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medium
A1
bc
b
&
comping rhythm 1
for A sections
minor ii v i in g
only
Am7( ! 5)
b w
b
&
>
>
>
a locrian #2
Cm7
major ii v i in b flat
b w
b
&
10
A2
Am7( ! 5)
minor ii v i in g
b
& b w
14
Am7( ! 5)
minor ii v i in g
b
b
&
18
major ii v i in b flat
Cm7
b w
b
&
22
30
Am7( ! 5)
minor ii v i in g
b
b
&
26
Am7( ! 5)
minor ii v i in g
b .
b
&
mark@jazzpiano.co.nz
major ii v i in b flat
Cm7
>
. j
c dorian
D7( # 5 # 9 )
n #
d superlocrian
F7
D7( # 5 # 9 )
D7( # 5 # 9 )
F7
D7( # 5 # 9 )
D7( # 5 # 9 )
F7
E !maj7
>
Gm (maj7 )
g jazz minor
B !maj7
>
>
>
Gm(maj7 )
Gm(maj7 )
B !maj7
major ii v in F
Gm7
g dorian e.g.
C7
Gm (maj7 )
E !maj7
E !maj7
B !maj7
#
B !7
major ii v in e flat
Fm7
f dorian e.g.
( )
mark@jazzpiano.co.nz
scales & modes are a group of notes, a pool if you like from which you can draw your ideas
34
36
38
&
&
&
&
40
&
42
&
44
&
46
&
48
50
bb
bb
bb
bb
bb
bb
bb
bb
Cm7
c dorian mode (2nd mode of B flat major scale, or c major scale with lowered 3rd and 7th)
F7
f mixolydian mode (5th mode of B flat major scale, or f major scale with lowered 7th)
B !maj7
E !
e flat lydian mode (4th mode of B flat major scale, or E flat major scale with raised 4th)
Am7( ! 5)
D7( # 5 # 9 )
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)
Gm (maj7 )
Gm7
Fm7
& b
C7
B !7
52
b
b
&
mark@jazzpiano.co.nz
12
8
j j j
j
j
j J
j
w.
55
b 12
b
& 8
58
bc
b
&
Now play the slurred notes at full value (don't shorten) but with less emphasis
61
&b
} } }
}
k > k > k > k > k > k > }k
> }
>
F7
B !maj7
E !maj7
b
b
&
www
w
64
b
b
&
www
66
w
Am7( ! 5)
b
b
&
n wwww
68
71
b
b
&
b
b
&
72
Gm7
www
w
D7( # 5 # 9 )
n#n wwww
www
w
C7
Fm7
mark@jazzpiano.co.nz
Gm(maj7 )
www
# w note: you may want to play
B !7
mark@jazzpiano.co.nz
There are 3 types of chord group, major, minor, and dominant. When you are reading chord charts you will need to
be 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.
b
b
&
B!
b
b
&
C-
73
77
B !maj7
B !J
B !M7
Cmin7
C-7
Cm7
81
&b
F7
b
b
&
F9
F13
Am7( ! 5)
84
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.
&
bb
G 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!
b
b
&b
88
94
98
&b
&
bb
&b
Cm7
B !maj7
b
b
&
102
Cm7
F7
E !maj7
1
Am7( ! 5)
mark@jazzpiano.co.nz
1 etc.
B !maj7
D7( # 5 # 9 )
&
b
105
Gm (maj7 )
b
&b
108
Cm
b
&b
110
b
b
&
112
B !maj7
3
3 etc.
F7
E !maj7
114
b
b
&
117
Cm7
n b
Cm7
F7
b b
F7
n b
b
3
mark@jazzpiano.co.nz
B !maj7
B !maj7
Repetition, Sequence, Dynamics, Range (high, low etc), Accents, Rest and Silence, Rhythmic Variation
Variety (but not too much), Blues scale, Tension and Release, Motifs
Knowing where the guide tones are (3 and 7)
Trills, Glissandos, Swoops, Staccato etc
Emphasise 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, style
and generally helps you build a solid jazz vocabulary!
What do I do now?