LESSON 16.

(A) and (B) Form Summation

In view of the complexity of the (A) and (B) Form system, this
chapter will summarize the important facts considered in the previous
fifteen lessons. This summation will bring not only a distillation of the
material studied, but will also offer the student an easily accessible out
line for convenient visual reference. In the following outline all interval
combinations are based on the prevailing mode of the chord.

The Major Chord:

I or temporary I of a parent key

Keys C to F: (A) Form; 3 5 6 2 (Ionian Mode)
Keys F# to B: (B) Form; 6 2 3 5 (Ionian Mode)

The Dominant Chord:

V or temporary V of a parent key

Keys C to F: (X) Form; 7 2 3 6 (Mixolydian Mode)
Keys F# to B: (B) Form; 3 6 7 2 (Mixolydian Mode)

The Minor Chord:

II or temporary II of a parent key
Keys C to F: (A) Form; 3 5 7 2 (Dorian Mode)
Keys F# to B: (B) Form; 7 2 3 5 (Dorian Mode)

The Half-Diminished Chord:

IIB* or temporary II95 of a parent key

Keys C to F: (A) Form; 3 (j5 7 2 (Dorian Mode)
Keys F# to B: (B) Form; 7 2 3 [j5 (Dorian Mode)

The Diminished Chord:

br TT.os - ,
II bT or temporary I I ot a parent key
Keys C to F: (A) Form; 3 \)5 2 (Dorian Mode)
Keys Fjf to B: (B) Form; \fl 2 3 (j5 (Dorian Mode)

Figure 1 illustrates the sixty jazz chords in their appropriate (A) and
(5) Forms. The modified half-diminished and diminished (B) Forms are
also included.


^ e e e ^ 0 e
8 8
CM C x Cm C 0 C 0 C o C o

I f : & - & - #

tt - ^ =

^ ^ #S J # _ 8#'
D kM D bx C #m C #0 C #0 C #o C#o

DM Dx Dm D0 Do
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A bM A bx A bm A !> 0 A b0 A bo A bo

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A M A x A m A 0 A 0 A o A o

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- y 1- ,& > b 1' ^

b ^ = 6 b F = O

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8
B bM B bx B bm B t 0 BM B Bbo Bbo

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fis
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BM B x Bm B 0 B 0 B o B o