A Brief History of Jazz

Listening to other jazz musicians is by far the most important isolated activity that you
you can do it to learn about jazz improvisation. Just as there is no
words that could ever describe what a painting by Monet is like, none
the introduction I write will describe what Charlie Parker's sound is like. Although it is
important for a musician to create their own style, this should not be done in
isolation. You need to be aware of what others have done before you.

Having established the importance of listening, the question that remains is: "What should I listen to?"
It is most likely that you already have some idea of the jazz musicians you like.
Generally, you can start with one musician and expand the circle from there.
For example, the first jazz musician I listened to a lot was the pianist Oscar.
Peterson. After buying half a dozen of his records, I discovered that he also
I liked some of the musicians he played with, like the trumpet player Freddie.
Hubbard and Dizzy Gillespie, and I started buying their records too. So, listening
the pianist Herbie Hancock played with Hubbard, I discovered a new direction to explore,
one that led me to the trumpeter Miles Davis, and from him to the saxophonist John Coltrane, and
this process continues to this day.

Part of the aim of this Introduction is to try to guide you in your listening. What follows
It is a brief history of jazz, mentioning many important musicians and albums.
Note that the subject of the history of jazz has generated entire volumes. Some of these are
listed in the bibliography.

This Introduction provides a brief overview of the main periods and styles of jazz.
There is a lot of overlap in the eras and styles described. The last sections on the history of
jazz is basically based on principles developed from the 40s to the 60s. This
music is sometimes called the mainstream of jazz (mainstream or straight ahead)
in English).

The public library in your city can be a valuable source for getting to know musicians.
with which you are not familiar. You should also swap discs with friends.
Burning discs or CDs for the use of other people is obviously, however, a
violation of copyright, and this devalues the economic reward of musicians.
You should use the library and the collections of other people's discs to get an idea.
what you like and then buy whatever you want.

The Beginnings of Jazz

The oldest recordings of jazz that are easy to find are from the 1920s and the beginning of the
the 30s. The trumpeter and vocalist Louis Armstrong ('Pops', 'Satchmo') was by far the
the most important figure of this period. He played with the groups called Hot Five and
Hot Seven; any recordings you can find of these groups are recommended.
The style of these groups, and many others from this period, is generally called jazz.
from New Orleans or Dixieland. It is characterized by collective improvisation, in which
all the musicians play simultaneously improvised melodic lines within the
harmonic structure of the music. Louis, as a singer, is regarded as the inventor of scatting.
that the vocalist uses nonsensical syllables to hum improvised melodic lines.
Other notable musicians of New Orleans jazz or Dixieland include the clarinetist
Johnny Dodds, the soprano saxophonist Sidney Bechet, the trumpeter King Oliver and the
trombonist Kid Ory.

Other popular styles of this period are various forms of jazz on the piano, including
ragtime, Harlem stride, and boogie-woogie. These styles are actually quite distinct.
of each other, but all three are characterized by rhythmic and percussive lines
for the left hand and fast, full lines for the right hand. Scott Joplin and Jelly
Roll Morton was a pioneer of ragtime. Fats Waller, Willie 'The Lion' Smith, and James
P. Johnson popularized the stride pattern for the left hand (bass, chord, bass,
chord); Albert Ammons and Meade Lux Lewis developed this into standards more
fast left hand movements of boogie-woogie. Earl 'Fatha' Hines was a
pianist especially known for his right hand, with which he often, in
instead of playing full chords or arpeggios, he played purely melodic lines, typical of the
sighs. This has become a commonplace since then. Art Tatum is considered by many
as the greatest jazz pianist of all time; he was certainly one of the best
technically gifted, and their harmonic discoveries paved the way for many who
They came after him. He is sometimes considered a precursor to bebop.

The Jazz of Big Bands and Swing

Although big bands, as the jazz orchestras are called, are normally
associated with a slightly later era, there were several of these orchestras playing
during the 20s and the early 30s, including that of Fletcher Henderson. Bix
Beiderbecke was a cornet soloist who played with various bands and was considered
a legend in her time.

The mid-1930s brought the Swing Era and the emergence of big bands like the
popular music of the moment. Glenn Miller, Benny Goodman, Tommy Dorsey, Artie
Shaw, Duke Ellington, and Count Basie conducted some of the most well-known orchestras.
There were also some important recordings of small swing groups during the
the 30s and 40s. These differed from the earlier small groups because they did very little
collective improvisation. The music emphasized the individual soloist. Goodman, Ellington and
They often recorded in these small group arrangements. Among the
Important saxophonists of this era include Johnny Hodges, Paul Gonsalves, Lester
Young, Coleman Hawkins, and Ben Webster. Among the trumpeters are Roy Eldridge,
Harry "Sweets" Edison, Cootie Williams, and Charlie Shavers. Among the pianists, we have
Ellington, Basie, Teddy Wilson, Erroll Garner and Oscar Peterson; on guitar, Charlie
Christian, Herb Ellis, Barney Kessell and Django Reinhardt; on vibraphone, Lionel
Hampton; among the main bassists are Jimmy Blanton, Walter Page, and Slam
Stewart; drummers, Jo Jones and Sam Woodyard. Billie Holiday, Dinah Washington and Ella
Fitzgerald was an important singer of this era. Most of these musicians recorded in
small groups, as well as with large jazz orchestras. The styles of these musicians
It can be better summarized by saying that they focused mainly on playing.
melodically, in the sway of the swing, and in the development of individual sound.
Blues was, as in many other styles, an important element of this music.
Bebop
The birth of bebop in the 1940s is generally regarded as a milestone in the beginning of
modern jazz. This style emerged directly from small swing groups, but gave
a much greater emphasis on technique and more complex harmonies, as opposed to
singable melodies. A good part of the theory will be discussed later in this Introduction
derives directly from the innovations of this style. The alto saxophone Charlie 'Bird' Parker was the father
of this movement and the trumpeter Dizzy Gillespie ('Diz') was his main accomplice.
Dizzy also led a big band and helped introduce Afro-Cuban music,
inclusive rhythms like mambo, for American audiences, through their work
with Cuban percussionists. But it was the recordings in quintet and other groups
small with Diz and Bird who formed the foundation of bebop and most of jazz
modern.

Although, as in previous styles, blues and popular music have been widely used.
from the time, including songs by George Gershwin and Cole Porter, the compositions
originals of bebop musicians started to diverge from popular music for the first time
time, and bebop, especially, was not intended to be dance music. The
compositions generally had fast tempos and difficult sequences of eighth notes.
Many of the bebop standards are based on chord progressions from other
popular songs, such as 'I Got Rhythm', 'Cherokee' or 'How High The Moon'. The
improvisations were based on the implied scales in those chords, and the scales
included changes such as the flat fifth.

The development of bebop led to new approaches to accompaniment, well

Like solo. Drummers began to rely less on the bass drum and more on the cymbal.
drumming and the hi-hat. Bassists became responsible for maintaining the pulse.
rhythmic, almost exclusively playing a bass line that consisted of
mainly of semiquavers while marking the harmonic progression. The pianists
they could use a lighter touch, and especially their left hands were no longer
thank you for defining the rhythmic pulse or playing the fundamental note of the chords. In addition
From this, the standard form of modern jazz became universal. The musicians played the theme.
the head of a piece, usually in unison, then they alternated playing solos
based on the chord progression of the piece, and they finally played the melody again.
The technique of exchanging four measures, in which the soloists took turns with phrases of four.
having a common tempo with each other or with the drummer has also become commonplace. The standard format
of quartet and quintet (piano, bass, drums; saxophone and/or trumpet) used in bebop
changed very little since the 1940s.

Many musicians from previous generations helped pave the way for bebop.
Among these musicians are Lester Young, Coleman Hawkins, Roy Eldridge, Charlie
Christian, Jimmy Blanton and Jo Jones. Young and Hawkins especially are generally
considered two of the most important musicians of this endeavor. Among others
notable bebop musicians include saxophonists Sonny Stitt and Lucky Thompson, the
trumpeters Fats Navarro, Kenny Dorham, and Miles Davis, the pianists Bud Powell,
Duke Jordan, Al Haig and Thelonious Monk, the vibraphonist Milt Jackson, the bassists
Oscar Pettiford, Tommy Potter and Charles Mingus and drummers like Max Roach, Kenny
Clarke and Roy Haynes. Miles, Monk, and Mingus made subsequent advances in the post eras.
bebop, and their music will be addressed later.
Cool Jazz
Although Miles Davis first appeared on Charlie Parker's bebop recordings,
his first important session as a band leader was called The Birth Of The
Cool. An album containing all the recordings of this group is for sale. The cool style.
jazz was described as a reaction against the fast tempos and complexities
melodic, harmonic and rhythmic ideas of bebop. These ideas were learned by
many musicians from the American West Coast, and this style is also called
West Coast jazz. This music is generally more relaxed than bebop. Among the others
cool style musicians include saxophonists Stan Getz and Gerry Mulligan and the trumpeter
Chet Baker. Stan Getz also deserves credit for popularizing Brazilian styles,
like bossa nova and samba, in the United States. These styles and a few others
Latin American styles are sometimes collectively referred to as Latin jazz.

Many cool jazz style groups do not use a piano and instead rely on the
counterpoint is the harmonization between wind instruments, usually the saxophone and
the trumpet, to outline the chord progressions. Among the groups led by
pianists who graduated from this school include Dave Brubeck (with Paul Desmond in
saxophone), Lennie Tristano (with Lee Konitz and Warne Marsh on saxophone) and the Modern
Jazz Quartet or MJQ (with John Lewis on piano and Milt Jackson on vibraphone), which
also uses elements of classical music. The incorporation of classical music in jazz
is generally called the third stream.

Hard Bop
In what was described as either an extension of bebop or a revolt against cool
jazz, a style of music known as hard bop developed in the 1950s. This
style also disregarded the technically demanding melodies of bebop, but did so without
abandon the intensity. He did this by maintaining the rhythmic pulse of bebop and by
at the same time including a healthy dose of blues and gospel music. Art Blakey
And The Jazz Messengers were, for decades, the most well-known exponents of this
style. Many musicians were raised in the so-called 'Blakey University'. In the
the first groups of Blakey included the pianist Horace Silver, the trumpeter Clifford
Brown and the saxophonist Lou Donaldson. Clifford Brown also shared the leadership of
a group with Max Roach that is considered one of the best quintets in history of
jazz. Several albums from these groups are currently for sale and all are recommended.
Miles Davis also recorded several albums in this style during the early 1950s.
There were also several groups led by, or involving, organists who
they came from this school, with even more influence from blues and gospel music. The
organist Jimmy Smith and tenor saxophonist Stanley Turrentine were well-known musicians
of this kind.

Post-Bop
The period from the mid-1950s to the mid-1960s represents the peak
of modern mainstream jazz. Many of those who are now considered among the
the greatest of all time achieved fame during this era.
Miles Davis had four important groups during this period. The first had John
Coltrane ('Trane') on tenor saxophone, Red Garland on piano, Paul Chambers on bass and
"Philly" Joe Jones on drums. This group is sometimes considered the best jazz group.
of all time. Most of their albums are currently for sale, including the series
with Workin'..., Steamin'..., Relaxin'... and Cookin' with the Miles Davis Quintet. Miles
he refined his smooth style of playing ballads with this group and the rhythmic section was
considered by many as the best swing in jazz. The second important group of
Miles emerged with the incorporation of alto saxophonist Julian "Cannonball" Adderly and the
replacement of Garland by Bill Evans or Wynton Kelly and the replacement of Jones by
Jimmy Cobb. The album Kind Of Blue, by this group, is the highlight of most lists.
of favorite jazz records. The basic style of this group is called modal, because it
it features songs written around simple scales or modes that generally
lasting many measures each, unlike the quickly changing harmonies of
styles derived from bebop. Miles' third group from that era was actually the
Gil Evans orchestra. Miles recorded several classic albums with Gil, including the
Sketches Of Spain. The fourth important group of Miles from this period had Wayne.
Shorter on saxophone, Herbie Hancock on piano, Ron Carter on bass and Tony Williams
on battery. The first recordings of this group, including Live At The Plugged Nickel,
as well as the first My Funny Valentine, with George Coleman on saxophone instead
by Wayne Shorter, mainly present innovative versions of jazz standards.
Later albums, such as Miles Smiles and Nefertiti, consist of original songs,
including several by Wayne Shorter, which largely transcend the harmonies
traditional. Herbie Hancock developed a new approach to harmonization that
was based both on sound and on any conventional theoretical foundation.

John Coltrane is another giant of that period. In addition to playing with Miles, he recorded the
album Giant Steps, in its own name, which showed that he was one of the musicians
technically better endowed and harmonically more advanced of the piece. Afterwards
After leaving Miles, he formed a quartet with pianist McCoy Tyner, drummer Elvin
Jones and several bassists, finally settling on Jimmy Garrison. The way of
Coltrane playing with this group showed that he was one of the most intensely passionate musicians.
emotional aspects of the stop. Tyner is also an important voice on his instrument,
presenting a very percussive attack. Elvin Jones is a master of intensity
rhythmic. This group has constantly evolved, from the relatively post-bop of My
Favorite Things to the highly energized modal of A Love Supreme, and to the exceptional
vanguard of Meditations and Ascension.

Charles Mingus was another influential leader during this period. His small groups
tended to be less structured than others, which gave more freedom to musicians
individuals, although Mingus also led larger ensembles in which most of the
pieces were written on the staff. Mingus's compositions for small groups were with
frequency only drafts, and the musicians had their parts sometimes composed or
literally arranged on the stage, with Mingus giving directions to the musicians. Eric
Dolphy, who plays alto saxophone, bass clarinet, and flute, was one of the pillars of the groups of
Mingus. His way of playing was generally described as angular, which means that
the gaps in your lines were often large jumps, unlike the lines
scales, which consist mainly of whole tone intervals. The album Charles
Mingus Presents Charles Mingus, in which Dolphy plays, is a classic.
Thelonious Monk is generally seen as one of the most important composers of
jazz, besides being regarded as a highly original pianist. The way he plays is more
more spaced out than that of most of his contemporaries. Among his albums are Brilliant
Corners e Thelonious Monk With John Coltrane. The pianist Bill Evans was known
as one of the most sensitive musicians to play ballads, and his albums with trio,
especially Waltz For Debby, with Scott LaFaro on bass and Paul Motian on drums,
they are models of integration in trio. Wes Montgomery was one of the most influential
jazz guitarists. He usually played in groups with an organist, and had a sound
particularly moving. He also popularized the technique of playing solos in
eighths. Among their first albums is Full House. Later albums were more
commercial and less well-regarded. Tenor saxophonist Sonny Rollins rivaled Coltrane in
popularity and recorded many albums under his own name, including Saxophone
Colossus and The Bridge, which also featured Jim Hall on guitar. Sonny also recorded.
with Clifford Brown, Miles Davis, Bud Powell, Thelonious Monk and other giants.

Among other musicians worth highlighting from this era are the saxophonists Jackie
McLean, Dexter Gordon, Joe Henderson, and Charlie Rouse; the trumpeters Freddie
Hubbard, Lee Morgan, Woody Shaw, and Booker Little; the trombonists J. J. Johnson and
Curtis Fuller; the clarinetist Jimmy Guiffre; the pianists Tommy Flanagan, Hank Jones,
Bobby Timmons, Mal Waldron, Andrew Hill, Cedar Walton, Chick Corea, and Ahmad
Jamal; the organist Larry Young; the guitarists Kenny Burrell and Joe Pass; the guitarist and
toots Thielemans; vibraphonist Bobby Hutcherson; bassists Ray Brown,
Percy Heath, Sam Jones, Buster Williams, Reggie Workman, Doug Watkins and Red
Mitchell; the drummers Billy Higgins and Ben Riley; and the vocalists Jon Hendricks, Eddie
Jefferson, Sarah Vaughan, Betty Carter, Carmen McRae, Abbey Lincoln and Shirley Horn.
Big bands like those of Woody Herman and Stan Kenton also stood out.

Free Jazz and the Vanguard

During these same decades of the 50s and 60s, some musicians took jazz to
more exploratory directions. The terms free jazz and avant-garde are generally used
to describe these attitudes, in which the traditional forms, harmony, melody, and rhythm,
have been considerably extended, or even abandoned. The saxophonist Ornette
Coleman and trumpeter Don Cherry were pioneers of this type of music in albums.
like The Shape Of Jazz To Come and Free Jazz. The former, as well as several others
recorded with a quartet that also featured either Scott LaFaro or Charlie Haden on
below, and either Billy Higgins or Ed Blackwell on drums, still retain the basic atmosphere of
jazz of small post-bop traditional groups, with soloists alternating over a
the bassline and a swinging drum beat. This style is sometimes known as
freebop. The Free Jazz album was a more cacophonous work, which presented
collective improvisation.

Another great figure of the jazz avant-garde was the pianist Cecil Taylor. The way he
playing is very percussive, and includes dissonant groupings of notes and fast ones
technical passages that do not seem to be based on any harmony or pulse
rhythmic in particular.

John Coltrane, as previously mentioned, plunged into the vanguard in the mid-years.
60. Albums like Ascension and Interstellar Space show Coltrane absorbing so much
Free Jazz as well as the works of Cecil Taylor. Coltrane's later groups had the
his wife, Alice, on piano and Rashied Ali on drums, as well as Pharoah Sanders on
tenor saxophone. He also recorded the album The Avant Garde, with Don Cherry, which is
interesting for its parallels with The Shape Of Jazz To Come and other albums of
Ornette Coleman's quartet. Coltrane influenced many other musicians, including
saxophonists Archie Shepp, Sam Rivers, and Albert Ayler.

Sun Ra is a somewhat enigmatic figure of the jazz avant-garde, who claims to be from the planet
Saturn. He plays various keyboard instruments with his big bands that range from the style
swing of the 20s to the boldest free jazz of Coltrane and others.

Fusion
Miles Davis helped to promote the fusion of jazz with rock from the mid to the end of
the 60s in albums like Bitches Brew and Jack Johnson. They played in their bands
during this period Herbie Hancock, Chick Corea, and Joe Zawinul on electric piano,
Ron Carter and Dave Holland on bass, John McLaughlin on guitar and Tony Williams and
Jack DeJohnette on drums. Tony Williams formed a band inclined towards rock.
Lifetime, with John McLaughlin, who also had his own high group
intensity, the Mahavishnu Orchestra. In the 70s, Miles continued to explore new
instructions on the use of electronic equipment and the incorporation of elements of funk and
do rock in his music, which led to albums like Pangea and Agharta.

Other groups combined jazz and rock in a way that is more geared towards the mainstream.
audience, from the Top 40 crossover of Spyro Gyra and Chuck Mangione to the somewhat guitarist
more esoteric Pat Metheny. Among other popular fusion bands are Weather
Report, with Wayne Shorter, Joe Zawinul and the bassists Jaco Pastorius and Miroslav
Vitous; Return To Forever, with Chick Corea and bassist Stanley Clarke; The
Crusaders, with saxophonist Wilton Felder and keyboardist Joe Sample; the Yellowjackets,
with keyboardist Russell Ferrante; and the Jeff Lorber Fusion, which originally had
Kenny G on the saxophone. In recent years, several fusion bands have achieved a lot.
commercial success, including those of Pat Metheny and Kenny G.

