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JAZZ ES FOR IMPROVISATION


by Dan Hae Ie, Jack Petersen' & Rich Motteson

CONTENTS
Intrc'duction

S e c t i o nI . . . . . . -
Strawberry Jam
Doobee.. 10
Good Old Maggie
Flugr:way
EvemingSunset 13
Soaring
.'eribChimP "';""' 14
Spiral
Crawlin'Blues.
15
Section II
BluesforaChange """'26
XHuottDays. """7t
-.. - -. " "11, \$tippin. " ' t " " ' ; " " " ' " " " 2 7
BigFootBossa- --../"q4fu'-' """ " '28
NightMood
RomanGlee- """29
't'Holly Fou f{ ,o K o k o m Jo o e . . . -....;'.i"','r"1""""""'30
-- . . 2 1 Maybe Next rime ... -.. '. Jliv+ht M.** 11
GreenBossa. "A" -' . . . . . .
/Lt'Jj ,720*":g!,1^+l!*V' u' " - -Cl Cochise -'**M ""32
' r^- - cr--..
MutltonStew.. i:f?r' ":'" L" ".f
.---" ' .}.$J.4: ....2r The Third Kind
e . B. .
M yl - i t t l P 4 eo t'@""* - _24
BehrpBabY. " a;i:
.""Y-'j Tahoe
TripodRevisited'
36
SectionIII
37 Flora and Fauna . . -
Blues...'
Dan''s 48
v5DOorv
/\'
r SurelYWe.. ' 50
39 Doozee
Kee BoP 51
- The Kook
LittleOldSoftY """"':
^{bnc"UponaTime. '""\ SleepyLulu. .
'>{-lra's;
Tune Que Bossa g
Ripper
43 {Magic Morning
Gotcha
Evening
TheFifthMinor ..."""";
LeapYear ."""|1' .(.:'.7.'.....46
58
Section IV
Waltz -
Prirnaf Prayet 70
Double Bridge
Elf Dance 71.
Jive in Five ..
Sillry . ...""i" 72
S e eS a w
HellpYourself..- ..-.""''
Seagulls
SoulMates. '.
The Plywood SheeP
Scooter 75
Captain,MaY | .
Lorneliness 76
Gotta HurrY
Ser:onds.
SambaDeesBlues
T I

Appendix'..
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77

. APPENDIX.
I

N o me n cl a tu re {i n th e ke yofCfor com par ison)


Major family: C, C6, C6?, C^, C^9' C^9-11' C^13' CAFS
Minor family: Cmi, Cmi7, Cmtg' Cmill' Cmi13' Cmi#7
g7+L1, C7.|3,
Dominant family: C7, Cg, C13, C7sus4,C7-5, C7+5,
C7-9, C7+9,or an combinationof alterations'
Half-diminished7th: CmiT-Sot Co
07 or dimT
FullY diminished 7th:
Diminishedmajor 7th: dim^7
f

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S,cale Syllabus (arrangedin order of need)

I
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Scale choice Example
It Chord familY Function

{
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mlnor IorVI Aeolian
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mmor II or IV Dorian

l minor il Phryglan

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mlnor Any Minor pentatonic

I t
i minor Blues

N
t minor, #7 AscendingMelodic minor

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Harmontc mtnor

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Chord familv' Alterations Scale choice Example

dominant unaltered Mixolydian

dominant suspended4th Mixolydian

dominant -5 or +5 Whole Tone

dominant +11 Lydian, 7

dominant -lJ 5th mode melodic minor

dominant -9 or +9 Half-wholediminished

dominant 'n Blues

dominant -9 and -13 Sth mode harmonic minor

dominant any combination of SuPer l-ocrian


altered 5th and fth

fs::r: 'r:"!=*:ryr
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Scale Choice Example
Chord famrb Function

j mator lonian
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lI ru Lydian

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any Major pentatonic

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+ major, #5 any Lydian Augmented

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major, #5 any Augmented


;

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80

Function Scale choice Example


Chord family .

