Jazz Piano Workshop

& bb cA1

1

Œ œ œ œ c dorian

wCm7Ó .— j—>

f mixolydian

œ œ œ œF7

b flat major

˙ ˙B!maj7Ó .— j—>

e flat lydian

œ œ œ œE!maj7

& bba locrian #26

wAm7(!5)Ó .— j—>d superlocrian

œ œ œn œ#D7( #5#9 )

g jazz minor

wGm(maj7 )Ó .— j—> Œ œ œ œ

& bbA2

10

wCm7Ó .— j—>œ œ œ œF7 ˙ ˙B!maj7

Ó .— j—>œ œ œ œE!maj7

& bb14

wAm7(!5)Ó .— j—>œ œ œ œD7( #5#9 ) wGm(maj7 )Ó .— j—> Ó œ# œ

& bbB

18

œ œ ˙Am7(!5) œ œ œ œD7( #5#9 ) wGm(maj7 ) œ œ œ œ

& bb22

wCm7 œ œ .œ JœF7 wB!maj7 ˙ œ# œE!maj7

& bbC

26

œ œ œ œAm7(!5) .˙ œD7( #5#9 )g dorian e.g.

˙ ˙Gm7 C7f dorian e.g.

˙ ˙Fm7 B!7

& bb30

.˙ œAm7(!5) ˙ œ œD7( #5#9 ) wGm(maj7 ) œ œ( œ œ)

Autumn Leaves

medium major ii v i in b flat

major ii v i in b flat

major ii v i in b flat

major ii v in F major ii v in e flat

minor ii v i in g

minor ii v i in g

minor ii v i in g

minor ii v i in g

minor ii v i in g

32 bar aabc form [email protected]

this indicates that the feel is swung not straight 8ths

comping rhythm for A sections only

please note that the melody iswritten in a simplified form, andis a guide only, embellishments& syncopation are expected

& bb34 œ œ œ œCm7 œ œ œ œ

& bb36

œ œ œ œF7 œ œ œ œ

& bb38 œ œ œ œB!maj7 œ œ œ œ

& bb40

œ œ œ œE!‹ œ œ œ œ

& bb42 œ œn œ œ

Am7(!5) œ œ œ œ

& bb44

œ œ œ œbD7( #5#9 ) œb œ œ œ

& bb46

œ œ œ œGm(maj7 ) œ œn œ# œ

& bb48

œ œ œ œ œ œn œ œGm7œ œ œn œ œ œ œ œC7

& bb50

œ œ œb œ œ œ œ œFm7œ œ œ œ œ œ œb œB!7

c dorian mode (2nd mode of B flat major scale, or c major scale with lowered 3rd and 7th)

f mixolydian mode (5th mode of B flat major scale, or f major scale with lowered 7th)

e flat lydian mode (4th mode of B flat major scale, or E flat major scale with raised 4th)

b flat major scale

a locrian #2 mode (6th mode of c jazz minor scale, or natural minor scale with lowered 5th)

d superlocrian mode (7th mode of E flat jazz minor, also called altered and half whole scale)

g jazz minor scale (melodic minor ascending)

g dorian mode, or c mixolydian mode (same notes)

f dorian mode, or b flat mixolydian mode (same notes)

Modes for Autumn Leaves [email protected]

scales & modes are a group of notes, a pool if you like from which you can draw your ideas

& bb 81252 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ w

& bb 812 c55 œ jœ œ jœ œ jœ œ Jœ œ jœ œ jœ œ jœ œ jœ .w

& bb c58 œ œ> œ œ> œ œ> œ œ> œ œ> œ œ> œ œ> œ œ> w

& bb61 œ œ> œ}k œ> œk} œ> œk} œ> œk} œ> œk} œ> œk} œ> œk} œ> w

[email protected] Swing Quaversplay this scale and articulation

now play this in 12/8 time

Now add an accent to the off-beat note

Now play the slurred notes at full value (don't shorten) but with less emphasis

This is an exaggerated rough guide to jazz swing feel and phrasingnote length, weight of accent etc are all open to personal interpretationthe shape of the melody and use of different rhythms will also determine the articulation used

The only real way to get an idea of jazz swing is by listening to recordings made by great players

& bb64

wwwwCm7 wwww

F7

& bb66

wwwwB!maj7

wwwwE!maj7

& bb68

wwwwnAm7(!5)

wwww#nnD7( #5#9 )

wwww#Gm(maj7 )

& bb71 ˙˙˙̇ ˙˙˙̇n

Gm7 C7

& bb72 ˙˙˙̇b ˙˙˙̇

Fm7 B!7

Voicings For Autumn Leaves [email protected]

Chords can be divided into 3 groups, major, minor, and dominantLearn to recognise a major ii v i progression & the qualities of the chords involved (m7, 7, Maj7)Learn to recognise a minor ii v i progression & the qualities of the chords involved (m7b5, 7(alt), Min7Your chord must contain at least the 3rd and 7th (guide tones)Build your chord from either the 3rd or the 7th upwards (there are usually 2 voicings per chord)Avoid playing the root in your voicingsKeep movement between chords to a minimum (just like J.S. Bach!!)Extend the m7 and maj7 chord to the 9th with the 5thExtend the dominant chord to the 13th using the 9th (omit 5th)Use alterations on the dominant chord especially in a minor ii v i

note: you may want to playthis chord using f naturalinstead of f sharp, try it out!