Post-Modern Jazz
While fusion seemed to dominate the jazz market in the 70s and early 80s,
there were also other developments. Some musicians began to take
borrowed from 20th century classical music as well as from African music and others
forms of international music. Among these musicians are Don Cherry, Charlie
Haden, the saxophonists Anthony Braxton, David Murray, and Dewey Redman,
clarinetist John Carter, pianists Carla Bley and Muhal Richard Abrams, the World
Saxophone Quartet, with four saxophonists and no rhythm section, and the Art Ensemble Of
Chicago, with trumpeter Lester Bowie and Roscoe Mitchell playing instruments of
wooden breath. Their music tended to emphasize more compositional elements.
more sophisticated than the theme-soil-theme form.

Some groups, like Oregon, rejected the complexities and dissonances of jazz.
modern and played in a much simpler style, which gave rise to today's New music
On the other extreme were musicians like the saxophonist John Zorn and the guitarists
Sonny Sharrock and Fred Frith, who engaged in a frantic form of free
improvisation sometimes called "energy music". At some point in the middle of these
extremes was the durable group formed by saxophonist George Adams, who was
influenced by Coltrane and Pharoah Sanders, and the pianist Don Pullen, influenced by
Cecil Taylor. This group drew a lot from the blues, as well as from avant-garde music.
Other important musicians during the 70s and 80s were the pianists Abdullah
Ibrahim, Paul Bley, Anthony Davis and Keith Jarrett.

Not all developments of jazz occurred in the United States. Many

European musicians extended some of the ideas of Ornette Coleman's free jazz and
Cecil Taylor further dispensed with traditional forms. Others turned to
a more introspective song. Among the most successful of the improvisers
Europeans include saxophonists Evan Parker, John Tchicai, John Surman, and Jan Garbarek.
the trumpeters Kenny Wheeler and Ian Carr, the pianist John Taylor, the guitarists Derek
Bailey and Allan Holdsworth, the bassist Eberhard Weber, the drummer John Stevens, and the
arrangers Mike Westbrook, Franz Koglman and Willem Breuker.

The Gift
One of the major trends today is a return to the bebop and post-bop roots of
modern jazz. This movement is generally called neoclassicism. The trumpeter
Wynton Marsalis and his brother, saxophonist Branford Marsalis, have achieved a lot
success playing music that is based on the styles of the 50s and 60s. The best among
this group of young musicians, including the Marsalis and their rhythm sections, with
Kenny Kirkland or Marcus Roberts on piano, Bob Hurst on bass and Jeff 'Tain' Watts
in battery, they managed to extend the art through new approaches to melody,
harmony, rhythm, and form, instead of just recreating the music of masters from the past.

An encouraging event that has been happening since the 80s is a group of musicians who
refers to the song that plays like 'M-Base'. Apparently, there is some misunderstanding,
even among its members, about what the term exactly represents, but the music is
characterized by angular melodic lines played over a complex funky beat,
with unusual rhythmic changes. This movement is led by the saxophonists Steve
Coleman, Greg Osby and Gary Thomas, the trumpeter Graham Haynes, the trombonist
Robin Eubanks, bassist Anthony Cox and drummer Marvin 'Smitty' Smith.

Many other musicians are creating music with intensity within the tradition.
modern. Among the musicians already mentioned, we have Ornette Coleman, David Murray, Joe
Henderson, Dewey Redman, Cecil Taylor, Charlie Haden, Dave Holland, Tony
Williams and Jack DeJohnette. Others include the saxophonists Phil Woods, Frank
Morgan, Bobby Watson, Tim Berne, John Zorn, Chico Freeman, Courtney Pine,
Michael Brecker, Joe Lovano, Bob Berg, and Jerry Bergonzi; the clarinetists Don Byron and
Eddie Daniels; the trumpeters Tom Harrell, Marcus Belgrave, and Arturo Sandoval; the
trombonists Steve Turre and Ray Anderson; pianists Geri Allen, Mulgrew Miller,
Kenny Barron, Gonzalo Rubalcaba, Eduard Simon, Renee Rosnes, and Marilyn Crispell;
guitarists John Scofield, Bill Frisell, and Kevin Eubanks; vibraphonist Gary Burton;
the bassists Niels-Henning Oersted Pedersen and Lonnie Plaxico; and the vocalists Bobby
McFerrin and Cassandra Wilson. This is by no means a complete list, and I
I recommend that you listen to as many musicians as you can to enhance your perception and
appreciation of the different styles of jazz.

Foundations of Jazz
Structure

Most jazz since the bebop era is based on a form that is actually
very similar to the sonata form of classical theory: an optional introduction, the exposition or
theme (possibly repeated), the section of development and the recap,
possibly followed by a coda. The introduction, if present, sets the tone for the piece; the
the exposition is the main melody; the development section is where the composer
extends the ideas of the exposition; the recapitulation is a reaffirmation of the theme; and the coda is
a closing. In the language of jazz, these sections of a piece would be called
introduction, theme (possibly repeated), the soil section, the repetition of the theme, and
possibly a coda or closure. The introduction sets the mood; the theme is the
main melody; the solo section is when the soloists improvise over the melody and/or
the chord progression of the song; the repetition of the theme is a reaffirmation of the melody;
The coda or closing is a conclusion.

Although not every piece follows this form, the vast majority of traditional jazz stays very
near her. During the soil section, the rhythmic section usually continues following the
progression of chords of the theme while the soloists take turns in improvisation. Each
once the progression is repeated it is called a chorus (pronounced 'córus'), and each
The soloist can play during several choruses. In this aspect, the theme-and-variation form of
classical music is also a valid analogy. Each soloist plays a variation
improvised on the topic.

Improvisation is the most important aspect of jazz, just as

development is generally considered the most important part of a sonata
classical. When you are listening to a piece, try to sing the theme to yourself for
behind the solos. You may notice that some soloists, especially Thelonious Monk and
Wayne Shorter generally bases his solos on the melodic theme as much as on the
harmonic progression. You will also notice that freedoms are often taken
with the theme itself; musicians like Miles Davis, Coleman Hawkins, Sonny Rollins, and John
Coltrane were especially adept at making personal statements even when
they only played the theme.

There are two very common forms of a theme in jazz. The first is the blues form, which
it is usually a form of 12 bars. There are many variants of the progressions.
blues harmonics, but most are based on the idea of three phrases of four
compasses. In its original form, the second sentence would be a repetition of the first, and the
the third would be a response to this sentence, although this convention is rarely followed in
jazz. Can you take a look at theharmonic progressions of the bluespresented
but later to get an idea of how they sound, so that you can recognize them
ways of the blues when you hear them. The texts on the covers and brochures of the discs and the titles
the songs also generally help to identify which tracks are based on
blues. Among the well-known jazz songs based on blues progressions are
"Now's The Time" and "Billie's Bounce" by Charlie Parker, "Straight, No Chaser" and "Blue"
"Monk" by Thelonious Monk, and "Freddie Freeloader" and "All Blues" by Miles Davis.

The other common form in jazz is the AABA form, widely used in popular music.
from the turn of the 20th century until the emergence of rock and roll. This form consists of
of two sections, called section A and section B, or bridge (in English, bridge, from where the
"B". The form is A1, A2, B (bridge), A3. The A sections are similar or identical, except for
through the lyrics and maybe the last two bars. The song "I Got Rhythm" by George.
Gershwin is an example of the AABA form. There are literally hundreds of songs.
based onharmonic progression of this songamong them "Anthropology" by Charlie
Parker, and "Oil", by Sonny Rollins. Other songs with the AABA form include "Darn
That Dream", de Jimmy Van Heusen, e "There Is No Greater Love", de Isham Jones.
Songs like these, popular music songs from the first half of the 20th century that
have been interpreted by many jazz musicians, are generally called standards
do jazz.

These structures are just models. Musicians like Cecil Taylor have shown us for a long time.
time that it is possible to express oneself without such well-defined structures, and in fact this type of
expression is generally more personal than any organized form. I described
these common structures to help you understand the context in which many
musicians work, not to suggest that they are the only way. You must learn to
discern for yourself, when listening to other musicians, what kind of structures they
they are using, if they are. You also need to decide for yourself that
structures to use when playing.

Fundamentals of Jazz (part 2)

The Swing of Jazz

Understanding the structure of music is the first step towards better appreciation.
the rest of this Introduction will mainly deal with applied musical examples.
Before you dive into the theory, however, you need to develop a perception of
jazz swing. This is part of the reason why one should listen to so much music, since it is
virtually impossible to teach jazz swing with theory. Nevertheless, I will try
explain what you should listen to and try to achieve when you are playing.

Definition of Swing

The most basic element of jazz swing is the swung eighth note. In classical music,
Eighth notes in a 4/4 time signature should occupy exactly half of a beat each.
They are referred to by jazz people as straight eighth notes.
simply straight eighths). Play a C Major scale ("C, D, E, F, G,
There, Si, Do" with exact eighth notes. If you have a metronome, set it to 96 beats.
per minute. These are semicolons: 'one two three four'. Now subdivide this
mentally: 'one-and two-and three-and four-and'.

A common approach to jazz swing uses triplets. The basic beats are
mentally subdivided as 'one-and-two-and-three-and-four-and', and you play
only in time and in the 'a'. The first note of each time will have double the duration of the
second. This will sound like a Morse Code dash-dot-dash-dot-dash-dot-
dot-dash, and it is too exaggerated for its use in jazz. At some point between the
exact tuplets (1:1 ratio between the first and second note) and triplets
(ratio 2:1) are the notes of the true swing of jazz. I cannot give a
exact proportion, however, because it varies depending on the progress and style of the
In general, the faster the pace, the more precise the eighth notes. Furthermore,
musicians of the pre-bebop era typically use a more exaggerated swing than those of
later periods, even in the same course. Regardless of what it is
proportion, the second 'half' of each measure is usually accented, and the two measures
And four are generally accented as well. Here too the amount of accent
it depends on the musician and the situation.

There is also the problem of playing before or after the time. When Dexter Gordon
it touches, even the notes that should fall on time are usually played a little
delayed. This is usually called delaying back. This gives a more relaxed air to
the music, while playing a little before the notes that should fall on time can have the
opposite effect. Bassists usually play slightly ahead of time,
especially in faster movements, to keep the music moving forward.

Not all jazz styles use swing in the same way. Most styles
of Latin jazz and many styles of fusion and modern jazz use precise eighth notes, or
shuffles that are only slightly swung. Shuffle some other styles of rock
they use a very exaggerated swing. Listen closely to the recordings of different styles,
paying attention to the differences. Don't be fooled into thinking that swing is a constant.
universal.

Practicing the Swing

Learning to play eighth notes in swing that sound natural is usually the most
it's hard to learn to play jazz, as it can sound very bad until you get it right.
do it right. There are some techniques that can help you overcome this complicated
initial phase.

If you have been listening attentively to other musicians, you may be better at recognizing
the swing of having to touch it. That's why I highly recommend that you record yourself
playing eighth notes in swing at various tempos, and then listen to the recording. You
You can judge for yourself whether your swing sounds natural or forced. Someone once said that
who cannot swing on their own, cannot swing. It is necessary to work on your
own concept of swing in this way, so that your perception of how your
swing is sounding do not be influenced by the sound of other musicians who are
accompanying.

You must practice the swing regardless of what is playing. When

practice scales, also practice the swing, in addition to simply playing the right notes.
Try to vary the tempo you use to play the scale. Besides scales, you should try
practice the swing when playing other exercises or songs. Any
The method of musical practice or fakebook will probably have several appropriate pieces.
Try playing songs with many consecutive sixteenth notes, but also try songs with
longer notes and pauses. Having to play many consecutive eighth notes can leave you
very shy about swinging.
Although being able to swing by yourself is important, it is not easy to do in the beginning, and
when developing your sense of swing, occasionally listen to yourself in
context of a group can also help. Another thing that sometimes helps is having a
rhythmic tracking section. If you have Band-In-A-Box, you can program it
to play endless choruses in C Major, and then you can play or improvise over
the D Major scale while practicing the swing. The Jamey Aebersold discs
they can also provide support, but be aware that most
the tracks have many chord changes and are very complex to be used with
this purpose. There are some suitable tracks, however, such as those from Volumes 1, 16,
21, 24, and 54, which are aimed at beginners. These books, especially the first ones
four, also contain useful educational materials.

If you have a partner, or a recorder, or a sequencer (equipment and/or

software to record and play on a synthesizer), you can create homemade accompaniments.
The basic components of a drum beat for swing are the doride pattern.
(driving plate) and the pattern of the hi-hat. The pattern of the ride, in its most
basic, it's '1, 2 and, 3, 4 and'; or, phonetically, 'dim dim-ah dim dim-ah'. The eighth notes in
beats 2 and 4 should be swung, of course. The hi-hat is closed (with the pedal) on 2 and 4.
Bottom lines can be built by following some simple rules. First,
touch semiquavers. Second, play them in the two octaves below middle C. Third,
play only the notes of the scale you are working on. Fourth, most of the
notes should be only one tone away from the previous note, although occasional leaps
be acceptable. For example, a bass line in C Major can consist of 'C,
Re, Mi, Fa, Sol, Mi, Fa, Sol, La, Si, La, Sol, Fa, Mi, Re, Si, Do." You will need
a lot of patience to create your own accompaniment with a recorder, since you will
I need to record many measures so I don't have to keep rewinding the tape when
will be improvising further on. A sequencer allows you to create loops,
so that it can record only a few measures and make them repeat
indefinitely.

Fundamentals of Jazz (part 3)

Creativity

The most important aspect of improvisation is creativity. This is the most vital of
concepts that an improviser needs to understand. The goal is to listen to something
interesting in your head and manage to touch it immediately. Your understanding of
the fundamentals of music are an ally in this journey. It can help you interpret the
sounds that you hear in your head, relating them to sounds that you know and
understand. Your technical fluency on your instrument is another ally. It can
help you execute with precision what you conceive. Inspiration, however,
is what allows you to hear interesting ideas to start a conversation. This
creative spark is what distinguishes the true artist from the mere craftsman. Although
no introduction like this will be able to show how to be creative, I can try
shed a little light on creativity in relation to
improvisation.
The Creative Process

The trumpeter Clark Terry summarizes the creative process as 'imitate, assimilate,
innovate. Listening to other musicians can give you ideas that you may want to develop.
but, as long as I can successfully reproduce what they are doing, it is a step
heading towards being able to express yourself. Then, you need to understand why the things that
you are playing sound the way they sound, so that, when you want to create
a specific sound, learn how to achieve it. The theory presented in the following sections
can help you structure your thoughts and can also help you identify
the sounds you hear. However, analytical processes are an aid to the
creative process, not a replacement for it. Two analogies, one with language and another
with math, they can help make this clearer.

When you started to talk, you first learned by listening to other people and imitating.
Gradually, you became aware of notions of grammar, until one day the
Grammar has been coded for you in Portuguese classes. Your vocabulary comes
probably growing since you spoke the first word. Both in
writing as well as in conversation, your tools are your knowledge of grammar,
vocabulary and the appropriate subject. To write or say something interesting,
meanwhile, you need to have a certain dose of inspiration. It is not enough to just put together
grammatically correct sequences of words. What you have to say is generally
more important than the way it is said, although the correct use of the language can
help you convey your message. In the same way, in music, the knowledge of
theory and fundamentals are the tools of composition and improvisation, but the
inspiration plays the most important role in determining your success. It is not enough
simply playing the 'right' notes; you need to play interesting music.
improvisation in jazz is often compared to "telling a story", and, like a good
history should be well-structured and also convey something interesting to the
listener.

In mathematics, creativity can often be crucial. Learning the

various axioms, formulas, and equations usually do not tell you how to solve a
specific logical problem, integrating a certain function or proving a new theorem.
Some inventiveness is necessary to apply the knowledge to
specific problem. Generally, knowing how similar problems have been solved in
the past can give an idea of where to start, and the experience of working with a
a specific type of problem can help guide you. However, in all
mathematical problems, except for the simplest ones, any original thought is
necessary. In the same way, in jazz, your familiarity with the works of others
musicians can help you get started, and your knowledge of theory can help you
to guide you, but to be a successful improviser, you need to be creative.
Just as long columns of numbers are not necessarily interesting,
even if the sum is correct, neither is it an improvisation that consists of nothing
more than scales and patterns based on those scales.

Your experience as a listener, your knowledge of music theory, and experimentation.

with your instrument, they will define the musical context in which you will be able to
express. You should continually strive to expand this context by listening
many different musicians, analyzing what you hear and practicing as much as
possible. Even so, the final ingredient, inspiration, you will have to discover for
self-employed.

The Improvisation

By now, if you haven't already, you should start improvising. You should start from
the same way he started practicing swing: alone and without company
start, with a recorder if possible, and then with some type of accompaniment
of rhythmic section. Again, Band-In-A-Box, the Aebersold discs, or the
monitorings created by yourself will be very valuable.

For your first improvisation attempts, choose a key that you

feel comfortable and then start playing whatever comes to your mind. Invent little
melodies that primarily use notes from the chosen scale. Don't try to fill everything.
the available space with notes. Instead, focus on listening to a short sentence in
head, and then try to touch this phrase. Don't worry if it means there will be
pauses of several seconds or more between the sentences. Miles Davis used this type of
phrased all the time.

At some point, while improvising in a given key, try to play

notes that are not in this key. Playing notes that are not in the key used is to
sometimes called touching outside, that is, touching from the outside. You will find out that many
Sometimes this sounds very natural, while at other times, it sounds dissonant or harsh. The sections
About theory later can help you understand why this happens, but your
the ear is the final judge. When you finally run out of ideas in a key,
Maybe you should switch to another one. You can also try improvising without any.
central tonality. I believe it should be as natural as improvising within
a tone.

Transcribing solos played by other musicians is a way to gain some

ideas of what to play. You can examine the soil structure, see how they use the
several chord/scale relationships discussed later in this Introduction, and try to apply the
what you learn in your own music. One of the best solos for a beginner
studying is the soil of Miles Davis in 'So What' on the album Kind Of Blue. The structure of
the chords are simple: 16 measures in D Minor, followed by 8 measures in E
B flat minor, and then 8 bars again in D minor. Miles' lines are
easy enough to be transcribed note by note. The theory sections below will help
you understand the context in which Miles was working, but transcribe the solo
he will help you see what he was doing within this context.

Another way to get ideas for solos is to use patterns, or short phrases that
you practiced in advance and you know that they will fit into the chord changes
at a specific point. In general, improvising is much more than just putting together
patterns one after another, but practicing patterns can be a good way to
develop your technique, as well as your ear, especially if you practice your
patterns in all 12 keys. There are several books, including Patterns For Jazz, by
Jerry Coker, who presents some useful patterns.

A technique often used in the bebop era and since then is citation, or using
a recognizable phrase from another composition, or from a recorded improvisation
well known, as part of her own improvisation. This is sometimes also
called interpolation. You may have noticed this happening in soils that you have heard about.
There is generally some humorous value in making quotations, especially if the work
Interpolated is something silly like "Pop Goes The Weasel."

The most important obstacles for a beginner improviser to overcome are their
you will initially, when practicing improvisation alone,
You may think that you have no idea to play. After you have arrived at the
point where one feels comfortable and concludes that it is time to play with other musicians,
you may feel embarrassed to play in front of your peers. Finally, when
to be able to play with other musicians in a private place, you might feel scared when
play in public for the first time. I don't have miracle cures for these problems.
I can only suggest that you touch as much as possible at each stage, and press.
continuously to oneself to take risks.

