TABLE OF CONTENTS ABOUT THE AUTHOR...4 INTRODUCTION...5 CHAPTER

Transcription

1 TABLE OF CONTENTS ABOUT THE AUTHOR INTRODUCTION5 CHAPTER Revie6 Intervals 6 Triads 7 7th Chords 8 Diatonic Harmony8 Voicings 0 Four-Note Voicings0 Shell Voicings0 Beop-Style Left-Hand Voicings Three Note Rootless Voicings Rootless Shell Voicings Harmonic Analysis Scales Arpeggios Lead Sheets Trekkin' (Lead Sheet) Trekkin' (To-Handed Chords ith Melody on Top)5 Trekkin' (Melody in Right Hand, Chords in Left)5 CHAPTER Modes of the Maor Scale 6 The Dorian Mode8 Iceerg8 The Lydian Mode9 Courtesy Call9 The Mixolydian Mode0 Blues in Bloom0 The Phrygian Mode The Locrian Mode The Ionian and Aeolian Modes Using Modes ith Diatonic Progressions Struttin' With Fats Still Waiting 5 CHAPTER Chord Extensions 6 Dominant Extensions8 Flex, Extend9 Maor Extensions0 Groove for Groove Minor and Diminished Extensions Bello Scrofani Left-Hand Voicings With Extensions The Squirrel and The Dog5 Using Other 7th Chords for Voicings With Extensions6 Rememer Your Principles7 CHAPTER Making the Changes 8 The Role of Rhythm in Making the Changes9 Making the Changes With Modes0 All Them Thangs Using Chromatic Tones The Beop Scale Da Light at Tadd's House Addressing Changes as They Change: Guidetones Tale of Contents

2 Revie: Linking Arpeggios5 At Least/Fifty Feet6,, 7 CHAPTER 5 Sustitutions 8 Tritone Sustitution50 Tritone Madness 5 Mixing and Matching Maor and Minor Harmony5 Mamo Por Eddie Y Chucho 5 Using Dominant Chords in Cycles5 Boppin' With -Mac 55 Rhythm Changes 56 Rhythm Changes 56 Golden Silver 57 Pac Man 58 Sample Rhythm Changes Solo 59 CHAPTER 6 The Blues 60 Basic Blues Progression6 Bu's Blues6 Beop-Style Progression6 Guh-Zap6 "Bird" Blues6 Blues For Bird6 Minor Blues6 Mr Dee Gee6 Non-Traditional Blues Changes65 Nek's Kinda Blues65 Blues Devices and Feel 66 When to Use Blues Devices and Feel67 The Phinest Blues68 Commercial Ave And Suydam St69 CHAPTER 7 Altering Dominant 7th Chords 70 The 9 Chord7 The 9 Chord7 The 5 Chord7 The 5 Chord7 Hours, But Not In A Ro7 Doule Tension Chords7 Roles With The Changes75 Chords With Both Altered and Unaltered Extensions76 Long Point77 Sprint The 0079 CHAPTER 8 Comping 80 Working Within the Rhythm Section80 Supporting the Soloist8 First Chorus8 First Chorus, Comping8 Third Chorus8 Third Chorus, Comping85 Sixth Chorus86 Sixth Chorus, Comping87 Comping Latin Grooves88 CHAPTER 9 Afterords 90 Caro Poder90 Playing Out and the azz Hang9 Tunes 95 Recordings 95 Tale of Contents

3 MAKING THE CHANGES WITH MODES As e discussed in Chapter, the modes of the maor scale give us a ay of addressing each individual chord in a progression The first thought of many necomers to modes is often, Yeah, so hat It s all the same eight notes anyay In case you might have this thought in the ack of your mind, let s take a peek at the difference it makes to use modes If e run the C maor scale up and don over a iii-vi-ii-v-i in C maor, this is hat e get Track q = Sometimes the chord tones fall on strong eats, sometimes not Over anything ut a CMa7 chord, it is a it of a crapshoot No look at hat happens if e use the appropriate mode for each chord Track E Phrygian A Aeolian D Dorian G Mixolydian q = Track 5 Here e consistently hit chord tones on doneats and passing tones on offeats Admittedly, running straight up each mode doesn t exactly make for the smoothest sound So let s try using each mode ut taking some lierties ith rhythm and line contour E Phrygian A Aeolian D Dorian G Mixolydian q = Track 6 That s much etter Using modes in this ay (once you take lierties like this) on t guarantee that you ll land on the right notes in the right places It ill, hoever, give your solo lines a focus that directly relates to the chord at hand and that makes you all the more likely to make the changes If you re playing a ii-v in F, for example, and thinking aout the F maor scale, all your ideas are likely to pivot around F (see the first example elo) If, on the other hand you re thinking of G Dorian over the Gmin7 and C Mixolydian over the, then your ideas ill proaly relate etter to the individual chords (see the second example elo) F Maor G Dorian C Mixolydian Gmin7 Gmin7 q = A) B) 0 Chapter Making The Changes

4 Mamo Por Eddie Y Chucho is a ar tune in AABA form It uses a Latin groove, so don t sing the eighth notes The changes use many minor ii-v s resolving to maor chords and maor ii-v s resolving to minor chords Be slo and meticulous hen you practice soloing so you can find the right sound for each chord Once you re comfortale, feel free to thro in some tritone sus, as ell This tune is dedicated to the great Latin azz pianists Eddie Palmieri and Chucho Valdez (of Irakere) Bossa nova q = 08 P 5 0 Track 5 MAMBO POR EDDIE Y CHUCHO 5 n F7 B min7 5 E A Ma 7 E 7 n Fine A Ma 7 5 # 5 A7 9 # # # DMa 7 # # # A7 5 # # # n F7 5 # A7 # # # DC al fine (no repeat) Chapter 5 Sustitutions 5

5 The Phinest Blues, dedicated to Phineas Neorn, r, is an example of the alance eteen using lues devices and holding ack from them The melody uses mainly lues feeling and devices, except on the ii-v s in the eighth, ninth and tenth ars, here more of an attempt is made to make the changes Experiment ith the same concept hen you solo q = 6 # # 5 0 Track 57 n THE PHINEST BLUES # Bmin7 E7 # 9 n 5 # # 5 n D7 # # D7 Phineas Neorn, r spent some time in BB King s and efore his azz career took off in the 950s He could inect a lues feeling into any kind of tune at any tempo 68 Chapter 6 The Blues