minor 7th, -5 II or VII Locrian

minor 7th, -5 2nd mode harmonic

minor 9th, -5 I,aciran, #2

diminished7th VII 7th mode harmonic

diminished7th VII Whole-halfdiminished

diminished.#7 any Wbole-half diminished


'INTRODUCTION

The purpose of this book is to provide resource materialsfor the study of improvisation,either
individuallyor in a classsituation.The tunesincludedherearebasedon typicalkindsof chord progressions
found in many jazz standardsor on specialtypes of progressionsthat havebeenfound by the authors to be
valuablefor study.The melodiesare designedas typicalexamplesof melodicmotionthroughvariouskinds
of harmonies.Thesetunes have been used in classsituationswith good successfor severalyearsbefore
arriving at the final decision to include them here. Many tunes which proved ineff.ectivefor study were
discardedand are not included.
The book is dividedinto four sectionswhich relateto four semestersof improvisationstudy as it is
structuredat North TexasState University.However,in eachsection,someof the piecesmay be optional
dependenton the abilityof a givenclass.Also, by assigningonly certaintunes,the book can easilybe used
for courseswhich spanonly one or two semestersas well. An individualworking with the book will probably
be able to make his own choicesas to which tunes challengeand interest him.
Generallyspeaking,the tunes are arrangedin order of difficulty.This is especiallytrue in the first two
sectionsof the book. In the earlystages,it has beenfound that the most solidkind of growthtakesplaceby
proceeding through certain kinds of problems in a rather specific order. Later in the book, in sections
three and four, it is often hard to say which tunes are more or less difficult since each may present quite
different kinds of problems.However, an individualor classwillprobably find that movingthrough the book
in chronologicalorder produces the best results.
It is the authorshopethat, by providingstudentswith tuneswhich haveaccuratechord chranges and
melodies,an important need will be met in the area of It
improvisationalmaterials. is alsothe authors desire
that students in educationalsituationsfeel tree to use any of these tunes as vehiclesfor writing and
performance(with publisher'spermission)as long as there is no financialgain realizedthrough said use.
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Sole Dstnbulorshrp: STUDIO P R. Inc.

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SECTIONI

This sectionincludestuneswhich are basedon harmoniesof longdurationandwhichinitiallyinvolve


only one or two scale forms. These scales are the most commonly used,iazz modes and occur in the
follovringorder:
1) Dorian mode (pure minor scale with a raised 6th scale step)
2\ Mixolydian mode (major scale with a lowered 7th scale step)
3) Dorian and mixolydian modes together
4') Ionian mode (major scale)
5) Dorian, mixolydian and ionian modes together

The following example shows that C Dorian, C Mixolydian and C lonian scales:

C Dorian C Mixolydian C lonian

of the most
The fifth category of tunes also introduces the II-V-I progression in a major key, one
comrnon of all jazz chord progressions'
mode is firmly
Students should stress diatonic playing (free ofchromatic embellishment)uniil each
then chromaticism
fixed in both their minds and their finslrs, O-ncethe tones of a particular scaleare set,
the harmonyfor
may be used sparingly.It is also imporiant to stressthe 3rds and Tths of chords to identifu
the listener.In addition,certain chord (scale)tones also iequire care in handling:
scaieif the 4th
1) The 4th scalestep should move stepwiseto the 3rd or 5th in a mixolydianor ionian
isn't susPendedin the chord.
Z\ The 4th scale step may be stressedif it is suspendedin the chord-
than the root'
3) It is better to stress the 7th or 9th (2nd) scale step in an ionian scale rather
by Dan
For more detailedinformation concerningscale use,refer to ScalesFor Jazzlmprovisation
Haerle, also published by Studio P/R, Inc. Also refer to the appendix of this book'
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SECTION II

There are many


This section includes tunes which are based on harmonies of shorter duration.
or V-l portion of the
examplespresent of the II-V-I progressionin'a major key. often only the II-V
moving
progressionis used.It is importantto learnto identifuthe relationshipof a minor 7ih chord {llmi7) (lma7)'
major key cenier
down a perfect5th to a dominant7th chord (V7) and then down a perfect5th to the
I shows a complete II-V-Iprogression
This key centercan be feltevenif the I chord doesnot occur. Example
as well as the II-V and V-l portions all in the key of C major'
Example 1
G7(V7) CMaT(lMa7) IImiT V7 V7 IMaT
DmiT(llmi7)

consistsof a minor 7th


Also, in this section,the II-V-Iprogressionin a minor key is introduced-This
-5) 7th chord with a lowered9th
chord with a lowered5th (llmi7 movilg down a perfect5th to a dominant
this key center can be felt
and 13th w7 -g -13)and ihen down to the minor key center (lmi7i. As before,
pure minor and harmonicminor
evenif the I chord does not occur. It is important tolearn the use of the
II-V-Iprogressionaswellas
scaleswith the II-VI progressionin a minoi key.Example2 showsthe complete
the II-V and V-l portions all in the key of C minor'
Example2
DmiTs(llmi75) CmiT(lmi7)

the major scale (phrygian, lydian,


This section also includes tunes which introduce the other modes of
of the melodic and harmonic minor
aeolianand locrian), the whole tone and diminishedscales,and modes
for explanationof the various chord-
scales.Consult the scalesyllabusfound in the appendixof thi" book
scale relationshiPs-
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SECTION III
[_