Chord/Scale Relationships
Most of the improvisation in mainstream jazz is based on progressions
harmonics. The harmonic progression is a sequence of chords that harmonizes the
melody. Generally, each chord lasts one measure; sometimes two, sometimes just half.
A fakebook shows the figure that represents each specific chord above the point
corresponding to the melody.

Even more important than the chords themselves, however, are the implicit scales.
In these chords. As an improviser, when playing a D Minor chord,
whose symbol is Dm, you will usually play lines built with notes from the scale
of Dorian mode. This section documents the various chords and the associated scales used.
no jazz. It is assumed that you are familiar with the names of the notes and their
location.

If your goal is to become a jazz musician, you should practice improvisation lines.
based on all the scales presented here, and in all 12 tones. Or you can
stay with only one tone per scale, but should still practice improvisation
about each chord/scale relationship to better recognize their sounds.

Basic Music Theory

This section reviews the concepts of intervals, scales, keys, chords, and the Cycle of
Fifths of classical music theory. Those readers who have already learned classical theory
basic can skip this section if they wish.

Intervals

There are 12 different notes in traditional music: C, C sharp/Db, D, D

Sharp/B flat, E, F, F sharp/G flat, G, G sharp/A flat,
La, La Sharp/Bflat and B. After B comes C one octave above the first.
Give, and this cycle continues. This sequence is called the chromatic scale. Each step
this scale is called a half step or semitone. The interval between two notes is
defined by the number of semitones between them. Two notes that are a semitone apart, such as
C and C Sharp define a minor second. The notes that are two semitones
distant, like C and D, define a major second. This is also called a tone.
whole. From semitone to semitone, the other intervals are the minor third, major third,
quarta justa, trítono, quinta justa, sexta menor, sexta maior, sétima menor, sétima maior
and finally, the eighth.

Most of these intervals also have other names. For example, a tritone is a...
sometimes called augmented fourth if the notation of the interval notes seems
describe a fourth. For example, the tritone interval from C to F sharp is called
of augmented fourth, because the interval from C to F is a perfect fourth. For another
side, if the notes of the interval seem to describe a fifth, then the tritone is sometimes
called diminished fifth. For example, the tritone interval from C to G flat, which
it is actually the same as the interval from C to F Sharp, it is called a fifth
diminished, because the interval from C to G is a perfect fifth. In general, if any
A major or perfect interval is increased by a semitone through the inclusion of an accident.
(the indication of flat or sharp in a note), the resulting interval is called
increased, and if any smaller or perfect interval is reduced by a semitone by the
In the addition of an accident, the resulting interval is called diminutive.

Major and Minor Scales

All scales are simply subsets of the chromatic scale. Most of the
scales have 7 different notes, but some have 5, 6, or 8. The simplest scale, which
will be used as an example for the discussion of chords, is the C Major scale, which has
Do, Re, Mi, Fa, Sol, La, Si. A major scale is defined by the intervals between these.
notes: "T T s T T T (s)", where "T" indicates a whole tone and "s" a semitone. So, a
The G Major scale has 'G, A, B, C, D, E, F sharp', with a semitone leading
to the sun that would start the next octave.

The scale that consists of the same notes as the C Major scale but starts on A.
('A, C, D, E, F, G') is a scale of A Minor. It is called a scale
relative minor of C Major, since it is a minor scale built with the same
The relative minor of any major scale is formed when the same notes are played.
notes starting from the sixth note of the major scale. Thus, the relative minor of the scale of
G Major is E Minor.

A piece that is based on a specific scale is considered to be in the key of

of this scale. For example, a piece based on the notes C, D, E, F, G, A, and B is
considered as being either from the C Major scale or from the A Minor scale. The progression of
chords of the piece can distinguish the two. Similarly, a piece based on the notes
Sol, La, Si, Do, Re, Mi, and Fa Sharp are either in G Major or E Minor. When the
The word 'greater' or 'lesser' is omitted, it is assumed to be 'greater'. The set of flat notes
the sharps in a scale define the key signature of the given tonality. Thus, the
The armature of G major includes an F sharp.

You should try to play several major and minor scales. It might be good to write them down.
notes of each scale, or buy a book like Scales For Jazz Improvisation, by Dan
Haerle, which contains many scales already spelled out for you. The more complex scales
described below must be spelled out and practiced. Jazz listeners should try the
enough of each scale to become familiar with its sound. In many cases, only
One tuning will be enough. Musicians should practice each scale in all twelve.
tonalities across the entire range of their instruments until they are complete
mastery over all of them. However, do not let yourself be overwhelmed by the various scales to the point of
to get frustrated and never move on to the next sections on how to apply the theory.
You should start applying the theory when you have some command of the Dorian modes.
Mixolydian, Lydian, and Locrian described below.

Chords

A chord is a set of notes, usually played at the same time, that form
a specific harmonic relationship between themselves. The most basic chord is the triad. A
Triad, as the name suggests, is composed of three notes, separated by intervals.
on a Tuesday. For example, the notes C, E, and G played together form the C triad.
Major (C). It is called that because the three notes come from the beginning of the C scale.
Major. The interval from C to E is a major third, and from E to G, a minor third. This
the order of intervals defines a major triad. A G Major triad is composed of
by C, G, and D; other major triads are built in a similar way.

The notes A, C, and E form the A Minor triad, so called because the notes of
come from the beginning of the A Minor scale. The interval from A to C is a minor third, and from C
A minor triad consists of the root, a minor third, and a perfect fifth. This interval sequence defines a minor triad.
E minor is composed of E, G, and B; other minor triads are built from
similar way.

The other two types of triads are the diminished triad and the augmented triad. A triad
Diminished is like a minor triad, but the major third on top is reduced to a third.
minor. Thus, a diminished A triad would be formed by replacing the E in the A minor triad.
for a D flat. An augmented triad is like a major triad, but the minor third
The top is raised to a major third. Thus, a C Augmented triad would be
formed by the change of the G in a C Major triad to the G Sharp. Note that
a diminished triad can be formed with three notes from the major scale; for example, B,
E and F in the C Major scale. However, there are no augmented triads occurring.
naturally in major and minor scales.

A triad can be extended by adding more thirds on top of it. For example, if
you take the C Major triad ("C, E, G"), and add B, you have a chord of
Major Seventh Chord (Cmaj7 or CM7), so named because the notes come from the scale
of C Major. Similarly, if you take the A Minor triad ('A, C, E'), and
add the Sun, you have an A minor seven chord (Am7 or A-7), like this
called because the notes come from the A Minor scale. The most common type of chord of
the seventh in classical harmony, however, is the seventh of the dominant, which is obtained
adding a minor seventh to the major triad built from the fifth note of
major scale, which is also called dominant. For example, in the key of C Major, the
The fifth note is G, therefore a G Major triad ("G, B, D") with a seventh.
augmented (Fá) is a G chord with a Dominant Seventh (G7).

These three types of seventh chords have a very important relationship with each other.
In any major key, for example, C major, the chord built on the second degree of the scale is
scale is a minor seventh chord; the chord built on the fifth degree of the scale is
called a dominant seventh chord; and a chord with a seventh built on the
The tonic of the scale is a major seventh chord. Roman numerals are usually used.
to indicate the degrees of the scale, with uppercase indicating major triads and their
sevenths, and lowercase indicating minor triads and their sevenths. The sequence Dm7 - G7
Cmaj7 in the key of C can be represented as ii-V-I. This is a progression.
of chords very common in jazz, and it is discussed in much detail later on. The
the fundamental movement in this progression is of perfect fourths upwards, or of
just fifths downwards. This is also one of the strongest resolutions of harmony.
classical.

Sevenths can also be added to diminished triads or augmented triads.

In the case of a diminished triad, the added third can be a minor third, which
creates a diminished seventh (for example, "A, C, E flat, G flat", or Adim) or
a major seventh, which creates a diminished seventh (for example, "B, D, F, A" or
Bm7b5). A minor third can be added to an augmented triad, although this
be a chord used so rarely that it doesn't even have a standard name in classical theory.
Adding a major third to an augmented triad would create a seventh chord only in
name, since the added note is a repetition, an octave above, of the fundamental (the
most severe) of the chord. For example, "C, E, G sharp, C". Technically, the
the seventh is a C sharp instead of a C, but in modern tuning systems
they are the same note. Two notes that have different names but the same pitch, like
If C-sharp and D, or F-sharp and G-flat, are called enharmonically. The theory
classical music is generally very strict about the correct enharmonic spelling of a chord,
But in jazz, the most convenient spelling is generally used.

Other extensions for all types of seventh chords can be created by adding
of more thirds. For example, the C major chord with a Major Seventh ('C, E, G, B')
it can be extended to a C chord with a Major Ninth, by adding the D.
These later extensions and changes formed by lowering or raising the grade
in half tone, they are the trademarks of jazz harmony, and are discussed in the sections
below. Although there are an almost infinite variety of chord possibilities, the
most of the chords frequently used in jazz can be classified as chords
majors, minor chords, dominant chords, or half-diminished chords. Chords
totally diminished and augmented chords are also used, but, as will be seen,
they are usually used as substitutes for one of the four basic types of
chord.

The Cycle of Thursdays

The interval of a perfect fifth is significant in several ways in music theory.

Many people use a diagram called the Circle of Fifths.
to illustrate this meaning. Draw a circle in which the circumference is divided
in twelve equal parts, like a clock. Place the letter C (Do) at the top of the cycle, and then
name the other points in a clockwise direction with G, D, A, E, B, F#/Gb, C#/Db, G#/Ab,
D#/Eb, A#/Bb, e F. The interval between any two adjacent notes is a fifth.
Just. Note that each note of the chromatic scale is included exactly once in
cycle.
One utility of the circle of fifths is in determining the key signatures. The key of
C Major (C) has no flats or sharps. As you walk in the direction
the schedule by the circle, each new tone armor adds a sharp. For example,
G Major has one sharp (F#); D Major has two (F# and C#); A Major has three (F#,
C# and G#); E Major has four (F#, C#, G# and D#); and so on. Also note
that the added sharps at each step follow the circle of fifths, the
start with F# (added in C Major), then C# (in D), then G# (in A),
then D# (in E), and so on. In the opposite direction, if you follow the circle
the fifths counterclockwise, the toms add flats. For
For example, F Major has one flat (Bb); B flat Major has two (Bb and Eb); E flat
Major has three (Bb, Eb, and Ab); and so on. The flats added in each
the steps also follow the cycle of fifths, starting with Bb (added in F)
Major), then Eb (in B flat), then Ab (in E flat), and so on.

The circle of fifths also defines scales. Any set of seven notes
consecutive notes can be combined to form a major scale. Any set of
five consecutive notes can be combined to form a pentatonic scale, which
will be addressed later.

If the notes in the circle of fifths are considered as chord names, they
show the descending movement of the fundamental in perfect fifths when read in the
counterclockwise sense. It has been observed that this fundamental movement is one of the
stronger resolutions that exist, especially in the context of a progression of
ii-V-I chords. For example, a ii-V-I progression in F has Gm7 - C7 - F, and the
The names of these three chords can be read from the circle of fifths. One can
always find the note a tritone interval away from a given note simply
looking in the diametrically opposite direction in the circle. For example, a range of
A tritone from G is Db, and these notes are directly opposite each other in
circle. This can be useful in the execution ofsubstitutions by tritonsmore addressed
forward.

Harmony of the Major Scale

A large part of jazz harmony is based on the major scale. As we said
Before, each major scale has a relative minor that is formed when playing the same
sequence of notes, but starting from the sixth degree of the major scale. By the way, other scales
can be formed using the sequence of notes from a major scale, starting from
any of its degrees. These scales are called modes of the scale. The scale
The natural major is called the jonic mode (or ionic). The scale formed from
the sixth note, the relative minor, is called the aeolian mode. The names of these modes, well
like others discussed below, come from Ancient Greece, although it is said that these names
were mixed in translations a long time ago. Although the Greek modes have
historical interest only in classical theory, they are fundamental to jazz.

Major Scale or Ionian Mode

The major scale, or ionian mode, should be quite familiar to you by now. It is associated
with major seventh chords. In the key of C, for example, the C chord with seventh
Greater, noted Cmaj7 (or C with a small triangle next to it, or sometimes
CM7), has the notes 'C, E, G, B', and these notes outline the C Major scale. If a
The measure in a piece of music is harmonized with a Cmaj7 chord, the C scale.
The major scale is then a suitable scale to use in improvisation. The only note of this
the scale that sounds bad when played against a Cmaj7 chord is the fourth note, the F.
you can convince yourself of this by going to the piano and playing the Cmaj7 chord with your hand
left hand while playing various notes of the C Major scale with the right. The fourth of a
the major scale is usually referred to as an avoid note over a chord of
seventh largest. This does not mean that you can never play an F over a
Cmaj7, of course, but you should be aware of the dissonant effect that this produces.

The chord obtained by adding a third on top of the chord ('C, E, G, B, D')
it would be called Cmaj9, and it implies the same scale. Add another third.
it would result in "E, G, B, D, F, A" and this chord would be called a Cmaj11. For
due to the dissonant nature of F in this context, however, neither this chord nor the
Cmaj13 chord, obtained by the addition of an additional third (A), is widely used.

Dorian Mode

The Dorian mode is built on the second degree of the major scale, using the same
notes of this scale. For example, the Dorian scale of D is built with the notes of the scale
Major D, starting from D, consists of 'D, E, F, G, A, B, C'. The Dorian mode is
very similar to a minor scale, but the sixth degree is raised by a half step. Or
in the scale of B minor, there would be a B flat, while the Dorian mode has a B.
it resembles the minor scale so much, it is natural to play this mode over a chord of
minor seventh. In fact, it is used more frequently than the minor scale itself. If
you go to the piano and play a Dm7 chord ('D, F, A, C') with your left hand, and
play the notes of the Dorian mode of D and the D minor scale with the right hand, go
probably conclude that the Dorian mode sounds better, because B is less dissonant
against a Dm7 chord than B flat. If you use the dorian mode over a chord
of seventh minor, there are no avoided notes.

In the same way as with the major seventh chord, you can add thirds to the
minor seventh chord to make Dm9, Dm11, and Dm13. These chords still imply
the use of the same Dorian mode. If you use the natural minor scale, the tenth chord-
the third contains the note B flat, which is somewhat dissonant in this context. This chord
it is rarely used, but when it is requested, it is generally noted Dm7b6, and it is one of the
few exceptions to the rule that most chords are notated in terms of the
extensions with odd numbers above the seventh. This rule comes from the fact that the
chords are traditionally made by the overlapping of thirds. The notation Dm6 is to
sometimes a synonym of Dm13 when the natural B is explicitly requested.

Phrygian Mode

The third mode of the major scale is called the phrygian mode. In the key of C, a
The Phrygian scale is built on E, and consists of 'E, F, G, A, B, C, D'. This
scale, like the Dorian mode, is also similar to the minor scale, except that the second
The gray in the Phrygian mode is lowered by a half step. That is, a scale of E Minor would have a
F Sharp, while the Phrygian mode has an F. If you try to play the Phrygian scale
about a minor seventh chord, you will probably find it more dissonant than the
minor scale, due to the flattened second. The Phrygian mode is used occasionally.
about a minor seventh chord, although the chord is usually noted as m7b9
as a tip to the improviser that the Phrygian mode should be used. There are others
specific situations in which the Phrygian scale sounds good. One of them is about a chord of
seventh of the dominant with a suspended fourth (see mixolydian mode, below) and a
lowered ninth, noted susb9. The other is about a specific chord that I will
simply called a Phrygian chord. A Phrygian chord over E would be "E, F, A,
Yes, Ré". When the Phrygian mode is played over this type of chord, the result is a sound
a bit of Spanish, particularly if you add a Sharp A to the scale,
resulting in what is sometimes called the Spanish Phrygian scale. Several songs
by Chick Corea, including 'La Fiesta', and a good part of the music from the album Sketches Of
Spain, by Miles Davis, uses this sound extensively.

Lydian Mode

The fourth mode of the major scale is the Lydian mode. In the key of C, a Lydian scale is
built on F, and consists of 'F, G, A, B, C, D, E'. This scale is like the
major scale, except that it contains an augmented fourth degree. That is, a scale of
F Major would contain a B flat, while the Lydian scale contains a natural B.
the fourth degree of the major scale is a avoided note on a major seventh chord, this
the scale gives the improviser an alternative. Although the sound of the raised fourth may sound
a little unusual at first, you will see that it is generally preferable to the fourth
natural of the major scale. When the symbol Cmaj7 appears, you have the choice between the
major and lydian scales. Generally, if the lydian mode is specifically desired, it will
the symbol Cmaj7#11 appears. Remember that a Cmaj11 chord contains an F as
the eleventh; the Cmaj7#11 indicates that this note should be raised by a half step.

Mixolydian mode

The fifth mode of the major scale is the mixolydian mode. In the key of C, a scale
Mixolydian is built on the G, and consists of the notes "G, A, B, C, D, E, F."
This scale is like the major scale, except that the seventh degree is lowered by a half step.
That is, a G major scale would contain an F sharp while the mixolydian
contains an F. Like the seventh chord built on the fifth degree of the major scale
it is a seventh of the dominant, it is natural that lines based on the mixolydian mode are played
about a dominant seventh chord. For example, the G Mixolydian scale can
to be used over a G7 chord.

In the same way as with the major scale over a major seventh chord, the fourth
scale degree (C in the case of G Mixolydian) is a note somewhat avoided on a
dominant seventh chord. However, there is a chord called
suspense, noted Gsus, Gsus4, G7sus, G7sus4, F/G, Dm7/G, or G11 over which not
There are notes to avoid in the Mixolydian mode of G. The notation F/G indicates a triad of F.
Major over the G note in the bass. The term 'suspension' comes from classical harmony and it
refers to the temporary delay of the Tuesday in a dominant chord when playing the first one
Wednesday, before solving it on Tuesday. In jazz, however, Wednesday is generally never
resolved. The suspended chord consists of the root, fourth, fifth, and usually
also the seventh. The song "Maiden Voyage" by Herbie Hancock consists solely of
suspended chords unresolved.

Minor Scale or Aeolian Mode

The Aeolian mode, or minor scale, has already been discussed. It can be played over a chord.
minor with a seventh, although the dorian or phrygian modes are used more
frequency. It is usually used over an m7b6 chord.

Locrio Mode

The seventh and last mode of the major scale is the locrian mode. In the key of C, a
The locrian scale is built on B and consists of the notes 'B, C, D, E, F, G, A'.
The seventh chord built on this scale ("B, D, F, A") is a chord of
seventh half diminished, Bm7b5. This symbol comes from the fact that this chord is similar to
a Bm7, except that the fifth is lowered by a half step. The classic symbol for this
A chord is a circle cut by a '/' in the middle. The locrian scale can be used over
a half-diminished seventh chord (also called a minor seventh with a fifth)
flat), but the second degree is somewhat dissonant and is sometimes considered a note
avoided.