& bb73

B! B!maj7 B!J B!M7

& bb77

C- Cmin7 C-7 Cm7

& bb81

F7 F9 F13

& bb84

Am7(!5) Aº

& bb86

œ œ œ œ# œ œ ˙

& bb88 œ œb œ œn œ œb ˙

Nomenclature of jazz chords [email protected]

Here are common ways major chords are written

Here are common ways minor chords are written

Here are common ways dominant 7 chords are written

Here are the 2 ways a half diminished chord is written

There are 3 types of chord group, major, minor, and dominant. When you are reading chord charts you will need tobe able to recognise which symbol belongs to which group. Often beginning improvisers get confused between a dominant chord and a major chord, whilst only a semitone different, the function of the chord is ENTIRELY different.

Please note that jazz use extensions such as 9th, and 13th rather than 2nd and 6th to imply that the interval is ADDED to the existing chord and doesnt replace a note. e.g. C9 means a C7 plus a 2nd, Csus2 would imply that the 3rd is replaced by the 2. A C6 chord is just a c triad with the 6 added, however a C13 is a dominant chord.Jazz musicians will usually play a C7 with either a 9th or 13th anyway, so C7, C9, & C13 are the same practically.

Blues scales for Autumn LeavesG blues - This is a good blanket scale to use when your brain aches from thinking too much!

B flat blues - you may wish to try this scale over autumn leaves, see what you think!

& bb90 œ œ> œ œ> œ œ> œ œ>

Cm7 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

& bb94

œ œ œ œ œ œ œ œF7 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

& bb98 œ œ œ œ œ œ œ œ

B!maj7 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

& bb1

102 œ œ œ œ œ œ œ œCm7

1 2 3 5 3 2 1

œ œ œ œ œ œ œ œF7

1 2 3 5 3 2 1œ œ œ œ œ œ œ œB!maj7

& bb105

œ œ œ œ œ œ œ œE!maj7 œ œn œ œ œ œ œ œAm7(!5)

œ œ œ œb œ œ œ œD7( #5#9 )

& bb108

œ œ œ œ œ œ œ œGm(maj7 )

!

& bb2

110œ œ œ œ œ œ œ œCm

3 4 5 7 5 4 3

œ œ œ œ œ œ œ œF7

& bb112

œ œ œ œ œ œ œ œB!maj7 œ œ œ œ œ œ œ œE!maj7

Change running exercises [email protected]

etc.

Digital pattern exercises

etc.

etc.

& bb114

œ œ œ œ œn œ œb œCm7 œ œ œ œ œb œb œ œF7

˙ ÓB!maj7

& bb117 œ œ œ œ œ œ

3

œ œ œCm7 œ œ œ œ œn œ œb œbF7

˙ ÓB!maj7

Jazz lines (ideas) [email protected]

What makes a solo interesting?Repetition, Sequence, Dynamics, Range (high, low etc), Accents, Rest and Silence, Rhythmic VariationVariety (but not too much), Blues scale, Tension and Release, MotifsKnowing where the guide tones are (3 and 7)Trills, Glissandos, Swoops, Staccato etcEmphasise pretty sounding notes, 7ths, 9ths, #4ths Always try to buiid your solo, tell a story and make it go somewhere

Above all of this, the main thing you need to do is LISTEN, it helps swing feel, improvisation, styleand generally helps you build a solid jazz vocabulary!

What do I do now?Practise Swing rhythms over familiar scalesPractice major 251 in both hands through cycle of 4ths, best choicePractice major 251 in left hands through cycle of 4ths, play 251 exercise in right hand practising swing rhythmsSeperate Chords types and practise through cycle, chromatically and randomly until you know the chords quicklyPractise minor 251 in left hand , best choicePractise minor 251 in left hand, play 251 exercise using Locrian #2, Superlocrian, and Jazz Minor scales

Buy a real book and play chords from any tune making yourself fluent with your new jazz voicingsBuy Jamey Aebersold backing tracks and play along either with chords & tune or try soloing over the changes too!Just play, be creative, listen and have fun playing jazz!There is a huge recourse of jazz tutorial material available to buy and study, or book a series of private lessons from a tutor, study at one of the jazz courses available in both Auckland based universities.

Jazz Piano Workshop

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