do over minor 7 chords?

I use the same ideas on minor, although I don't use a minor bebop scale. When I see a minor 7 chord, i use the

dominant 7 chord that is a 4th away.

(example Dmi7 = G7, Cmi7 = F7, Emi7b5 = A7b9b13, Dmi7b5 = G7b9b13 etc....)

Let s apply this concept to a tune. We are going to use the changes to

lue ossa


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ebop Lines

Notice how I simplified the chord chages to mostly all dominant 7 chords in the previous example

Here is a solo using our bebop concept with the simplified changes

The solo above sounds a bit boring, WHY? Every phrase starts on a downbeat, and jazz is a syncopated music.

The best way to solve this issue is starting a phrase on the & of the beat, but our bebop lines will sound odd if they

are displaced by an 1/8 note. We can solve this problem by using one of our no primary chord tones (scale degrees

2-4-6) as approach notes. We can also use chromatic approach notes.

We can also anticipate the note on the & of the beat

Another important tool is editing. can we remove some note of the phrase to make it sound better? Yes

Let's take the same solo and do some editing and apply some approach notes


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b

7

œ

œ

œ œ œ œ œ

œ

˙

Ó

D

b

ma

7

Ó Œ ‰ j

131

œ

œ

œ

œ

œ œ

œ

œ

G

7

b

9

b

13

œ

œ

œ

œ

œ

œ

œ

œ

œ

Œ Ó

Cmi

7

Ó

œ

œ

œ

œ

7

b

9

b

13

6

Bebop Lines


21/26

& 44 œo œ œo œ œo œ œo œ œ Œ Ó

&3

œo œb œo œ œo œ œo œ œ Œ Ó

&5

œ œ œ œ ˙ œ œ œ œ ˙ œ œ œ œ# ˙ œ œ# œ œ ˙

&9

œ œb œ œ ˙ œ œ œ œ ˙ œ œ œ œ ˙ œ œ œ œb ˙

Bebop Ideas

G7 Chord

Jeff Ellwood

Mt San Antonio college

The Bebop scale is one of the most important sounds in jazz improvisation. The bebop scale is a mixolydian scalewith a major 7 passing. The passing tone helps to ensure that primary chord tones (1 3 5 7) fall on strong beats

(1 2 3 4) see expample below

the notes with the (o) above are the strong beats of the measure, but are not primary chord tones (1 3 5 7). Thosenotes are actually (1 6 4 2). Here is the same scale with the major 7 passing tone. See example below

Notice how the notes with (o) above are primary chord tones and falling on strong beats. This extra passinghelps to keep better resolution between chords

G7

G7

Cmaj7

CMaj7

Below are some simple exercises to practice. They are small scale sequences using the bebop scale. Eachexercise starts on a primary chord tone ( 1 3 5 7)

Root

3rd

5th

7th

Root

7th

5th

3rd


22/26

&13 œ œ œ œ# ˙ œ œ œ œ ˙ œ œœ œœ

œ

œ ˙˙ œ œœ œœ œœ ˙̇

& œ œ œ# œ ˙ œ œ œ œ ˙ œ œ œ# œ ˙ œ œ œ# œ ˙

& œ œ œ œ œ# œ œb œ ˙ Ó œ œ œb œ ˙ œ œ# œ œb ˙& œ œ œb œ# ˙ œ œb œ œ# ˙ œ œœ

œœ œœ ˙̇ œ œ œ œ ˙

&29

œ œ# œ œ# ˙ œ œb œ œ œ# œ œb œ ˙ Ó œ œ œ œ œ œ# œ

&33

œ œ œ œ œ œ œ œ# ˙ Ó œ œ# œ œ œ œ œ n œb ˙ Ó

&37

œ œ œ œ œ œ œ# œ ˙ Ó œ œb œ œb ˙ œ œ œ œb ˙

Bebop Ideas

using are simple bebop excersises, we can now start adding link ideas. Below are some link ideas that start onprimary chords. These ideas are common language used in improvisation. Play each link idea to get the sound ofit in your ear. All these links will be used on a G7 chord