Harmony of the Melodic Minor Scale

In classical theory, there are three types of minor scale. The minor scale that we have already discussed, the
Eolian mode is also called natural or pure minor scale. The other two scales
minors were derived from it to offer more harmonic and melodic possibilities
interesting. If you build a ii-V-I progression in a minor scale, you will find out
that the seventh chord built on the tonic is a minor seventh chord, and the
The seventh chord built on the second degree is a half seventh chord.
tiny. For example, Am7 and Bm7b5 in the A minor scale. The chord built on
the fifth degree of this scale is a minor chord, for example Em7 in A Minor. A
the resolution of Em7 to Am7 is not as strong as that of E7 to Am7. Moreover, the Am7
it doesn't sound like a tonic; it sounds like it needs to resolve to a D Major chord.
By raising the seventh degree of the minor scale by a half step (that is, raising the G to A minor
for G Sharp), these problems are solved. The chord built on the fifth
Grey is now an E7, and the seventh chord built on the tonic is a triad of A.
Minor with a major seventh, usually noted Am-maj7. This creates a ii-V-i very
stronger. The resulting scale, "La, Si, Do, Ré, Mi, Fa, Sol Sharp", is called
harmonic minor, because it is understood that it generates more interesting harmonies than the
natural minor scale.

The seventh degree of a major scale is sometimes called the leading note, as it is
only a half step below the tonic and leads very well to it melodically. The
the seventh degree of the natural minor scale, in turn, is one whole step below the tonic and
it doesn't forward so well to her. Although the harmonic minor scale contains a note
sensitive, if you touch this scale, you will notice that the interval between the sixth and seventh degrees
(the F and the Sharp A in the A Minor Harmonic scale) is strange melodically.
This interval is called a major second. Although it sounds exactly like a
minor third, there are no tones in the scale between the two notes. This interval is considered
dissonant in classical harmony. To fix the situation, the sixth can be raised.
half a step also (from F to F sharp) to generate the minor melodic. In theory
classic, this scale is usually used only in an ascending manner. When
descendant, since the Sustained Sun is not used to lead to the tonic A,
natural minor is generally used in its place. Jazz harmony typically does not
distinguish these cases, however. The melodic minor scale ('A, B, C, D, E, F')
Sharp, G Sharp) is used both in the ascending and descending sense.

Both the harmonic minor and the melodic minor outline an m-maj7 chord in the first
gray, for example an Am-maj7 ("A, C, E, G sharp") in A Minor. Both the
The harmonic minor scale and the melodic minor scale can be used over this chord.
The melodic minor is also used over chords marked simply m6, although,
As noted before, this symbol may also imply the Dorian mode. Several
two modes of the melodic minor scale generate particularly interesting harmonies and
are frequently played in jazz. These scales are not normally described in
classical theory, that is why their names are less standardized than the modes of the scale
greater.

Phrygian with Major Sixth

There is no single term for the second mode of the melodic minor scale. The second
The A minor melodic scale is "B, C, D, E, F sharp, G sharp, A".
This scale is similar to the phrygian mode, except that it has a major sixth. For this reason,
it can be called Phrygian mode with a major sixth, although that name is not from
no standard way. It is most commonly used as a substitute for the
Phrygian mode.

Lídio Increased

The third mode of the melodic minor scale is known as a Lydian mode.
augmented. In a minor scale of A, an augmented Lydian scale is constructed
about the C note and consists of 'C, D, E, F sharp, G sharp, A, B'. This scale
contains an augmented chord with a major seventh, 'C, E, G# B'. No
there is a standard symbol for this chord, but Cmaj7#5 is occasionally used
as well as Cmaj7-aug or Cmaj7+. When this chord is requested, the Lydian scale
augmented is an appropriate choice. The maj7#5 chord is mainly used as
a substitute for a regular major seventh chord.
Dominant Lídio

The fourth mode of the melodic minor scale is commonly referred to as the dominant Lydian, or
Lydian with flat seventh (Lydian b7). If you build it, you'll see why. In a minor scale.
melodic in A, a dominant Lydian scale is made from D and consists of 'D, E,
F Sharp, G Sharp, A, B, C. This scale resembles the D Major scale, "D,
"Mi, F# (F sharp), Sol, Lá, Si, C# (C sharp)" but with two changes: the fourth
augmented, characteristic of the Lydian mode, and the minor seventh, characteristic of the mode
Mixolydian. The mixolydian mode has been described as a possible scale choice for use.
about a dominant seventh chord, but the fourth degree was a note to avoid. A
the dominant Lydian scale does not contain this note to avoid. Just like with the scale
Lydian and the augmented fourth over a major seventh chord, the Lydian dominant scale
it may sound unusual at first, but it is generally more interesting than the way
mixolydian when played over a dominant seventh.

This specific sound, the augmented fourth over a dominant seventh chord, was
very used in the bebop era, and made the first bebop musicians receive many
criticisms for the use of these non-traditional sounds. This sound was also the genesis of the
composition "Raise Four" by Thelonious Monk, which prominently features the fourth.
increased in the melody. The use of this scale is generally indicated explicitly by the
symbol D7#11. Bebop musicians often referred to this note as a fifth
flat, notating the chord symbol as D7b5, although this usually implies the
diminutive scale, which is discussed later.

Fifth Mode

The fifth mode of the melodic minor scale does not have an established name, and
it is normally used only on a V chord in a ii-V-i progression of a
minor tone. This use will be discussed later.

Locrian with Major Second

The sixth mode of the melodic minor scale is commonly called locrian with a second.
greater, since it is actually the locrian mode with a raised II degree by a half step. For
For example, the locrian mode of F sharp is based on G major and consists of 'F sharp
Sharpened, G, A, B, C, D, E, but the Locrian scale with a major second of F.
Sharp is based on A Minor Melodic and consists of "F Sharp, G
Sustained, La, Si, Do, Re, Mi. Since the second degree of the locrian mode is a note
Avoided over a m7b5 chord, the Locrian scale with a major second is generally used.
in your place. This scale is sometimes also called the half diminished scale.

Altered Scale

The seventh mode of the melodic minor scale is generally called the diminished scale of
whole tones, because it combines the elements of the diminished scale and whole tones,
which are discussed later. Another name for this scale is altered scale. To see
Why, remember the introductory discussion about chords. Chords are built
through the superposition of thirds. We discussed the triads, which contain three notes, as well as the
seventh chords, which contain four notes. In the key of C, the G7 chord is the chord of
seventh of the dominant. It contains a root (G), a third (B), a fifth
(Re), and a seventh (Fa). If we add another third on top, La, we have a chord of
no, the G9. If we add another third, C, we have a tenth chord.
First, G11. The D is the fourth degree of this scale, and it is normally a note avoided.
This symbol is normally used only when the fourth is explicitly required,
like in a suspended chord. If we then add another third, E, we have a
thirteenth chord, G13. The C is usually omitted from this chord. Another
Tuesday would take us back to the Sun.

This chord can be altered by raising or lowering individual notes.

half step. The fundamental, third, and seventh are not usually altered, since they are the
notes that most define a chord. A change in any of these destroys the
sensation of dominant of the chord. The raised eleventh has already been discussed. The others
interesting alterations are the fifth and the ninth. For a G7 chord, this means a
flattened fifth, or flat (D Flat), the raised fifth, or sharp (D Sharp)
the lowered ninth, or flat (A flat), and the raised ninth, or sharp (A sharp).

Now, let's return to the altered scale. An altered scale of G can be

built from the A flat melodic scale, and consists of 'G, A flat, B'
B flat/A sharp, D flat/B, D flat, E flat/D sharp, F.
First of all, note that this scale contains G, B, and F, the root, third and
seventh of the G7 chord. The remaining notes, A flat, B flat, D flat, and E flat,
are respectively the flat ninth, the sharp ninth, the flat fifth, and the fifth
sustained. In other words, all possible alterations in a ninth chord are
included in this scale. The implied chord in this scale is generally noted simply
like G7alt, although the notation G7#9#5 is also used, as well as G7#9. The
symbols b9 and b5 are not usually used in this context, despite being
present in the scale, because they imply the reduced scale, which is discussed further
forward.

The sound of the altered scale and the chord it implies are much more complex than
any other dominant seventh scale/chord presented so far, and it is one of the
the most important sounds of post-bop jazz. Maybe it would be good for you to invest more time in it.
scale to get used to it. Try going to the piano and playing the root, third, and seventh.
with the left hand, while playing the altered scale, and melodic lines based on it,
with the right. You can use this scale even when the chord seems to be a
dominant seventh chord, but it should be done cautiously in an environment of
group, because other band members may be playing sounds in the mixolydian mode
the dominant lead, and its altered scale will sound dissonant in relation to them. This does not
It is not necessarily wrong, but you should be aware of the effect produced.

Symmetrical Scales
When a mode of a given scale produces the same type of scale as the original,
this scale is said to be symmetric. Several important scales used by jazz musicians are
symmetric. For example, the chromatic scale is symmetric, since each individual mode
Dela is another chromatic scale. In this case, there is actually only one scale.
unique chromatic; all others are merely modes of it. In general, if N modes of a
from this scale they produce the same kind of scale (including the first mode, the own)
original scale), then there are only 12/N different scales of this type.

One thing to observe in the scales discussed in this section is that they seem to lend themselves
playing melodic patterns, and sometimes it’s hard not to sound cliché when using it
these scales. When there are several measures of a given chord, a common technique
is to play a brief figure on the scale associated with it and repeat it transposed to various
different positions. For example, a possible pattern in C Major would be 'C, D, E,
Sun. This pattern can be repeated several times starting from different positions,
perhaps like 'Re, Mi, Fa, La' or 'Mi, Fa, Sol, Si'. For some reason, many of the scales
the presentations below invite this type of approach, and it's easy to end up with some
few clichés that you end up using every time you are confronted by these
scales. Always be aware of this. You should not feel like a scale
was dictating what you can or should play.

Scale of Whole Tones

A particularly easy scale is the whole tone scale, so called because

All degrees of the scale are intervals of a tone. A scale of whole tones in C
consists of 'C, D, E, F Sharp, G Sharp, B Flat'. It has only six
notes, and all their modes (including the original mode) form scales of tones
integers. Thus, there are only 12/6 or 2 whole tone scales. The other is "D Flat, E
B flat, F, G, A, B.

As the first, third, and fifth degrees of this scale form a triad.
augmented, this scale can be played over augmented chords. This scale also
contains the note that would be the seventh in a dominant seventh chord (i.e., B flat)
C7 chord). The implied chord in this scale is noted as C7aug, Caug, C7+, C+.
or C7#5.

Tiny Scales

Another symmetrical scale is the diminished scale. This scale is also called
half-step-whole-step scale, or whole-step-half-step scale, because it is constructed by the alternation of
intervals of tones and semitones. A tone-semitone scale (let's abbreviate it TS) in C
consists of 'C, D, D sharp, F, F sharp, G sharp, A, B'; a scale
semitom-tom (abbreviated ST) consists of "Do, D Flat, E Flat, E, F Sharp,
Sol, La, Si Flat. These scales contain eight notes each. Note that, in addition to the scale
original, the modes that start on Tuesday, Thursday, and Saturday are from a scale TS or of
a ST (besides the first mode) forms another TS or ST scale, that’s why there is only
12/4 or 3 different diminutive scales of each type. Additionally, note that the scale
the diminutive TS is exactly the second mode of the diminutive ST scale, that's why, in fact,
there are only three distinct diminutive scales in total. The TS and ST versions of this scale
are, however, used in different situations.

The small scale ST outlines a dominant seventh chord with a ninth and
flat fifth. For example, C7b9b5 is "C, E, B flat, D flat, A flat", and
these notes, as well as the sixth, the natural fifth, and the raised ninth, are all present
on the diminutive ST scale of C. The ST scale is therefore a good choice to use over
dominant seventh chords b9b5. John Coltrane used this sound a lot.
This scale is very similar toaltered scale, which, if you remember, is also called
of a diminished scale of whole tones. The altered scale in C contains the first five
notes of the diminished scale ST of C and the last four (overlapping the E and the F
Sustained) of the whole tone scale of C. Since both scales contain fifths
lowered and raised, they are sometimes used interchangeably on
dominant seventh chords. Try to go to the piano and practice these two scales with
your right hand, on the fundamental, third and seventh on the left. They sound very
similar. Many fakebooks are inconsistent in the use of the alt symbols, #9, b9, b5,
#9#5, and b9b5. The lesson here is that you will have to rely on your ears and good
sense to guide the use of these two scales.

The diminutive scale TS outlines a diminished seventh chord and is therefore used over
diminished chords. For example, the diminished scale TS of C (C, D, D Sharp, F,
F Sharp, G Sharp, A, B can be played over C diminished or C diminished 7. The symbol
classic for diminished chords, a small circle, is also sometimes used.
Note that this scale is the same as the diminished scales TS of D Sharp, F
Sharp, and A, and actually Cdim7, D#dim7, F#dim7, and Adim7 are all inversions of
same chord. They can be used interchangeably.

But even more important is that this scale is also the same as the diminished scales.
ST in D, F, G Sharp, and B. These scales are associated with their respective
dominant chords with flat ninth and flat fifth (b9b5). The diminished chords C,
E flat, F sharp and A are therefore generally used as substitutes for
chords for the respective dominant seventh chords, and vice versa. In most cases
In two places where you see a diminished chord, you can substitute it for one of the respective ones.
dominant seventh chords. A particularly common progression is | Cmaj7 |
C#dim | Dm7 |. The C#dim chord here implies the diminished scale TS of C sharp.
what is the same as the diminished scales ST of C, E flat, F sharp, and A.
In this case, the A7b9b5 chord can be used in place of the C#dim chord. Not only the
A7b9b5 and C#dim share the same scale, but the A chord with
The seventh of the dominant also resolves well in the D minor chord. Any scales
associated with A7 chords, such as A Mixolydian, A
Lídio Dominant, Altered Scale, or Blues Scale can be played over a chord like this.
C# in this context.

Pentatonic Scales
There is a group of five-note scales known collectively as scales.
pentatonic. The intervals in a traditional pentatonic scale are usually
limited to whole tones and minor thirds. Many musicians use these scales
relatively simple with good results, among them McCoy Tyner and Woody Shaw. The
two basic pentatonic scales are the major pentatonic scale and the minor pentatonic scale
minor. A major pentatonic scale in C contains 'C, D, E, G, A', and a
The minor pentatonic scale in C contains 'C, E flat, F, G, B flat'.
that the minor pentatonic scale in C is actually the fifth mode of a scale
major pentatonic in E flat. Other modes of the pentatonic scales are also
used, such as "Do, Re, Fa, Sol, B Flat", which is the second mode of
B flat major pentatonic scale. This scale can be called a scale
suspended pentatonic, although this terminology is by no means universal.
As their names imply, the major, minor, and suspended pentatonic scales can
to be used on major, minor, and suspended chords respectively. For example, the
the major pentatonic scale in C can be used over Cmaj7. This chord is sometimes
C6 notation to emphasize that the major pentatonic scale should be used.
The minor pentatonic scale in C can be used over Cm7. The pentatonic scale
Suspended in Dó can be used over a C7sus chord.

Other five-note scales are also occasionally used. For example, the scale
"Mi, Fá, Lá, Si, Ré" is the traditional Japanese "in sen" scale. It can be used as
a substitute for the Phrygian mode in E (note that it actually defines the E chord
Frigian) to add an oriental flavor to the music. Among the useful variations of this scale
they are the second mode, 'F, A, B, D, E', which can be used over a chord
Fmaj7#11; the fourth mode, 'B, D, E, F, A', which can be used over a chord
Bm7b5; and the fifth mode, "D, E, F, A, B", which can be used over a chord
Dm6.

As there are relatively few notes in a pentatonic scale, a single scale

pentatonic can generally be used over various different chords without any
note to really avoid. For example, the major pentatonic scale in C, "C, D,
"Mi, Sol, Lá" can be used over Cmaj7, C7, D7sus, Dm7, Em7b6, Fmaj7, G7sus.
Gm7, or Am7.

The Blues Scale

And Other Derived Scales
The scales in this section are mainly derived from chord progressions, rather than
of specific chords. Most of the time, they can be used as bridges between
chords, which allows you to play the same scale, or very similar scales,
about two or more different chords. This is sometimes called generalization
harmonica.

The Blues Scale

The blues scale is usually the first scale, after the major scale, taught to
beginners in improvisation, and in many cases it is the only other scale they learn.
This scale supposedly has its roots in African American music with its emergence in
the era of slavery, but the exact origins of its modern incarnation are
unknown. The blues scale in C consists of 'C, E flat, F, F sharp,
Sol, Si Flat. The second degree of this scale, which is the flat third of the minor scale, is
called "blue note". In vocal music, it is usually sung at some part
between a D flat and an E. In instrumental music, various techniques are employed
to achieve the same effect, such as stretching the string while playing an E
Flat on string instruments, play a lower E on a wind instrument,
you play E-flat and E simultaneously on a keyboard instrument. The seventh and the
Flat fifths are also sometimes called blue notes, and they are not always sung.
or played exactly at the written height. Variations of the blues scale that include a
Tuesday, Thursday, or seventh naturals can also be used. Additionally, note that if
a flat fifth omitted, the resulting scale is the minor pentatonic scale. The scale
the minor pentatonic scale can therefore be used as a substitute for the blues scale, and vice-
versa.

The beauty of the blues scale is that it can be played over an entire progression of
blues without any avoided notes. If you try melodic lines based on this
way of playing, for example, a blues scale in C over a C7 chord, you
receives an instant positive feedback, since almost everything you can do sounds
Well. This unfortunately leads many musicians to overuse this scale and to exhaust their
quick ideas. There is only a limited number of phrasings that can be
played on a scale of six notes, and most of them have already been played thousands of times at
this height. This does not mean that you should never use the blues scale; for
on the contrary, it is vitally important for jazz. But don't get too enchanted with the
easy gratification produced by it to the point of practicing blues phrasing
exhaustively, instead of expanding your harmonic vocabulary.

The metaphor of language is a good one. It is difficult to say interesting things with a vocabulary.
limited. Usually musicians like Count Basie are given as examples of musicians
they take a lot from very little, but there is a difference between saying few words
because you are choosing them carefully, and saying few words because you
there's nothing to say or because your vocabulary is too limited to express your
Ideas. This advice transcends the scale of blues, of course.

It is not always necessary to vary the harmonic content of your music if you are
sufficiently creative in other aspects. One way to create greater interest
when using the blues scale is to use any special effect at your disposal
to vary your sound. They can include honking (playing the same note repeatedly
times) screaming (playing notes in the highest registers) for saxophonists, growling
for bassists, or the use of clusters on the piano.

Minor Scales

The harmonic minor scale is sometimes played over m-maj7 chords. Its modes do not
have standardized names, and are rarely used by jazz musicians, except as
bridges over a harmonic progression ii-V-i. For example, consider the progression |
Bm7b5 | E7alt | Am-maj7 |. A harmonic minor scale of A can be played over
all three chords, instead of the traditional use of the B Locrian scale, E Altered, and A
Melodic Minor. Another way to say this is that the second mode can be played
about a m7b5 chord, and that the fifth mode can be used over an altered chord
from dominant. Even when you are not using the harmonic minor scale over
an entire progression, it might be good to use its fifth mode over a chord of
In a ii-V-i progression in a minor key. The advantage of using this scale in that
an example is that it differs from the Locrian scale and the Melodic Minor scale by only one
Note each. The disadvantage is that the tonic of the scale is a note avoided in this context.