This sectionincludestuneswhich involvecontinuedstudy of the II-V-Iprogressionin both majorand


minor l"eyswith emphrasis on the latter. Faster tempos and less commonly used keys are employedto Iu
developincreasedsecurity.Also, therc are harmoniesof short duration which includemany alterations.
Finally,there is considerableactivity involvingthe use of the diminished7th chord in typicaifunctions.As
bef.ore,consult the scalesyllabusfound in the appendixfor more detailedinformation.
A thoroughpracticemethod must be developedat this point. Isolatedscalesin a givenpiecemustbe
t
practicedexhaustivelyto removeany insecurity.The followingroutine is suggestedfor developingfluency
with a givenscale:
t
1) Practicethe scalein broken intervals(3rds,4ths,Sths,etc.),startingfirst with the lowertone and
then with the upper tone.
3) Play all the diatonictriads of the scaleusingdifferentdigitalpatternswhilemovingup and down
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throughit. Somesuggested patternsarel-3-5,5-3-1,1-3-5-3,5-3-1-3,3-5-3-1, and 3-1-3-5.


4) Play all the diatonic 7th chords of the scaleusing a variety of digital patterns as in step 3.
t.
5) Move randomly all over the scale using stepwisemotion, largeskips and generallycovering the
full range of your instrument. t
In addition,it may be necessaryto practicepairsof scalethat relateto two successivechord changes.
Strive to move through the first scale and aim for a target note (usuallya color tone) in the second chord-
t"
scale.
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to use pentatonic scales which are
t

This section includes tunes which afford the opportunity. t


requirethe
in several locations o,.,it," uuiious chord iamilies-Aiso presentare tuneswhich
superimposed scalewithan augmentedmajor t
such as the lydian-augmented
useof somelessfrequentlyused altereJscales (minor 7th -s) chord. Many chord progressions are I
t
or the lociiin, #2 scale with a half-diminished
7th chord progr"irions of a Sth..Also employed are odd meters'
e fewer
lessfunctionalin the usuarsenseand invoiv rubato time
of meter und ,rrurual phrase iengths. one of tiln t"""r (Seagulls)involvesthe useof
changes
(no steadYtempo)'
places the greatest demands on the student of improvisationin an effortto developthe highest
This section felt that
xnvr,l'i l'usrr.l vehiclesfor expression'It is
degreeofsecuritywith Jastertempos,Lss familia, most difficultproblemshe is likelyto encounter
someof the tunesin this section.o.,r-r,l tn eplayerwitfrifre successfully
ubiiityto dearwiththe materialinthis section
in actuarp"rfor*.r,ce situations.Therefor",ih" importantto caretullv
probably inJicate a consider"Ll;;;;;;e of skilii" u p"tr"tmer. It is.especiallv
would foliowing:
analyzechord-scale relationshipsin this sJction keepingin mind the
scale chosen must supply what is called for in the chord symbol'(ln somecases'additional
1) The
the sound too drasticallyin other instances)
alterationsmay be ,.rpphJJ6ut this -uv .t'ru.rg" for
into consideration the functions of chords and logicalscalerelationshipssuchasDorian
z) Take
a llmiT or LYdianfor a IVmaT'
study the melody which contributes heavily to the aura of a compositionand may
3) carefully
includealterationsorsuggestcertainscalefragments.
is found. If a scalechoicecannot be made using
4) Finally,examinethe context in which a chord one
1, 2 and 3, then it may be necessary to examinethe previousor foliowingchords'often
steps tonescan
or more tones may be in c.-ommon with two successivechords.Generally,if common
This
to logicallyacceptthem as soundingnatural'
continueinto the next chord, the ear will tenJ result or
*ni.n accomplishesthis predictable
understandingallowsthe soloistto choosea scale instincts'which
to pick a scalethat introd;";; new tone which createsu ,rrprir" event!These
carefulstudy by any seriousplayer'
come naturallyto the jazz greats,can b" ".;;i;;d-thro,rgh

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