1

2

3 4

5

6

7

8

9

10

11

12

13

14

15

16

17

18

19

20

21

22

23


23/26

&41 œ œ œ œ# œ œ n œ œb œ œ# œ œb ˙

&43

œ œ œ œ œ œ œ# œ œ œ œ œ œ œ œ

&45 œ œb œ œ# œ œ n œ œ œ œb œ œ œ œ œ œ ˙ Ó

&48

œ œ# œ œ œ œ œ n œb œ œ œ œ œ œ œb œ# ˙ Ó

&51

œ œb œ œb œ œb œ œ œ œ œ œ œ œ œ œ ˙ Ó

&54

œ œ œ œ œ œ œ œb œ œ œ œ œ œ œ œ ˙ Ó

&57

œ œ# œ œ œ œ œ n œb œ œ œ œ œ œ œ œ# ˙ Ó

Bebop Ideas

3

Using the simple scale exercises (page 1) and combining that with the link ideas (page 2), one can develop endlesimprovisational vocabulary. See the examples below.......(Note: These G7 ideas can also work on a ii-7 V7 progress

(D-7 G7 Cmaj7)

G7

Link 1 scale sequence link 11

scale Sequence Link 5 Link 2 scale sequence

Link 13 Link 14 Scale sequence Link 2

link 20 Scale sequence link 12

Link 22 scale sequence Link 3 Link 14

Link 6 Scale sequence Link 4 Link 3

Link 20 Link 4 Link 1


24/26

&60 Ó œ œ œ œ w Ó œ œ

œ œ w&

64

Ó œ œ œ œ w Ó œ œ œ œ w

&68

Ó œ œ œ œ w Ó œ œ œ œ w

&72 Ó œ œ œ œ w

Ó œ œ œ œ w

Bebop Ideas

Having studied the bebop scale sequence combined with links, one could come up with a variety of misical ideas.These ideas allow us to create lines on a specific chord type, but now the must be further study in resolvingthese musical ideas to their home base, the tonic chord (V7-I, G7 to Cmaj7).We will now shift our foucs to the resolutions to the major chord.

Below is a series on resolution exercises to help create proper resolution to the tonic. This is where manystudents lack strength. resolving a weak chord (G7) to a point of strength (Cmaj7)

These fisrt resolution studies will deal with descending scale motion exercises from the primarychord tones of G7. We will call these

ownward resolutions

G7

G7

G7

G7

Cmaj7

CMaj7

CMaj7

Cmaj7

The next resolution studies will deal with ascending scale motion with a leap of a third between thelast two notes. We will call these Upward R esolutions

Root 3rd

5th

7th

G7

G7

G7

G7

CMaj7

CMaj7

CMaj7

CMaj7

Root

3rd

5th

7th


25/26

&76

Ó œ œ œ œ w

&78

Ó œ œ œ œ w

&80

Ó œ œ œ œ w

&82

Ó œ œ œ œ w

&84

! !

Bebop Ideas

5

These next resolutions are based on arpeggio's. These arrpegio's will be built from primary chord tones (1 3 5 7)

G7

CMaj7

G7

CMaj7

G7 CMaj7

G7

CMaj7

Root

3rd !"#$%&'(

5th !)#$%(

7th !*+,-%(

Notice the various other chord types one can use from building arpeggio's from othe chord tones

Root=.%

3rd="#$%&'

5th=)#$%

7th=*+,-%

Let's construct some lines using bebop scale sequences, links and resolution exercises to create lines

resolving G7 to Cmaj7

G7

CMaj7


26/26

&86

œ œ œ œ# œ œ n œ œ w œ œ# œ œb œ œ n œ œ w

&90 œ œ œ œ œ œ œ œ w œ œb œ œb œ œ œ œ w

&94

œ œ œ œb œ œ œ œ w œ œ œ œ œ œ œ œ w

&98

œ œ œ œ œ œ œ œ# œ œ œ œ œ œ œ œ w

&101

œ œ œ œ œ œ# œ œb œ œ œ œ œ œ œ œ w

&104

œ œ œ# œ œ œ œ n œ œ œ œ# œ œ œ œ œ w

&107

œ œ œ œ œ# œ œb œ œ œb œ œ# œ œ n œ œ w

&110

œ œ œ œb œ œ œ œ œ œ œ œ œ œ œ œ w

Bebop Ideas

G7

CMaj7

G7 (dmi7)

G7

CMaj7

Jazz Handbook Part 1

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Transcript of Jazz Handbook Part 1