The melodic minor scale can be used in the same way; its fifth mode can be
used on the V chord in a ii-V-i progression to maintain some common point
among the scales used. Note, however, that the second mode of the A Minor scale
Melodica is not an ideal choice over the Bm7b5 chord, because this scale has F.
Sharp instead of F. This is the only difference between the harmonic minor and
melodic. The choice regarding whether to use the fifth mode of the minor scales
harmonica or melodica over a dominant seventh chord can partially
depends on the key of the song. If F Sharp is in the key signature, then the
the melodic minor scale can sound more diatonic. You can choose this scale if
this is for the sound you are trying to obtain, or for the lowest harmonic if you are trying
avoid diatonic sounding. On the other hand, if the F sharp is not in the key signature,
so the harmonic minor scale can sound more diatonic. Another question to
consider which of these scales is closest to the scale you are using in
previous and posterior chords. Depending on the sound you are trying
You can choose the scale that has more or fewer notes in common with the.
adjacent scales.

Bebop Scales

The bebop major scale is a major scale augmented by an augmented fifth or sixth.
minor. The major bebop scale of C contains "C, D, E, F, G, G sharp, A,
Yes. This scale can be used over major seventh chords or augmented chords.
of the major seventh. The D major bebop scale can also be used as a bridge
between chords in a progression like | Cmaj7 | Bm7b5 E7 | Am |; that is, the same
the scale can be played over the entire progression. Another way to see this is to say
we are playing the bebop major scale of C over the Cmaj7 chord, playing its
eighth mode on the chord Bm7b5, playing its third mode over the chord E7, and
playing your seventh mode over the Am chord. These modes closely resemble the scales
greater, locria, altered, and lesser, respectively. Note that we are using a
Bebop major scale of C over a ii-V-i progression in A Minor. In general,
we can use the major bebop scale in any specific key over a
ii-V-i progression in the relative minor of that key.

Among the other bebop scales is the bebop dominant scale, which is similar to the mode.
mixolydian, but with an additional major seventh. The dominant bebop scale of C is
therefore formed by "C, D, E, F, G, A, B flat, B". This scale can be
used about dominant seventh chords. The major seventh is not actually a note
avoided if you use it as a passing tone between C and B flat. It also
serves as the fourth elevated of the Fmaj7 chord that will likely follow the C7 chord.
There is also a minor bebop scale, which is a dorian scale with a raised third.
additional. The D minor bebop scale is therefore 'C, D, E-flat, E, F, G, A,
B flat. This scale can be used over minor seventh chords, and it is generally
used in blues progressions of minor keys to add more flavor of
seventh of the dominant to the chords.

Synthetic Scales

The blues and bebop scales are sometimes called synthetic scales because they do not...
they fit well into classical theory and seem to have been invented to suit a
particular situation. In general, an unlimited number of synthetic scales can be
built using intervals of minor second, major or augmented. Perhaps it is
it's good that you try to create your own scales and seek opportunities to use them
the.

Chord and Scale Chart

The table below lists the chords that occur most frequently in jazz harmony.
together with the scales usually associated with each chord. The chords are
grouped into the four basic categories (greater, lesser, dominant, and middle
(diminutive). In an emergency, any scale of any chord of any one
of these categories can be used for any other chord in that category. There is a
additional category for various chords at the end. There are many other possible scales and
chords. However, these are the most important in traditional jazz harmony.

Chord Scale/Mode

C Major, C Lydian, C Major Bebop

Cmaj7, Cmaj9, C6, C D Major Pentatonic, G Major Pentatonic

Cmaj7#11 Mr. Lídio, this is you

Dorian C
Cm7, Cm9, Cm11, Cm F Major Pentatonic, B Flat Major
Pentatonic
E Flat Major Bebop, C Blues, C Minor

D Dorian
Pentatonic,
Cm6, Cm F Major Pentatonic, B Flat Major
Pentatonic,
C Minor Bebop

C minor major seven C Minor Melodic

Greater Bebop

Cm7b6 D Minor, A Flat Major Pentatonic

Cm7b9 F# Phrygian, F# Phrygian with Major Sixth

Dó Mixolídio, Dó Lídio Dominante, Dó Bebop

Dominant,
C7, C9, C13, C C Blues, C Major Pentatonic

C7sus, Csus, C11 Mixolydian Mode

Bb/C, Gm7/C Suspended D Pentatonic, F Major Pentatonic

C7#11, C7 Dominant Lídio Gift

C7alt, C7#9#5, C7#9 D Sharp Altered, F Minor Harmonic, F Minor

Melodica

Diminished D, A Minor Harmonic, A Minor

Melodica

C7 augmented Gift of Whole Tones

C minor 7 flat 5 D Locrian with Major Second, D Locrian

C diminished 7 Diminished Whole Tone

Dorian Mode, Dorian Mode with Major Sixth, Dorian Mode

Spanish
Cphryg That is it

Cmaj7#5 Dorian Lydian Augmented, Major Bebop

 C7susb9 Dorian Mode with Major Sixth, Dorian Mode

Applying Theory to Improvisation

The basis of traditional forms of improvisation is to create spontaneously and play.
melodies that are built on the basic harmonic progression of the song. In
at the most basic levels, the notes you choose for your improvisation are partially
dictated by the scale associated with each chord. This is called improvising over the
harmonic progression ('playing changes'). More advanced forms of improvisation
give the musician more melodic and harmonic freedom, whether by reducing the number of
chord changes, whether by making chord progressions more ambiguous in
tonality, to the point of eliminating these structures entirely. These approaches are
discussed separately below.

Pianists, guitarists, and other instrumentalists who accompany themselves

while improvising they should read the section aboutmonitoringtogether with this section, and
try to apply both sets of concepts at the same time when they are
improvising.

Melodic Development
One of our main concerns should be to play melodically. This does not
necessarily means to play nicely, but there needs to be some sense of
continuity for your melodic lines, and they need to be interesting in themselves
the same. You also need to be aware of rhythmic development and
harmonic of your improvisations; I include these concepts in the expression
"melodic development". This is difficult to teach, and it is probably the aspect of
improvisation that requires more creativity. Anyone can learn the relationships
between chords and scales; what you do with that knowledge is what determines how
your music will sound. The book How To Improvise, by Hal Crook, has a lot of information
about melodic development, especially regarding rhythmic variation, aimed at
the intermediate level musician, while The Lydian Chromatic Concept Of Tonal
Organization For Improvisation, by George Russell, and A Chromatic Approach To Jazz
Harmony And Melody, by David Liebman, contains advanced discussions and much
techniques on harmonic development.

Intensity

You need to be aware of the outline of your soil. A common way to

Structuring a soil is based on the model of how to tell a story. You start from
In a simple way, it adds a series of smaller tensions up to a climax, and then
arrives at a closing sentence. This works well in most situations. However,
you may occasionally want to deviate from this format. You may decide to start with
more strength to open your soil, or you may want to end right at the climax, and set it aside
the auction. It may want to keep the entire soil at a low level of intensity to
to give a relaxed feeling, although you wouldn't want to bore your
listeners. You may want to keep the intensity level at a controlled peak. More or
less like a comedian performing in an auditorium, you may want to change your
strategies as you assess the mood of the audience. You must strive to have the
control of the emotional response that your music generates in the listeners.

There are some common practices that can be used to structure your soil. One of the
most important is repetition. After a soloist plays a phrase, he
she frequently repeats it, or a variation of it. Generally, the phrase, or the variation, is
played three times before moving on to something else. The variation can be
to transport the sentence, or alter important notes within it to conform the sentence to a
new chord/scale. The variation may simply consist of starting the phrase in a
different point from the beat, as in the third time instead of the second. The phrase itself
It can be rhythmically changed, by playing slower or faster.

Related to the idea of repetition is the idea of question and answer. Instead of repeating the
original phrase, you can consider the phrase as a question or a call, and
continue with an answer. This is the musical analogy to ask 'did you go to the store'
today?

On most instruments, you can increase the intensity by playing harder

louder, and faster; play softer, quieter, and slower usually
reduce the intensity. Play simple rhythmic patterns, such as quarter notes and eighth notes where
the accent falls on the beat, it is generally less intense than playing more complex rhythms,
such as syncopated rhythms, where most of the accents fall off the beat. A
hemiole is a particular type of rhythmic scheme in which a metric is superimposed on
another. An example of this is the use of eighth-note triplets when playing in a
4/4 time signature.

A long sustained note can also generate intensity in most of the

instruments, although pianists may need to use trills or broken octaves
("rolling octaves") to achieve this type of sustain. A single note or short phrase.
repeated countless times can produce a similar kind of intensity. You
You need to use your own judgment to decide how much is enough.

Sentence Construction

The relationships between chords and scales should not be seen as limiting or
determinants of your choice of notes. They are simply an aid, a way
to help you connect ideas you may have strummed on your instrument. Your
ideas should not, however, be dictated by the scales. Note that very few
jazz singers use scales extensively; they are often able to translate a
idea for their voices more directly. For this reason, the instrumentalists must
practice improvisation by singing, in addition to practicing your instruments. It doesn't matter what
As much as your voice may be untrained, it is more natural to you than your
instrument, so you can conclude that you are able to develop ideas
better singing them rather than playing them. The singers are also generally
limited in their ability to sing complex harmonic ideas, however, because
they do not have well-practiced fingerings to return to. The theory of scales can
be a true source of ideas; just make sure that it is not your only source.
Try playing scalar melodic lines that are based mainly on degrees.
sets, angular lines that are primarily based on jumps, as well as
lines that combine the two approaches. In addition to being concerned with the choice of the
notes, try to vary the rhythmic content of your ideas. beginner improvisers
they usually touch almost all of their sentences unconsciously with just a few
few rhythmic bases. Try to play lines that are mainly based on
minimal and semi-minimal, lines that are primarily based on eighth notes and
tercets, as well as lines that combine the two approaches.

Improvising about the

Harmonic Progression
Once you have some idea of the association between the chord figures and the
scales, and how to develop a melodic line, you can start to improvise over
harmonic progressions. In stage situations, the rhythm section will be outlining the
harmonic progressions over time, while you play improvised melodic lines
based on the scales that are associated with them. Usually, there will be a chord change to
each measure, and you need to keep switching scales to keep up. However,
you should not think of one chord at a time. You should keep trying to build lines.
that take from one chord to the next.

The third and the seventh of each chord are the notes that most define the sound of the chord. If
emphasizing these notes in your improvisation will help ensure that your lines
melodies will imply the harmonic progression accurately. On the other hand, if you
emphasizing the other tones of the scale can add harmonic richness to the sounds.
You are also free to use notes that are not even in the scale. Musicians of
bebop generally uses a technique called "enclosure," in which a target note is
preceded by notes a half tone below and above, something like a successive appoggiatura. This
it is related to the idea of a sensitive note, except that, in the enclosure, the chromaticism is
used to emphasize or delay a specific note, instead of to connect two
other notes. Other tones outside the scale can be used when you think
interesting.

Although there are many harmonic progressions, there are a few fundamental pieces that
they represent many of the progressions that you will see. If you familiarize yourself with these
basic changes, you will be on the right track to be able to touch on any
set of progressions that may appear in your path. Musicians should practice
the harmonic progressions described below in all twelve keys to achieve the greatest
possible fluency. You can try some specific phrasing in these progressions,
but the most important thing is that you should simply explore many different ideas
about each progression so that it becomes comfortable to truly improvise
about them, instead of simply playing ready-made phrases with which one feels
comfortable in that tone. You should try different approaches and learn
how to fit your choice of notes for a given type of chord in a specific one
situation for the sound you are trying to achieve.

In addition to reading about these concepts, you should specifically seek to listen to these
techniques being applied by other musicians. The most popular jazz musicians of
the 50s are a good starting point. Names like Miles Davis, Clifford Brown,
Sonny Rollins, John Coltrane, Cannonball Adderly, Art Pepper, Red Garland, Hank
Jones, Herb Ellis, Joe Pass, Paul Chambers, and Ray Brown. Any album from that era.
with one or more of these musicians is recommended to learn about
improvisation on chord progressions.

ii-V

The most important chord progression in jazz is the ii-V, which may or may not resolve to
I. Most songs have ii-V progressions in various keys scattered throughout.
for example, let's take the following chord progression:

| Cmaj7 | Dm7 G7 | Em7 | A7 | Dm7 | G7 | Cmaj7 |.

There are three ii-V progressions here. Measure 2 forms a ii-V in the key of C, although it does not.
there is the C chord (I) in measure 3. Measures 3 to 5 form a ii-V-I in
In the key of B minor, bars 5 to 7 form a ii-V-I in C again. There are many
files that can be used when discussing ii-V progressions. Some of them
are described below.

Major key

In a major key, the ii-V-I progression consists of a minor seventh chord, a

dominant seventh chord, and a major seventh chord. The first choices of
the scales you learned for these chords are the dorian, the mixolydian, and the major. In
In the key of D, the chords are Dm7 - G7 - Cmaj7, and the associated scales will then be D
Dorian, G Mixolydian, and C Major. As you may have noticed, these are all modes of the
same scale C Major. That's why when you see a ii-V progression in a key
major, you can play the major scale of chord I throughout the progression. This leaves a bit
it's easier to build lines that lead from one chord to the next, or transcend them
individual chords. This type of progression, in which the scales associated with each one
two chords are all modes of one of them, it is called diatonic progression. Although
it is easy to play on diatonic progressions, they can quickly become tedious, already
that you are playing the same seven notes for a long period of time. You
you can add some variety using one of the other scales associated with
each chord, such as D Minor, G Bebop Dominant, and C Lydian.

The most common way to increase interest in a ii-V progression is to change the chord
from dominant (V). Usually, the change will already be specified for you, but
even when you are not, you generally have the freedom to make changes to
dominant chords. It helps if the soloist and the accompanists are playing the
the same changes, but this is not always practical when improvising, unless
your companion has incredible ears and can notice the changes you are making
doing, and anyway this is not actually that important.

In the key of C, you can replace the G7 chord with a G7#11, a G7alt, a G7b9b5,
or a G7+ chord, which still fulfills the dominant function in C, but starts to
implies different scales. For example, if you choose G7#11, the progression then
Vira Dorian, G Lydian Dominant, C Major.
Another possible alteration to the dominant is called substitution by the tritone. This
it means to substitute the dominant chord for a dominant seventh chord of a
tritone distance. In the key of C, this means substituting G7 for Db7. It can
It may seem strange, but there are some very good reasons why this works. Tuesday and
the seventh of a chord is the two most important notes in defining the sound and
of the function of a chord. If you look at a Db7 chord, you will see that it contains D flat,
F, B-flat, and B, which are respectively b5, 7, b9, and the 3 of a G7 chord. The third and
the seventh of the G7 chord (B and F) becomes the seventh and the third of the Db7 chord. Thus, the
Db7 is very similar to a G7b9b5 chord in sound and function. In addition, the
the melodic resolution from D flat to C in the bass is very strong, functioning almost
as a tone of passage.

Once you have made the chord substitution, you can then play any scale.
associated with the Db7 chord, resulting for example in a D Dorian progression,
B flat Mixolydian, C Major. Using a different scale other than Mixolydian will generate
some surprising things. Try a D flat Lydian Dominant scale, that
it involves a Db7#11 chord for the substitute dominant. Does it sound familiar? It's what
must, because the scales D-flat Lydian Dominant and G Altered are both modes of the
same scale A flat minor melodic. When you play lines based on D
Diminished Lydian Dominant is playing lines that are also compatible with G.
Altered. On the other hand, Altered B flat and Dominant G Lydian are both modes.
from the same scale B minor melodic, and can be used interchangeably. Furthermore,
the tiny semitone-tone scales of D flat and G are identical, likewise
the respective scales of whole tones. These are other reasons why the
substitution by the tritone works so well.

Minor Key

ii-V progressions in a minor key usually do not suffer from the problem of sounding
very diatonic. Since the harmonic minor is usually used to generate
chord progressions in the minor key, a ii-V progression in A minor can
consist of | Bm7b5 E7 | Am-maj7 |. If we try to build a ninth chord from
In E7, we will see that the natural F in the key of A minor harmonic generates an E7b9 chord.
With little special alteration, this progression can imply a B Locrian, E
diminished ST, and A Minor Melodic. These scales are rich enough not to need
of additional changes.

Meanwhile, most of the same techniques used in the major key can be used.
in a minor key as well. We can use the melodic or minor scales
harmonic from the chord i, or the bebop major scale from its relative major,
about the entire progression. We can use a different variation of the chord E7, such as
E7alt or E7+, or even E7sus; we can make a substitution with the tritone that goes
generate a Bb7; and so on. We can also substitute the ii chords with
example, using the locrian scale with a major second, or replace Bm7b5 with a
Bm7 normal chord, where the F sharp comes from the Melodic A Minor scale instead of the
A minor harmonic. If we were to build a ninth chord, the natural C in the key of A.
The Melodic Minor would generate a Bm7b9 chord, which implies a B Phrygian scale. We can
even replacing the Bm chord (ii) with a B7 chord (II), especially a B7alt chord, which
contains the D note of the Bm chord. We can also change the i chord, replacing it with a
simple Am7 chord, and use any of the various possible scales associated with it
chord, such as A minor, A Phrygian, A minor pentatonic, and so on.

Blues

The term 'blues' is somewhat overloaded, describing both a general style of

music is a more specific category of harmonic progressions, as well as its
a colloquial sense of a feeling of sadness or melancholy, as in the phrase 'I've got'
the blues" (I am sad). The blues as a style has a rich history that goes beyond
scope of this introduction. The basic form of 12-bar blues was mentioned
previously. In its original form, still often played in rock and R&B music,
only three chords are used: the I chord, the IV chord, and the V chord. The progression
the basic of blues is the following:

I I I I what, || F | F | F | F |
4 4 1 1 no key of F | Bb | Bb | F | F |
| V | IV | I | I || generate | C | Bb | F | F ||.

The chords are generally played all as dominant seventh chords, although
they are not actually functioning as dominant chords, since they do not
resolve in one tonic. The blues scale in F can be played over all of this
progression. Although the blues progression can be played in any key, the keys
the most popular among jazz musicians seem to be F, B flat, and E flat, while
rock musicians usually prefer E, A, D, or G. This has a lot to do with the
the way the instruments are tuned. The most used instruments in jazz,
like the trumpet and the various members of the saxophone family, are usually tuned
in D flat or E flat, which means that a 'C' on the staff, when played
in these instruments, it actually sounds like a B flat or an E flat,
respectively. The music written for these instruments is therefore transposed. The
the finger positions on these instruments favor playing in C, which is actually B
B flat or E flat, depending on the instrument. Guitars tend to dominate the
rock music, and the guitars are tuned to favor the tones that contain sharps.

Playing the blues scale over the basic three-chord blues progression in a context
jazz ages very quickly. Starting from the Swing Era, and more notably in
In the Bebop era, musicians began to add elements to this simple formula.
A common adaptation of the blues progression, which is still considered the standard for
jazz improvisation sessions ("jazz jam sessions"), is as follows:

|| F7 | Bb7 | F7 F7 |
| Bb7 | Bb7 | F7
| Gm7 | C7 F7 | C7 |.

This progression offers a greater range of scale possibilities than the

basic three chord blues progression. For example, measures 8 and 9 form
a V-i in G minor, and measures 9 to 11 form a ii-V-I in F.

The idea of adding the ii-V to the blues progression results in more variations. Let's take
for example the following:

|| F7 Bb7 F7 Cm7 F7 |
 Bb7 B diminished F7 Am7b5 D7alt
Gm7 C7alt | F7 D7alt | Gm7 C7alt |.

