Jazz Theory and Practice Module 4 a, b, c The Turnaround, Circles of 5ths, Basic Blues

Size: px

Start display at page:

Download "Jazz Theory and Practice Module 4 a, b, c The Turnaround, Circles of 5ths, Basic Blues"

Cameron Cole
5 years ago
Views:

1 Jazz Theory and Practice Module 4 a, b, c The Turnaround, Circles of 5ths, Basic Blues A. The Turnaround The word really provides its own definition. The goal of a turnaround progression is to lead back to the beginning of a section, or the piece (most often to the tonic chord), so the harmonic progression usually leads to I, and there are many ways to get there. A first ending almost always ends in a turnaround, setting up the return to the beginning of the piece or section. In this example, the turnaround begins in the first ending, and is completed with the return to the tonic: our familiar II7 V7 I from Module 2. 4a1 Copyright 2014 Peter J. Clements 1

2 A more typical version of this turnaround is extended backwards to include the chord that most often leads to II: the VI chord: 4a2 Often the VI7 chord is changed chromatically to a dominant-7 th (A7 in the example), or a chord that is almost identical to that dominant-7 th, is a diminished seventh chord a semitone below II: 4a3 Notice that the A7 chord and the C#dim7 chord are only different by one note. The diminished-7 th chord (sometimes called an incomplete dominant-9 th) is common in various kinds of music, and will be discussed in detail in module 5. The bass movement of a semitone, or half-step, is an important feature of many jazz chord progressions. It works well both as an ascending half-step and a descending half-step. Here is the same turnaround with the II approached from the half-step above: 2

3 4a4 The approach from the half-step above works for another reason. A very useful technique in jazz harmony is the tritone substitution. If you remember from our study of hexachords, a tritone is three whole steps in succession: forming an augmented fourth or a diminished fifth. In this example, the tritone substitution is b III for VI: 4a5 As you can see, it doesn t matter if you count up three whole steps or down three whole steps; the tritone divides the octave into two equal halves. If the turnaround is modified further with a second tritone substitution: bii for V, the result is a downward chromatic bass progression towards the goal (I). This is a very familiar version of the standard turnaround: 4a6 3

There are dozens of different turnarounds. Often more chords are used: either they extend for a longer time (6 bars or 8 bars), or, in a slow tempo there could be three or four chords in each bar.

4 There are dozens of different turnarounds. Often more chords are used: either they extend for a longer time (6 bars or 8 bars), or, in a slow tempo there could be three or four chords in each bar. For now, here is one more example that uses a tritone substititution: b VI7 for II7 in this case. This turnaround also makes use of the descending minor scale to get to V7: 4a7 It s only logical that a turnaround could also serve as an introduction, leading to the opening tonic chord. The turnaround in the previous example (or any other one) provides a perfect introduction to our short piece: 4a8 If you haven t already noticed, the chord sequence used for the turnaround in the first ending (I6 VI7 II7 V7) actually appears at the beginning of the melody, and is repeated every two bars. Our 8- bar melody really only has two bars of harmony, recycled three times. A whole section of the piece has been constructed from a simple, repeated turnaround. This formula is well-known to most musicians because it appears frequently in popular songs and jazz standards. The pattern is often 4

5 referred to as the I Got Rhythm Changes or simply Rhythm Changes 4a9 In Gershwin s original version the pattern occurs three times, then it is modified to end on I in the 8 th bar. There have been countless harmonic variations applied to the Rhythm Changes ; here are two such variations: 4a10 Compare this example with the one above. In the first two bars, both the VI7 and II7 have been changed to dominant-7 th chords, a technique we used with the turnaround earlier. In the 4 th bar there is a tritone substitution: b VI7 for II7. There is a similar chord in the third bar, although not technically a tritone substitution, it works the same way, descending by half-step to the VI7 chord. The chord symbols show that the bass will descend chromatically. This example is also in the PLAY/SING section to follow, and you will discover that two of the melody notes clash with the harmony: in the third bar the B b is heard against the G7 chord, and in the fourth bar the G is heard against the G b 7 chord. These notes that clash really can be part of the chord; they are both extensions: something that comes up in a later module! The goal of the turnaround is not always the tonic chord, especially when a piece begins on a chord other than the tonic. It doesn t happen often, but there are some familiar examples. Two jazz standards that begin on the II7 chord are Ellington s Satin Doll, and Neil Hefti s Cute. The following example shows four different 5

6 versions of the turnaround in Satin Doll. Example (a) uses the basic II7 V7 (Em7 A7) of the D minor chord; example (b) inserts a Dm7 chord before the Em7, which helps the shift from C to D minor. Example (c) sets up the D minor another way; the Em7( b 5) and the A7( b 9) are both from the D minor mode. The final example(d) uses descending chromatic dominant-7 th chords. The four examples are taken from four different fake books, clearly showing that harmonic practice varies freely among performers and arrangers. 4a11 There is a simple piano duet that has been a part of popular culture for many years. The upper part is the melody in octaves, and the lower part has a repeated two bar accompaniment pattern that is the rhythm changes in its simplest form. Most pairs of duet players probably don t even know the name of the piece: Heart and Soul. You will find a number of versions of the Heart and Soul duet on YouTube Music, some more sophisticated than others. For other pieces using the Rhythm Changes look for the following: I Got Rhythm. There is actually a video performance from the 1930s with Gershwin performing. 6

7 I Got Rhythm Variations for Piano and Orchestra. This is a longer piece, somewhere between jazz and classical music. There are a number of performances to choose from, including one by Gershwin himself, recorded in 1934, with commentary by the composer. Blue Moon. In the version by Nat King Cole the Rhythm Changes are easily heard. For a classic pop version, listen to the performance by the Marcels from In the 50s and 60s the Rhythm Changes were the foundation for several pop songs. The Flintstones Theme Song. There is a wonderful virtuoso performance by guitarists Barney Kessel and Herb Ellis. The harmonic changes for this whole piece are identical to the changes in I Got Rhythm. Try to Remember from the musical The Fantasticks. You will find very expressive performances both from the Brothers Four and Harry Belafonte. Return to the menu, and try the PLAY/SING and WRITE exercises for Module 4a. 7

Jazz Theory and Practice Module 2, a,b,c Dominant-7 th, Added-6 th and Minor-7 th Chords, The (II V I) progression

Jazz Theory and Practice Module 2, a,b,c Dominant-7 th, Added-6 th and Minor-7 th Chords, The (II V I) progression C. Two more 7 th chords: Major-7 th ; half-diminished-7 th a. The 7 th chords of the major