This particular progression is especially common in bebop and styles

later. Note the substitution of a ii-V-I in B flat in measures 4 to 5, a
ii-V-i in G Minor in measures 8 to 9, and a V-i in G Minor in measure 11
12. Also observe the diminished chord in measure 6. This diminished chord is
serving as a substitute for the dominant seventh chord, since both the Bdim
how much Bb7b9 shares the same scale B flat Diminished Semitone-Tone (B
Tom-Semitom). This same substitution can be made in the second half of
compass 2.

Other variations can be made using substitutions by the tritone. For example, Ab7
can be played instead of D7alt in the second half of measure 8. You can
also change the quality of the chords, replacing for example this Ab7 with a
Abm7. Another common substitution is an A7alt in place of F7 in measure 11. This
substitution works because the chords share several notes, among them the tonic,
F#, and because A7alt is part of a II-V-i progression in G minor with D7alt and
the Gm7 that follows.

Charlie Parker took these types of substitutions to an extreme in 'Blues For Alice'.
the harmonic progression of this song is as follows:

|| Fmaj7 | Em7b5 A7b9 | Dm7 G7 Cm7 F7 |

Bb7 | Bbm7 Eb7 | Am7 D7 Abm7 Db7
Gm7 C7 Fmaj7 D7alt | Gm7 C7 |.

This progression uses most of the techniques described above. It might be a good idea for you to
dedicate to playing with this progression for a while.

Progression I Got Rhythm

The song 'I Got Rhythm' by George Gershwin is the source of one of the progressions
most popular harmonics of the bebop era, second only to the progression of
blues. This form is simply called progression by jazz musicians.
Rhythm (in English, 'Rhythm changes'). As with the blues progression, there are
many possible variations on the Rhythm progression. Most of the songs based
in the Rhythm progression is played in the key of B flat, and at very fast tempos,
usually well above 200 beats per minute. These songs have a form
AABA of 32 bars based on the following chord progression:

A || Bbmaj7 G7 | Cm7 F7 | Bbmaj7 G7 | Cm7 F7 |

Fm7 Bb7 | Ebmaj7 Ab7 | Dm7 G7 | Cm7 F7 ||

A || Bbmaj7 G7 | Cm7 F7 | Bbmaj7 G7 | Cm7 F7 |

Fm7 Bb7 | Ebmaj7 Ab7 | Cm7 F7 ||

B || Am7 D7 Dm7 G7 |
Gm7 C7 Cm7 F7 ||

A || Bbmaj7 G7 | Cm7 F7 | Bbmaj7 G7 | Cm7 F7 |

Fm7 Bb7 | Ebmaj7 Ab7 | Cm7 F7 ||
This progression contains many ii-V progressions. Any of the common alterations
described in the passage about progressions ii-V above can be used when one is
playing on a Rhythm progression. Many songs contain slight variations of it.
basic progression, especially in the last four measures of sections A. Some
the common alterations are to replace the second chord G7 with a diminished chord
Bdim, or substitute the fifth chord Bbmaj7 with Dm7. The first substitution has already been made.
described when we talk about the diminished scale. The second replaces a I chord with a
chord iii, which has three of the four notes in common, and whose respective scales differ
only in one note. Furthermore, the Dm7 and G7 that follow form a ii-V in
D minor, which is why this is a particularly strong harmonic substitution.

The important characteristics of the Rhythm progression are the repeated sequences I-VI-
ii-V (or substitutes) in the first four measures of section A, and the movements
basics of tonality in fifths in the bridge, leading back to the original tonic of the
last section A. If you want to become an improvising musician, you need to become fluent in
basic rhythm progression, especially in the key of B flat, and get familiar with the
specific variations associated with specific songs. This is also a good
opportunity to test what you learned about the ii-V, and to practice playing in
quick progress.

Coltrane Progression

John Coltrane, through original compositions such as "Giant Steps" and "Countdown",
of the album Giant Steps, and arrangements of standards like 'But Not For Me' on the album My
Favorite Things became known for using a particularly complex progression.
which is generally called Coltrane progressions, although he was not the
first or only musician to make use of them.

The basic characteristic of Coltrane's progression is the movement of tonality by thirds.

greater. The progression of 'Giant Steps' is as follows:

|| Bmaj7 D7 | Gmaj7 Bb7 | Ebmaj7 Am7 D7 |

| Gmaj7 Bb7 | Ebmaj7 F#7 | Bmaj7 Fm7 Bb7
Ebmaj7 Am7 D7 | Gmaj7 C#m7 F#7
Bmaj7 Fm7 Bb7 | Ebmaj7 C#m7 F#7

The first tonal center here is B, then G, followed by E flat, and it continues to
move in a cycle through these three tones, which are a major third apart.

Coltrane was able to develop this idea in several ways. For example, he used it
as a substitute for a normal ii-V progression. The progression of 'Countdown' is
based largely on the progression of the composition by Miles Davis called 'Tune-up'. This
the music starts with the following four-bar progression:

Em7 A7 Dmaj7 | Dmaj7 |

it's a clichéd ii-V-I progression in D Major. The first four bars of

"Countdown" is:

| Em7 F7 | Bbmaj7 Db7 | Gbmaj7 A7 | Dmaj7 |.

Coltrane starts with the same ii chord, and then modulates to the seventh chord of
dominant a half step above. From there, it starts the cycle of major thirds,
from D flat to G flat and finally returning to D. The four measures
The following of the song are harmonically identical, except that they are based on a ii-V.
in D; the next four bars are the same in B Flat.

Soloing over a Coltrane progression can be a challenge, as the apparent tonal center
It changes so much. You can't just play a single diatonic scale over several.
compasses. The songs are usually played at fast tempos, and it is also
It's easy to fall into the trap of not playing anything other than arpeggios that outline the chords.
You need to try to stay very attentive and remember to play melodically when
was soloing over a progression as complex as the Coltrane progression.

Modal Improvisation
A typical modal song can have only two or three chords, and each of them can
last for 8 or even 16 measures. In a sense, playing modal music is much more
easier than improvising over harmonic progressions, since it doesn't require your brain
make so many quick calculations to constantly change scales. In another sense,
meanwhile, it imposes more challenges, since you can't just throw some over there
phrases of ii-V that practiced, not counting on the intelligent use of scales and
chord substitution to cover basic melodic thinking problems
during the improvisation.

Some songs are often considered modal, even though they follow
traditional chord progressions like those of the blues. The concept of modality has
both in relation to what is done with harmony and with its rhythm of change. In the
styles derived from bebop, a soloist can capture the attention of listeners through their
choice of notes about harmony, including dissonances, tensions, and releases. By
For example, bebop musicians really liked to end phrases with the augmented fourth.
about a dominant seventh chord, just for the effect that note had. When
on its own about modal music, there is less emphasis on harmonic choices, and more on
melodic development. The ballad "Blue In Green" from the album Kind Of Blue by Miles
Davis has as much harmonic movement as many other songs, and its chords
they are relatively complex chords, such as Bbmaj7#11 or A7alt. And in the meantime, the
solos in this genre do not explore harmony; instead, they focus on
melodic interest of individual phrases. bebop improvisers can emphasize
the extensions of the chords in their solos, while modal improvisers tend to
emphasize the basic notes of the chords. Bebop musicians are generally more
inclined to fill all the gaps with notes to completely define the
harmony, while modal musicians are more likely to use rhythmic space
as a melodic structuring element. Both approaches are valid, but it is
important to understand the differences between them.

The song 'So What' by Miles Davis, on the album Kind Of Blue, is the classic example of
a modal song. It follows a basic AABA structure, where section A consists of
in Dorian mode, and section B consists of E Flat Dorian mode. This results in 16
consecutive measures of Dorian D at the beginning of each chorus, 24 if counted the
last 8 bars of the previous chorus. You can quickly start to run out of
ideas if you limit yourself to only the seven notes of the Dorian scale, but this is the
challenge. You cannot rely on the generally well-accepted sound of a F.
Sustained over a C7 chord; you need to play melodically with the notes that you have.
are given.

You are not, however, completely limited to the notes of the scale. In the same way
What happens with the ii-V progressions, there are some tricks you can use in a
modal context to add tension. One of the most popular of these schemes is
called 'sideslipping'. Over a Dorian scale, try to play lines based on the
D-flat or E-flat scales for one or two measures. This dissonance creates a
tension, which you can release when returning to the original scale. You can also use
chromatic passing notes. For example, on a D Dorian scale, you can
try to play 'G, G Sharp, A', where G Sharp is a passing note.

You can also vary the scale used. For example, instead of the Dorian Scale, try a
D Minor Natural, or a D Minor Pentatonic, in a few measures. You
you can alternate a tonic chord with a dominant seventh chord in it
tonality. For example, the chord associated with D Dorian is Dm7. If you treat it
Like a I chord, the V7 chord becomes A7. So you can use lines of
any of the scales associated with A7, A7b9b5, A7alt, or other seventh chords
from the dominant of Lá, during moments of its improvisation. This will create a type of
tension that you can resolve by returning to the original scale of Dorian D.

Most of the time, however, you should try to adhere to modal philosophy when
if you are playing modal songs, and focus on being as melodic as possible
with the chord and the basic chord notes. Pentatonic scales are a choice
especially suitable for playing modal music, as they narrow your choice
for only five instead of seven notes, they force you even more to think about using
space and play melodically. A similar sound is obtained when playing lines
mounted from the fourth interval. This is called quartal harmony. It is
particularly effective in modal songs with few chord changes, although
this type of line can also be used in other situations.

Chromatism
The bebop styles were previously characterized as exploring harmonies.
by the choice of scales with many tonal colors, while the modal style was
characterized by emphasizing the basic notes of the chords. These two approaches
they still use, to a certain extent, chord/scale relationships in the traditional way of choosing
a scale that implies the sound of the chord, and playing mainly within that scale.
Another approach is to maintain the notion of chord progressions, but play lines that
are largely outside the associated scales. This is sometimes referred to as
chromaticism. Eric Dolphy used this approach while playing with Charles Mingus and
in some of his own albums, such as Live At The Five Spot and Last Date. Woody
Shaw and Steve Coleman are also chromatic musicians.

By now, you have probably played a few notes outside the scale, let's say a
B flat against a Cmaj7 chord, possibly by accident. These notes can sound
mistakes when played in the context of a melody that otherwise moves along
from the scale. When playing a melody derived from a scale, you establish a
specific sound, and a wrong note will sound strange. However, when you play a
melody that stays mostly outside the scale, the same notes can fit
much more logically. This means that notes outside the scale used
melodically can often sound consonant (the opposite of dissonant).

The aforementioned musicians usually play very angular melodic lines, that is,
with large or unusual intervals, and change direction frequently, instead of
playing basically limited to smaller intervals within a scale. This
it usually seems to establish a sound in which wrong notes sound perfectly
natural. It is interesting to note that the opposite approach works as well: lines that
they contain many half-tones that generally sound correct, despite consisting of many notes
false. These lines are sometimes called chromatic.

You can continue to use your knowledge of chord/scale relationships when you are
playing chromatically. For example, you know that a D flat Lydian scale is not
normally an appropriate choice to play over a Cmaj7 chord, and you
probably has an idea of why. These same incorrect notes, however, if
used melodically over the chord, create a sound that is not so dissonant
thus they have a harmonic richness that sounds very modern. In fact, even melodic ideas
Simple things, like arpeggios and scales, can sound complex in this context.

You can practice these ideas with Jamey Aebersold albums, or with the Band-In-A-
Box, or with your fellow musicians, although you should be prepared for some looks.
strange. It has been said that there are no wrong notes, only wrong resolutions. This
certainly explains why passing notes sound consonant, but I
I feel that this sentence still gives too much value to playing the suggested notes by the
traditional relationships of chord/scale. I would put this another way; the only notes
Mistakes are the notes you didn't intend to play. Any note that you
It can be correct if it is in a context that makes sense and doesn't sound like a
accident. Even making mistakes has its value. The secret is to form a coherent whole.

Atonal Improvisation
The terms pan-tonal, non-tonal, and atonal all describe the obscuring or the
elimination of the traditional tone. The distinction between these terms is not always clear,
that's why I will use "atonal" to describe the music that does not have a tonal center.
specific, or on which the chord/scale relationships do not always apply.

Although atonal music may seem to have chord progressions, the chords
individuals are usually chosen for their overall sound, in
instead of for your resolutions. Any chord of any key has a chance of being
used if it has the right sound. For example, many of the songs in the albums E.S.P.,
Nefertiti, Miles Smiles, and Sorcerer by Miles Davis do not have specific tonal centers.
they do not contain many traditional ii-Vs that would indicate temporary tonal centers. Many
two chords are relatively complex, for example the Abmaj7#5, and each chord is
chosen for its individual sound, not because the previous chord resolves to it
naturally or because he resolves it in the next chord. A functional analysis
traditional harmony (that is, the analysis of chords in terms of their relationships with
the tonality), is not always the best way to approach this type of music.

Perhaps it's a good idea to approach this song modally, and let the chords themselves
of the choice of scales. But you must be careful when doing this. Many of the relationships
Traditional chords/scales were created with traditional resolutions in mind. A
The phrase may sound random and disconnected if you blindly change the scales accordingly.
with harmonic progression in atonal music. You must be prepared to deal with the
relations chord/scale more relaxedly than you would if you were simply
improvising over a chord progression.

In tonal music, the alterations of a chord are generally considered merely

color notes that do not affect the basic function of a chord, and improvisers are
books to make your own changes to the basic chord. For example, a chord
G7b9 tends to be a dominant seventh chord that resolves to Cmaj7.
Any other chord that serves this function, like the G7#11, or even a
substitution by the tritone like a Db7 can be used in place without changing
radically how the phrase is perceived, which is why tonal improvisers often
they make this type of change at will, either explicitly or implicitly by their
choice of scales. In atonal music, however, a chord is generally required.
specifically because of its unique soundness, and not because of its function
in a progression. The same G7b9 chord may have been chosen because of the
specific dissonance of the Sun against A flat, or why it happened for him to be the
the most convenient way to cipher the chord opening that the composer wanted (a
opening is simply a way to determine the specific notes to be
(played in a given chord). Changing this chord to G7#11 can change the sound of the chord.
but more radically than substituting it with a chord that otherwise is not
related, but having the same dissonance G/A-flat, like an Abmaj7, or
one that can have a similar opening, like the E7#9. You can see that the choices of
scales associated with these chords are more appropriate substitutions than those
based on the traditional function of the dominant chord of G7b9.

The true intention of atonal music, however, is to free you from the minutiae of
chord/scale relationships and allow you to focus on the sounds themselves. The lines
what you play do not need to be analyzed in terms of their relationship with the chords
written, but can instead be thought of in terms of how they fit
in the sound of the phrase at that point. If the chord in a certain measure is a
maj7#5 chord, it is necessary then to hear the sound of this chord, and to feel comfortable to
play any line that implies this sound. This is an implication both
emotional as well as rational. For me, this particular chord has a sound
open, questioning, which I associate with open spaces and the use of space
rhythmic. I would probably tend to play melodic lines that reflected this
sensation, regardless of the specific notes involved. Furthermore, the sound quality
this chord can also be affected by its context in the piece itself. For example, a
chord played for two measures in a ballad can sound completely different from the
same chord used as an accent in a fast-paced piece. Relationships
chord/scale can still help define which notes tend to be more or
less dissonant against a certain chord, but you should try to organize your
thought around lines of sounds, and use the chord/scale relationships only as
tools to help you achieve the desired sounds.
Even in tonal music, of course, the chord/scale relationships can be considered.
as tools, and someone might say that the goal is always to represent sounds.
Meanwhile, you can see that songs with many ii-Vs in them tend to "sound" the same.
thing in this aspect. Atonal music was created to provide a more varied palette.
of sounds, to encourage the act of thinking along these lines. Just as
happens with chromaticism and tonal music, it is possible to deliberately play lines that
they contradict the sound of a chord, if that is the desired effect. The important thing is
that you perceive an atonal chord progression as a recipe for soundscapes
about which you improvise, and not as a specific scheme of resolutions of
chords.

Free Improvisation
The next level of freedom in improvisation is to eliminate chords completely.
Depending on how far you are willing to go, you can also waive the
melody, rhythm, timbre or traditional form. There are many different approaches to
play freely, but by their very nature, there are no rules. Instead of details
technicians, largely what we will use are examples from other musicians.

Many of Ornette Coleman's compositions have no chords. Most of the

recordings by quartetofreebopdele with Don Cherry for the Atlantic label fall into this
category. The theme (head) consists of a melody only, and the solos are variations.
about the melody or about the perception of music in general, and not about any
chord progression. For the most part, these recordings still show a
very melodic approach and are accessible to many listeners. A bass line and
a 4/4 marking with swing on the drums is a constant throughout the music, and the
the form is the standard form of theme-solo-theme.

The album Free Jazz by Ornette Coleman features a double quartet that includes
Eric Dolphy and Freddie Hubbard are decidedly different. Here Ornette is not.
not only putting aside traditional concepts of harmony, but also of
melody. There is no defined theme for the single track that comprises this album, and the
improvisations are less melodic than in the albums with the quartet. The double quartet
also experiments with form in this album, usually having several
improvisers playing at the same time. This idea is as old as jazz itself,
but it was practically forgotten with the advent of the Swing Era. The idea of the musicians of
free improvisation of a collective improvisation is much less structured than the
two Dixieland musicians, and the results are more cacophonous.

John Coltrane made similar ventures at the end of his career, in albums such as
Ascension. Coltrane also experimented with rhythm, especially in albums
like Interstellar Space, which does not have any defined pulsation. Both Coleman
as much Coltrane, as well as musicians influenced by him, such as Archie Shepp and
Albert Ayler also experimented with timbre, discovering new ways to
extract sounds from their instruments, even to the point of playing instruments in which
they had little or no training, like Ornette did with the trumpet and the violin.

Cecil Taylor plays the piano in a completely free way, using it both with
or a percussion instrument, as much as a melodic or harmonic instrument. Its
presentations usually do not contain any traditional structuring element of
harmony, melody or rhythm. He creates his own structures. When you play music
free in a solo presentation, you have complete freedom to change the directions of the
music anytime, and you respond only to yourself. You can change
the tempo, you can play without tempo, you can vary the intensity of your performance
in the way you think is best. When you play music without an established form in a
group configuration, communication becomes especially important, because not
there is an automatic reference frame to keep everyone together. Cecil Taylor
also plays in a group, and other groups like the Art Ensemble Of Chicago are
known for this type of freedom.

It is difficult to analyze these music styles in the terms that we are used to using.
music needs to reach us on an emotional level to fulfill its mission, and the
the emotions of each person can be affected differently. It generally seems to be the
the more free the music, the more intensely personal the message. You
you need to decide for yourself how far you are willing to go in your own practice
musical, as well as in your own practice as a listener. You must also be
aware that, for many people, this type of music is generally more fun to play than
what to hear. The challenge of communication and the excitement of free exchange of ideas are things
that some listeners are not able to appreciate. This is a kind way of saying that
your experimentation may alienate part of your original audience. However, there are audiences
who appreciate this type of music. Do not feel discouraged to play so freely.
as much as you want.

Monitoring
The accompaniment, or comping, as jazz pianists usually say, is a
vital skill for rhythm section musicians, because they usually spend more
tempo accompanying rather than soloing. An understanding of accompaniment as well.
it is useful for other instrumentalists because it can improve musical communication between the
the soloist and who is playing the accompaniment. Pianists are in a unique position to
to do a good part of your own monitoring, which allows for an interaction
especially narrow. Some of the musical instruments used by the musicians of
monitoring can also be adapted to be used more directly in
solos by any instrumentalist.

Harmonic Instruments
The main concerns for musicians of harmonic/polyphonic instruments, or
instruments that can easily play more than one note at a time, such as the piano,
organ, guitar, and the various instruments of the xylophone family, are chord openings
(ouvoicing), reharmonization, and rhythmic accompaniment.

Chord Openings

In jazz, when the musician asks for a Cmaj7 chord, it almost never means that a
The pianist should play 'C E G B'. Usually, the pianist chooses some other
way to play this chord, even if it is simply an inversion of the position
fundamental of the chord. Entire books have been written on the subject of opening
chords ("voicing" in English). The discussion here only scratches the surface of
possibilities. I vaguely categorized the openings described here as openings 3/7,
openings in quarters (or quartets), polycords, closed position openings and openings
drop, and other openings based on scales.

Reharmonization

A musician in the accompaniment can occasionally reharmonize a progression of

chords to sustain interest, introduce contrast, or create tension. This involves
replace some of the written or expected chords with other chords. A
Substitution, such as substitution by the tritone, is a type of reharmonization.

Some musicians spend a lot of time trying different reharmonizations while working.
in a song. However, unless they tell the soloist beforehand what they are going to do,
many of the reharmonizations they can offer are not practical for use in a
accompaniment, since the soloist will be playing from a different set of
chord changes. There are some simple reharmonizations that can be used without
disturb the soloist a lot. The substitution by the tritone is an example; every time that a
the dominant seventh chord is requested, the accompanying musician can substitute it
the dominant seventh chord to a tritone away. This creates exactly the
the same kind of tension that is created when the soloist makes this substitution themselves.
Another simple re-harmonization is to change the quality of the chord. That is, to play a
D7 instead of a Dm, and so on.

Another common reharmonization is to replace a dominant chord with a progression

ii-V. This has already been demonstrated when we discussed the blues progression; one of
progressions replaced the F7 chord in measure 4 with a Cm7 - F7. This is
especially common at the end of a sentence, leading to the stress at the beginning of the next
phrase. Most of the scale options that the soloists might be using on a
The F7 chord will also work over the Cm7 chord, that's why this reharmonization.
it usually doesn't create much tension. This technique can be combined with replacement
the tritone to create a more complex reharmonization. Instead of substituting the V with
In a ii-V, first substitute the V chord with the tritone chord, and then substitute that chord.
for a ii-V. For example, in measure 4 of the blues in F, first replace the F7 with
B7, and then swap this for F#m7 - B7.

Another type of reharmonization involves the use of alternation. Instead of playing several
the measures of a given chord, the musician in the accompaniment can alternate between it and
the chord a half step above or below, or a dominant chord a fifth below.
For example, in a G7 chord, you can alternate between G7 and Ab7, or between G7 and F#7, or
between G7 and D7. This is especially common in styles based on rock, in which the
alternation is executed rhythmically. If the alternation is executed regularly, as
for example, throughout an entire chorus, or even the whole song, the soloist
it needs to be able to capture this and control the amount of tension produced, by touching
along with the reharmonization or playing against it. That is, the soloist can reduce the
tension changing scales as you change chords, or increasing the tension
keeping the original scale.
Rhythmic Accompaniment

Once you have decided which notes you want to play, you need to decide when to play them.
You can't just play whole notes or half notes; their accompaniment
it needs to be rhythmically interesting in general, but without distracting the soloist or the
listener.

There are few instructions that can be given for playing accompaniment with rhythm.
As there is very little theory to rely on, the first piece of advice that I
I can give and listen to other accompaniment musicians. Very often,
we tend to ignore everyone except the soloist. Remember to choose albums that have
musicians who, in addition to providing accompaniment, perform instrumental solos. Among the
pianists to be listened to should be Bud Powell, Thelonious Monk, Horace Silver,
Bill Evans, Wynton Kelly, Herbie Hancock, and McCoy Tyner. The pianists must
also listen to guitarists and vibraphone or xylophone musicians; usually the limits
These instruments can lead to ideas that you would not have otherwise.

Guitarists should listen to pianists, but also jazz guitarists like Herb Ellis,
Joe Pass and Wes Montgomery. Generally, guitarists work alongside the
pianists, and their style when there is a pianist in the group can vary in relation to
how they play when they are the only harmonic instrument in the accompaniment. By
For example, some guitarists play only short chords on each beat if there are any.
a pianist playing most of the rhythmic material. Others are left out (stop)
completely. For this reason, it is especially important to listen to guitarists
in different types of context.

You should also listen to recordings that have no harmonic accompaniment.

like any of the various albums by Gerry Mulligan, Chet Baker, or even from
Ornette Coleman's quartet. Try to play along with them. This will often be difficult,
since the song was recorded with the understanding that there would be no accompaniment
harmonic, that's why the soloists and others who are providing the accompaniment
they usually leave little space for a piano or guitar. Practice the accompaniment
in this type of situation can help you avoid overdoing the follow-up.
the majority of beginner accompanying musicians, like many beginner soloists,
tends to play excessive notes. In the same way that space can be a tool
efficient during a solo, it can be even more efficient when accompanied.
Let the soloist play with only the bassist and the drummer for a little while.
compasses, or more, from time to time. Staying out and leaving the soloist without
Harmonic instrument accompaniment is sometimes called strolling.
McCoy Tyner, Herbie Hancock, and Thelonious Monk often were left out.
during whole solos.

Imagine yourself playing a secondary role in the arrangement of a large band.

sometimes it helps. When you are comfortable with a specific chord progression, and
no longer have to focus exclusively on playing the "right" notes, you
you may dedicate yourself to the rhythmic and even melodic content of your accompaniment. Listen to the
accompaniments of horns in some recordings of jazz orchestras, such as those of
Count Basie, to see how the accompaniment can be melodic.
Certain styles of music require specific rhythmic patterns. For example, many
Forms of music before the Bebop Era used the standard left hand pattern, which
it consists of alternating the bass note on 1 and 3 with a chord opening on 2 and 4.
Many rock-based styles also rely on rhythmic patterns, usually
specific to an individual song. Although Brazilian styles like bossa nova
and the samba, in the way it is played by most jazz musicians, does not have
well-defined tracking standards, other styles of Latin jazz, especially
the Afro-Cuban forms that are sometimes collectively known as salsa, use
a repeated two-bar motive, called montuno. A typical rhythmic pattern is
"e-do-1, e-do-2, e-do-3, e-do-4; 1, 2, e-do-2, e-do-3, e-do-4". These two measures
They can be inverted if the battery pattern used (see below) is also inverted.
A comprehensive description of the role of the piano in Latin jazz and other styles is beyond the scope of
scope of this Introduction. A good discussion can be found in the book The Jazz
Piano Book, by Mark Levine.

The most important aspect of accompaniment in most styles is how it

communicate with the soloist. There are several forms that this communication can take. For
example, there is the question and answer, in which you essentially try to echo or
to respond to what the soloist played. This is especially efficient if the soloist is
playing short, simple phrases, with pauses between them. If the soloist is working
a repeated rhythmic motif usually allows you to anticipate the echo and actually play it.
together with the soloist. Sometimes you can also lead the soloist in directions that
Another way he might not have tried. For example, you can start a reason.
rhythmic repetition, which can encourage the soloist to echo you. Some soloists like
of this type of aggressive monitoring, others do not. You will have to practice with each.
soloist to see to what extent he can lead it.

Openings 3/7
It is almost a shame that the most common type of opening used by most of the
pianists since the 50s do not have a widely accepted name. I have seen this type of
opening (ouvoicing) to be called opening Category A and Category B, opening Bill
Evans, or simply the opening of the left hand. How they are based on the third and
In the seventh of the respective chord, I call them openings 3/7 ('three-seven').

The basis of these openings is that they contain both the third and the seventh of the chord.
usually with at least one or two other notes, and either the third or the seventh is in the
low. Since the third and the seventh are the most important notes that define the quality
from a chord, these rules almost always produce results that sound good. In addition
Thus, these openings can automatically generate good chord progressions, the
what it means is that when they are used in a chord progression, there is very little
movement between the openings. Often, the same notes can be sustained.
from one opening to another, or at most one note may need to move up a tone.

For example, consider a ii-V-I progression in C major. The chords are Dm7, G7 and
Cmaj7. The simplest way to form a 3/7 opening over this progression would be
play the Dm7 as 'F, C', the G7 as 'F, B', and the Cmaj7 as 'E, B'. Note
that, in the first chord, the third is in the bass; in the second chord, the seventh is in
bass; and in the third chord, the third is in the bass. Also note that, when you
move from one opening to the next, only one note changes; the other notes remain the same.
constants. This is an important characteristic of the 3/7 openings: when they are
used in a ii-V-I progression, or any progression where the movement of the
The fundamental is given in fourths or fifths, you alternate between the third and the seventh in the bass.
An analogous set of openings is obtained when starting with the seventh in the bass:
"Dó, Fá", "Si, Fá", "Si, Mi".

Normally, we use more than just the third and the seventh. Generally, the notes
added are the sixth (or thirteenth) and the ninth. For example, the ii-V-I in C
Major can be played as 'F, C, E', 'F, B, E', 'E, B, D', or as 'F, A, '
Do, Mi, Fa, La, Si, Mi, Mi, La, Si, Re. The added notes are all sixths or
no notes, except for the fifth in the first chord of the second example. When you play these
four-note chord openings on the guitar, any note added will generally be
added above the Tuesday and the seventh, otherwise its opening may end up containing
various small intervals, which is usually only possible to play with difficult contortions
by hand. Thus, the ii-V-I in C Major can be played with openings of four notes in
guitar as 'F, C, E, A', 'F, B, E, A', 'E, B, D, A'.

Note that none of these openings contain the fundamental of their respective
chords. It is assumed that the bassist will play the fundamental at some point. In the
in the absence of a bassist, pianists usually play the fundamental with their hand
left in the first half, and then one of those openings in the second or third
time. In fact, it's usually possible not to even play the fundamental; in many
situations, the ear anticipates the progression of chords and creates the appropriate context for the
opening even without the fundamental. It is not prohibited to touch the fundamental in these
openings, but it is neither mandatory nor is it better to do so.

These basic openings can be modified in various ways. Sometimes, it is

preferably omit the third or the seventh. Generally, a minor or major chord that is
serving as a tonic will have an opening with the third, sixth and ninth, and these openings
can be interspersed with normal 3/7 openings. Openings with the fifth or some
another note on the bass can also be interspersed with true openings 3/7. This
it can be done for various reasons. One of them is that, when played on the piano, notice
that the openings described so far all tend to go down on the keyboard as the
fundamental is resolved in descending fifths. The normal range for these openings
it is in the two octaves from the C below Middle C of the piano to the C above it
Central Park. As the openings move downwards, they begin to sound.
very serious, when it is better to jump up. For example, if you
it ended on a Dm7 like "C, F, A, B" below the Middle C, and needs to resolve to a
G7 and then in Cmaj7, it might be preferable to play these two chords as 'D, F,
Sol, Si" and "Mi, Lá, Si, Ré" respectively, to take the openings up, and to
at the same time preserve a good chord progression. In addition, the
fundamentals do not always move in fifths; in a progression like Cmaj7
for A7, perhaps it is better to make the openings as 'G, B, C, E' instead of 'G, B, C'
Sharp, F Sharp" to maintain a good progression of chords.

One thing to note about these openings in the context of a diatonic ii-V-I is that,
how the chords imply modes of the same scale (Dorian D is the same as G)
Mixolydian, which is the same as C Major, a certain opening can sometimes be
ambiguous. For example, "F, B, C, E" can be both a Dm7 with the seventh omitted,
how much a G7. In the context of a modal song like 'So What', it clearly
define the sonority of Dm7 or D Dorian. In the context of a ii-V progression, it
It probably sounds more like a G7. You can take advantage of that ambiguity.
making an opening stretch over several chords. This technique is especially useful
when applied to the more general openings based on scale discussed later.

Another thing you can do with 3/7 chords is to alter them with fifths or ninths.
raised or lowered. For example, if the G7 chord is changed to a G7b9 chord,
so it can have an opening "F, B flat, B, E". In general, the notes in the opening
they must come from the implicit scale in the chord.

These openings are quite suitable on the piano to be played with the left hand,
while the right hand is strumming. They can also be played with both hands,
or with all the strings on the guitar, adding more notes. This generates a more sound
full when accompanying other soloists. One way to add notes is
choose a note from the scale that is not yet in the basic opening and play it in octaves
above the basic opening. For example, on the piano, for Dm7 with 'F, A, C, E' in
left hand, you can play "D, D" or "G, G" on the right. In general, it is a good
The idea is to avoid doubling notes in an opening, since a fuller sound is usually achieved.
when you play the largest possible number of different notes, but the octave of the right hand
That's good in this context. The note is a fourth or fifth above the low of the octave as well.
can generally be added. For example, with the same previous left hand,
you can play 'D, G, D' or 'G, D, G' with your right hand.

The 3/7 openings are perhaps the most important family of openings, and many variations.
are possible. You should try to practice many permutations of each one of them in
many different shades.

Quarterly Openings
A style of opening (voicing) popularized by McCoy Tyner is based on
fourth interval. This type of opening is used more often in music
modal. To build a quartal opening, simply take any note from the scale.
associated with the chord, and add the note that is a fourth above, and a fourth above
Use perfect fourths or augmented fourths, depending on which notes
If it is in the scale. For example, the quarterly openings of Cm7 are 'C, F, B flat',
"Ré, Sol, Dó", "Mi Bemol, Lá, Ré" (repare a quarta aumentada), "Fá, Si Bemol, Mi
B flat, G, C, F, A, D, G, and B flat, E flat, A. This type of
opening seems to work especially well with minor chords (dorian mode), or
dominant chords being used with a suspended sound or
pentatonic.

These openings are even more ambiguous, in which a certain quarterly opening of
Three notes can sound like an opening for an endless number of different chords. No
there is nothing wrong with that. However, if you want to reinforce the chord/scale pair
specific that is playing, one way to do it is to walk with the opening through the
scale in parallel motion. If there are eight measures of a given chord, you
you can play one of those openings in the first chords, then raise it a tone during
some measures. The technique of alternating the opening with the fundamental in the bass, or the
the fifth is fundamental, it works well here too. In a long Cm7 chord, for
for example, you can play "C, G" on the first beat, and then play some openings
fourth in parallel motion while the chord lasts.

In the same way as the openings 3/7, these openings are convenient for the hand.
left on the piano, or openings of three or four strings on the guitar. They can also
be transformed into openings for two hands or five or six strings, adding
but fourths, fifths, or octaves above them. For example, the chord Cm7 can have a
opening with 'D, G, C' in the left hand and 'F, B flat, E flat' in the right hand
right, or 'E Flat, A, D' on the left and 'G, C, G' on the right. The song 'So
The album Kind Of Blue uses openings that consist of three fourths and one third.
greater. In a Dm7 chord, the openings used were 'E, A, D, G, B' and 'D, G,
Do, Fa, La.

Polychords and
Upper Structure Openings
The polychord is a type of voicing whose basis is playing two different chords.
at the same time, like for example one in the left hand and one in the right hand
piano. The relationship between the two chords determines the quality of the resulting chord. These
openings are always for two hands on the piano, or openings of five or six notes in
acoustic guitar. They produce a very rich and complex sound, compared to the openings
presented so far.

The simplest style of a poly-chord type opening is to play two triads; for example,
a C Major triad in the left hand of the piano, and a D Major triad in the right hand.
This will be denoted as D/C. This notation has more than one meaning, since it
it is generally interpreted as wanting to say a triad of D over a note C in
below; it is not always clear when a polychord opening is desired. The
polychords are rarely explicitly requested in written music, which is why there is none
standard way of graphing them. Usually, you need to come up with your own
opportunities to play polyachord type openings.

If you take all the notes in this D/C opening and line them up, you'll see that this describes
or a C Lydian scale or a C Lydian Dominant scale. That's why this opening
can be used over any chord for which these scales are appropriate. If
if you try other triads over a C Major triad, you will discover various combinations
that sound good and describe well-known scales. However, many of these
combinations involve repeated notes, which can be avoided as described
below. Among the polychords that do not involve repeated notes is Gb/C, which produces
a diminished scale C Semitone-Whole, the Bb/C, which generates a C Mixolydian scale, the
Dm/C, which generates a C Major or C Mixolydian scale, to Ebm/C, which generates a scale
Diminished C, an F#m/C, which also produces a diminished C scale, and the Bm/C,
What generates a Dorian scale. These polychords can be used as openings for
any chords that fit within the respective scales.

You may have noticed that Db/C, Abm/C, Bbm/C, and B/C also do not involve
Repeated notes sound very interesting, although they do not obviously describe.
no standard scale. There are no rules about when these chord combinations
they can be played as openings. When your ear gets used to the nuances
the particular dissonances of each one, you may find situations where you can
use them. For example, the last polycord listed, B/C, sounds good when used as a
substitute for Cmaj7, particularly in the context of a ii-V-I progression, and
especially at the end of a song. You can solve it in a normal opening of
Cmaj7 if you want.

You can build poly chords with a minor triad underneath. Db/Cm produces a
Frigia scale; F/Cm generates a Dorian scale; Fm/Cm produces a C scale
Minor; A/Cm produces a diminished scale ST; Bb/Cm produces a Dorian scale C;
Bbm/Cm produces a Phrygian scale. Moreover, D/Cm generates an interesting scale.
with a blues sound.

I mentioned earlier the desire to avoid repeated notes. One way to arrange
polychords that avoid repeated notes is to substitute the triad in the bass with, or the third and the
seventh, or the fundamental and the seventh, or the fundamental and the third of a chord
dominant. Openings mounted this way are also called chords of
superior structure. They always imply some type of dominant chord.

For example, there are several superior structures of C7. A Dbm triad over "C, B
"Bemol" generates a C7b9b5 chord. A D triad over "E, B flat" generates a chord
C7#11. A triad Eb over 'C, E' generates a C7#9 chord. A triad F# over 'C,
E generates a C7b9b5 chord. An F#m triad over 'E, B flat' generates a chord
C7b9b5. A triad Ab over 'E, B flat' generates a C7#9#5 chord. A triad A
about "D, B flat" generates a C7b9 chord.

You will notice that you need a lot of practice to become familiar enough with
these openings to the point of being able to touch them at the moment. Perhaps it is preferable to choose a few
songs and plan in advance where you will use these openings. The effort well
that is worth it. The richness and variety of these openings can add a lot to your
harmonic vocabulary.

Closed Position Openings and

OpeningsDrop
The simplest voicing for a four-note chord is the closed position voicing.
(close position voicing), in which all the notes of the chord are arranged as closely as possible
possible. For example, a C7 chord can have an opening in closed position like
C, E, G, B flat. This is called the fundamental position or state, since the
the fundamental of the chord, C, is in the bass. The chord can also have an opening in
closed position as 'E, G, B flat, C', which is also called first
inversion, since the lowest note has been inverted and is at the top of the chord. The second
The inversion is 'G, B flat, C, E' and the third, 'B flat, C, E, G'.

A drop opening is created from a closed position opening in which

"drops" one of the notes down an octave below.
to fall). If the second note from the top is dropped, the opening is called
a drop opening 2; if the third note from the top is dropped, the opening is
called an opening 'drop 3'. For a C7 chord in root position, 'C, E,
G, B flat
note from the top, the Sun, an octave was dropped. The opening corresponding to the drop
3 series 'Mi, Dó, Sol, Si flat'. The drop 2 and drop 3 openings can also be
constructed from any chord inversion. On the piano, the dropped note needs to
usually to be touched with the left hand, so these are almost always openings
with two hands. The intervals in these openings make them perfectly suitable for
the guitar.

Closed position openings and open position openings are effective when used for
harmonize a melody, particularly in a solo context. Each note of the melody
can be harmonized by a different drop opening, with the melody note on top.
Jazz pianists and guitarists usually use this type of approach in their
own soils. It is said of a phrase in which each note is accompanied by openings of
closed position or drop voicings that are harmonized with block chords. Red
Garland, Dave Brubeck, and Wes Montgomery regularly played solos with chords.
in block.

Other Openings Based on Scales

There are other logical ways to create openings; too many ways to describe them.
individually here. Most approaches are similar in that they associate
a scale with each chord and form the opening from notes of that scale. When using
a scale approach, you can create your own schemes for openings. For
For example, a second with a third about it has a somewhat dissonant sound, but
not very full, which many pianists use extensively. For a chord like
Fmaj7, you can apply this format in any position of the Lydian or major scales.
of F. Since the F Major scale contains an avoided note (B flat) in this context,
one would normally choose the Lydian scale and the B natural, so that none of the
generated openings contain any avoided notes. The specific scheme described above
gera "Fá, Sol, Si", "Sol, Lá, Dó", "Lá, Si, Ré", "Si, Dó, Mi", "Dó, Ré, Fá", "Ré, Mi,
"Sol", and "Mi, Fa, Lá" over a F Lydian scale.

Most of these openings are very ambiguous, in the sense that they do not identify
immediately the chord. As happens with the 3/7 openings and quartals, however, you
you will discover that the presence of a bassist, or simply the context of the progression
the harmonica being played will allow almost any combination of notes to
starting from a given scale to make an acceptable opening for the associated chord.

You can try different arrangements and different scales to see if you find
some that you particularly like. Generally, the goal is not to find a
opening that completely describes a given chord, but first find a
opening that incorporates a particular sound without seriously corrupting the chord.
Maybe at a certain moment in a song, you want to hear the characteristic
the authority of a perfect fifth, or the dissonant characteristic of a minor ninth
or a "bunch of grapes" grouping several notes together, one after the other, but
without the characteristic sound of a wrong note from a completely random selection of
notes. Thinking about the associated scale and placing its sound within that context gives you
a logical and reliable way to achieve the sound you want, without compromising the
harmony.

Low
The role of the bass in a traditional rhythm section is somewhat different from that of a
harmonic instrument. Just like the pianist, a bassist needs
usually outlines the chord changes, but the bass usually emphasizes the
fundamentals, Tuesdays and Thursdays, instead of extensions or changes. In forms
In traditional jazz, the bassist also has a very important role as the
responsible for marking time; both as much as the drummer, and perhaps even more than
He. That is why bassists so often play bass lines that
consists almost exclusively of quarter notes or rhythms that strongly emphasize
the marking of time.

In this aspect, learning to play bass lines is generally easier than learning
a solar or playing chord openings. You don't have to worry so much about
to what rhythms to play, and your note choices are also more limited. When you
you hear great bassists, like Ray Brown or Paul Chambers, note that a great
part of what they play are quarter notes and lines based on scales.

When a pianist plays in a solo context, he often needs to create his

own bass line accompaniment, which is why pianists also learn to
to create good bass lines.

Low Lines

There are some simple guidelines you can use to produce bass lines that
it's good. First, you should usually play the root of a chord in the
first time of this chord. The previous time must be at a note or a semitone of
distance. For example, if the F7 chord appears on beat "1" of a measure, then
You normally play the F in this time. You usually would play E, E flat, G,
or B flat in the previous measure, depending on the chord. If the previous chord is a
C7, then you can play either E or G, since they are in the associated Mixolydian scale.
to the chord. Or you can think of the diminished scale semitone-tone or the altered scale
for the C7 chord and play E flat or G flat. The G flat is also the
fundamental of the dominant chord at a tritone distance, which has already been described as
a good substitution, which is why the B-flat is a particularly good choice. The note
it does not necessarily have to be justifiable in the context of a chord; it can be
thought of as a pass note to reach the first beat (the strong beat)
of the following compass.

These first two guidelines solve two beats for each chord. In some
songs, like the songs based on the Rhythm progression, that is all there is to the
most of the chords, thus your bass line can be almost completely
determined by the harmonic progression. Of course, you will probably want to
change your lines. You are not obligated to play the root on the first beat, nor
also not required to approach him with a tone. Remember, these are only
initial guidelines.
If you have more than two beats to fill in a specific chord, one way
to fill in the remaining times is simply to choose notes from any scale
associated in movements generally of one tone. For example, if your progression
the harmonica is from C7 to F7, and you have already decided to play "C, X, X, G flat" for the chord
C7, then you can fill in the Xs with D and E, implying the dominant Lydian scale,
you A flat and E flat, implying the altered scale. Any of these choices
it can also imply the scale of whole tones. Another commonly used phrasing would be 'C, '
D, D Flat, E, where D Flat is used as a passing note between D
It's the Mi. You will probably discover other phrases that you will use a lot. Play
phrasing is usually received with reservations when one is soloing, a moment in
that you are expected to be as creative as possible. When you are at the
monitoring, however, the phrasings, like those provided for openings,
can be an effective way to outline harmony consistently. As a bassist,
you are expected to play virtually every beat of each measure throughout the
music. It is generally more important to be solid and reliable than to be the most inventive
possible.

Low Pedal

The expression below pedal (in English, "pedal point"), usually abbreviated to only
pedal refers to a bass line that stays on a note during a change
harmonica. Certain songs, such as 'Naima' by John Coltrane on his album Giant Steps,
they are written with an explicit bass pedal, either with the notation 'Eb pedal' in the four
first measures, or by the notation of the chords as

| Dbma7/Eb | Ebm7 | Amaj7#11/Eb Gmaj7#11/Eb | Abmaj7/Eb |.

When you see a song that explicitly calls for a pedal bass, it is usually
a recommendation to stop playing bass lines and switch to playing only long notes.

You can also discover your own opportunities to use the bass pedal.
In a ii-V-I progression, the fifth can often be used as a pedal bass.
For example, you can play G during the progression | Dm7 | G7 | Cmaj7 |, or
only in the first two measures. During the Dm7 chord, the G in the bass gives the
the chord functions like a G7sus chord. The resolution for the G7 chord tends then to
follow the traditional use of classical music for the suspensions, which always resolve
this way. This is also very common in progressions that alternate between the ii and the V,
like in | Dm7 | G7 | Dm7 | G7 | Dm7 | G7 | Dm7 | G7 |.

Counterpoint

Scott LaFaro initiated a small revolution in the way jazz is played in the early
the 60s with its use of counterpoint. Its bass lines were almost as interesting
from the rhythmic and melodic point of view regarding the melody or solo that he was
following. This can be a distraction for some soloists, and for some
platforms, but many find the effect interesting.

An opportunity to use counterpoint is in ballads or songs with swing.

average tempo in which the melody has long notes or pauses. One of the examples
the most famous of Scott LaFaro's counterpoint is in the version of "Solar" recorded by Bill
Evans, Scott LaFaro, and Paul Motian in the album Sunday At The Village Vanguard.
the melody is mainly in quarter notes, with whole notes at the end of each phrase. Scott
play long notes while the melody is lively, and lively parts when
the melody is stopped.

Bob Hurst has a different approach to counterpoint. Instead of playing lines that
they sustain their own melodic or rhythmic attractiveness, he plays lines that create tension
rhythmic in their interaction with the measure. A technique that he uses frequently is
play six notes against four beats, or two triplets of quarter notes per measure. It sounds
as if he were playing in three times, while the rest of the band is in four.
This type of rhythmic counterpoint is difficult to sustain for a longer duration.
and can confuse inexperienced musicians.

When you experiment with counterpoint, remember that your role is usually
it is still the follow-up. Its goal is to support the musicians you are
following. If they are being outmatched by the complexity resulting from
your way of playing, or they were producing quite a bit of rhythmic tension because of
own, so it may not be a good idea to use this technique. You will have to use your own
judgment to decide when the music will benefit from the use of counterpoint.

Other Low Standards

The techniques described above are applicable to most styles of jazz. Some styles
specific, however, impose their own requirements on the bassist. A marking in
two beats, or half a measure, means to play only on beats 1 and 3 in a
4/4 time signature. A two-beat marking is generally used in the theme (head) of the
standards do jazz. When the time signature is 3/4, you can either play bass lines or
simply play on the first beat of each measure. Many of the styles of jazz
Latinos use a simple scheme generally based on the alternation of the fundamental and the
fifth. Bossa nova uses the fundamental on '1' and the fifth on '3', with an anacrusis of
eighth note in 'e-do-2' and another anacrusis in 'e-do-4', or an eighth note in '4'. The samba
it's similar, but it's played with a feeling of double time, which means that
it sounds like the basic pulse is twice as fast as it actually is.
the fundamental is played on '1' and '3', while the fifth is played on '2' and '4', with a
anacrusis of the semicolon before each beat. Mambo and other Cuban styles use
the rhythm is 'e-do-2, 4'. The last beat is tied to the '1' of the next measure.

A complete description of all the different styles is beyond the scope of this.
Introduction. There are a few books that can help you build patterns for
different styles; one of them is called Essential Styles For The Drummer And Bassist.
For now, all I can do is repeat Clark Terry's advice, 'imitate, assimilate,
"innovate." Listen to as many different styles as you can, and learn from what you hear.

Battery
Just like with the bassist, one of the roles of the drummer in traditional forms.
In jazz, it is about playing a constant beat in the style of the music. By constant, I mean
to say regarding the progress, and I do not intend to imply that you should not be creative
and vary your patterns. I am not qualified to enlighten drummers about the details of
drumming techniques, but I can describe some basic styles and patterns, and give some
tips on other aspects of the drummer's role.

The basic marking of the swing 4/4 consists of two components: the doride pattern
(driving plate) and the pattern of the hi-hat. The fundamental pattern of the ride is the scheme
"1, 2 and, 3, 4 and" or "ding ding-a ding ding-a" played on the driving plate with eighth notes
sued. The hi-hat is usually closed sharply on the '2' and '4'. This is what the
most electronic drum machines play when the 'swing' option is
selected. This pattern is suitable for many jazz songs, especially
standards or bebop songs, with a medium or fast tempo. Songs more
Slow songs, like ballads, usually call for the use of brushes on the percussion box.
instead of sticks on the cymbals as the main pattern. There are some books that can
help you form patterns for other styles; one of those books is Essential Styles For
The Drummer And Bassist. The essentials of the styles you should know how to play are
described below.

The basic marking of the shuffle consists of eighth notes on the ride cymbal and
possibly in the box. Times 2 and 4 are also generally emphasized more
force. The basic pattern of a jazz waltz, or swing 3/4, consists of 'one, two and,
"three" or "ding ding-a ding" in the ride, with the hi-hat on "2". Among other variations, there are
the use of the hi-hat in "2" and "3", or in all three beats; and the addition of the snare in
either '2' or '3'.

Three forms of Latin jazz that you should be ready to play are bossa nova, the
samba and mambo. The essence of most forms of Latin jazz is the clave, which is a
type of rhythmic formula. The basic key has two measures, and consists of '1, and-do-2, 4;
2, 3". There is also an African clave or rumba clave, where the third note is played.
not 'e-do-4' instead of on time. Bossa nova uses a variation of the basic clave in
that the last note falls on the 'e-do-3', instead of on time. These clef patterns also
they can be reversed by changing the order of the measures. The clef is usually played
like beats on the edge of the box in a traditional drum set, although often not
be explicitly touched by the drummer, in which case an auxiliary percussionist can
touch her.

The clave is supplemented by other patterns on other drums. The bass drum can play on the
1 and 3 with the anacrusis of eighth note. The hi-hat is closed on 2 and 4. Other patterns
they can be played on a plate or on a cowbell. Among the typical patterns of mambo
are "1, 2, 3, and-do-3, and-do-4; 1, 2, and-do-2, and-do-3, and-do-4" or "1, 2, 3, and-do-3; 1, and-do-1,
e-do-2, e-do-3, 4". A simple pattern consisting of "2, 4, e-do-4" is played on the edge
from the box and in the tom-tom attached instead of a clave. In a bossa nova, one can use
a pattern that consists of eighth notes without swing in the driving beat. Samba has
a feeling of doubled progress. The pattern of the plate is usually with eighth notes.
with swing, and it is usually played on a closed hi-hat. The snare can be
just played on the "4" instead of touching the key.

Certain compositions, such as 'The Sidewinder' by Lee Morgan, or 'Sister Cheryl' by

Tony Williams has unique drumming patterns that are indelibly associated with
a specific song. Listening to recordings of a song to be played before trying
Playing it is probably more useful to drummers than to any other musician, since
fakebooks usually do not provide many tips for the drummer.
A good drummer won't just play the same pattern nonstop throughout
a song. One thing you can do is vary the pattern, perhaps playing only
bumpers on the driving plate, or occasionally varying the rhythm to 'ding-a ding'
ding-a ding". Or you can hit the hi-hat on each beat. You can also use
other drums, like the toms, as part of your basic pulse for a song. Tony
Williams is a master at varying his patterns this way.

Frequently, a drummer plays a simple binary pulse during the performance.

initial theme ('head'), and changes to semifinals without swing during the solos. One of
one of the easiest ways to change the rhythmic feel of a song is simply to switch
the dishes for the ride standard, for example when there is a soloist change, or for
mark the bridge of a song. Marking the form of a song is another role
important of the drummer. Most typical song forms have phrases of 4 or 8
drums. At the end of each sentence, the drummer usually plays patterns or fills more
complexes to lead to the next sentence. Another tactic is to change the basic pulse of
phrase for phrase. As a drummer, you must always be aware of the shape of the music, and
know where the breaks, special introductions, or codas are. You must be able to
sing the melody to yourself during the solos if necessary, so that you can
delimit the form for the soloist. This will help the soloist to maintain their place, by allowing
that he recognizes when you arrived at the bridge, for example. Moreover, the soloist
generally structures its own sentences following the lines of the original form. By adhering
in this way, the drummer will generally be providing support for the development of the
ideas of the soloist. Art Blakey is a master at playing the form and supporting the soloist
in this way.

During a solo, a musician can leave intentional pauses in their phrases.

Just as happens with the pianist and the bassist, the drummer must decide whether to fill in
these spaces with some kind of response phrase or counter-rhythm. Drummers too
tension can be created through the use of polyrhythm, which are two or more rhythms
overlapping; for example, 3 against 4. A drummer can, or try to play two rhythms
different from himself, or work with the bassist or another musician from the
accompaniment, or with the soloist, to create a polyrhythm between them. Of the same
the way that happens with the use of counterpoint in bass lines, however, you
needs to balance the desire for rhythmic variation with the understanding that the result
it can be rubble or chaos if you go too far.

As everyone relies on the drummer to keep the precise timing, the stability
rhythm is essential. However, the rhythmic interest from the drums is also
important, and it is vital during drum solos. And percussion is also not just rhythm. As
As a drummer, you can't play lines that are interesting in a melodic sense.
the traditional harmonic one, but it can vary the timbre of its lines by playing with
drums and cymbals of different heights and timbres. You should think melodically
when playing drums.

Other Instruments
The use of other instruments, such as brass or woodwind instruments, in
the quality of monitoring instruments is generally limited to a few
"riffs", or repeated phrases. This type of accompaniment is commonly used in bands.
of the blues. Usually one of the horns plays a simple line based on the blues scale,
and others repeat it.

The forms of free jazz allow for a less structured accompaniment. If you
listening to the albums Free Jazz by Ornette Coleman or Ascension by John Coltrane, you will notice
the winds that are not soloing remain free to play any background figure
they want. The result is usually cacophonous, but if that is the desired effect,
so it is not bad in itself.

At the other end of this spectrum are big band arrangements, which often have
intricate wind backgrounds written for the solos. Arranging for wind sections is
similar to accompanying on the piano, in the sense that the parts generally form
chord openings are used in a rhythmically interesting way. The parts
are generally softer and more melodic than a typical accompaniment of
piano, meanwhile, both because the piano part is generally improvised, while the
a brass arrangement can be planned in advance, as it is easier to
a section of winds plays melodic lines distributed in chords of what for a
pianist. Arrangements for the brass section generally emphasize articulation, or
variations in the attack and dynamics, more than the piano is normally capable of. Among the
devices commonly used in arrangements for the brass section include the use of
sforzando, or notes of sudden volume; alternating passages of staccatos, or notes
shorts, and legatos, or long notes; "bent notes", or notes where the musician changes
briefly the pitch of the note when it is playing, and "falloffs", or notes where the musician
quickly reduces the pitch of the note, sometimes by an octave or more, usually to
to end a sentence.

You don't need to play in a big band or be an experienced arranger to use it

accompaniment of a brass section. Often two or three instruments of
they are sufficient to play interesting background figures. Most of them
principles used in chord opening for the piano can be used in openings for
the brass section. Drop openings work especially well. When there is only
two wind instruments, lines that move in parallel thirds usually
they work well. Listen to The Birth Of The Cool by Miles Davis, or any of the albums
by Art Blakey with the Jazz Messengers, to get ideas on how to arrange for
relatively small groups. The book Arranging And Composing, by David Baker,
it can also give you ideas to get started.

Playing in a Group
As soon as you manage to gather a suitable group of musicians, you should start playing.
in a group. This helps for several reasons. First, if several musicians are
approximately at the same skill level, they can learn together. If a
a member is more advanced than the others, can help them during meetings. A
a good rhythmic section can often give ideas to a soloist or help to give them the
confidence that allows you to take more risks. On the other hand, you should avoid the temptation to
having many wind instrumentalists, as you will see that the songs drag on more and more
but with each one doing their solo. The rhythm section will get tired of the progression of
the chords and the soloists will become impatient waiting for their turn. Perhaps it is
counterproductive to have more than eight musicians at the same time for this purpose.
Organization

Once an appropriate group of people has been gathered, it is necessary to decide what to play.
If everyone in the group has access to the same fakebooks, it helps. That way,
when a person suggests a song, one can have a reasonable certainty that everyone
they will have her in their books. The New Real Book, by Chuck Sher, is recommended, since he
it is available in transposed versions for most wind instruments, and
it has a good variety of songs. Maybe it's a good idea to get it right in advance.
the songs that will be worked on, so that everyone has the chance to get familiar
with the chord changes.

Although it is not necessary to appoint a leader for the group, it helps to have someone to
choose the songs, decide the order of the soloists, determine the tempo, make the
counting the music, and making things move in general. It is not essential that this person
be the best musician in the group, but it must be someone with some skills in
organization and leadership.

Beginnings

Once a song has been chosen, it is necessary to keep in mind the things that
we talked about the form. Normally, the group would first play the melody. While
if you are learning a song, you can decide that everyone plays in unison, but
Each musician must have a chance to play the opening theme at some point.
alone, to allow everyone to work on a personal manifestation anyway
when they are simply playing the melody. Furthermore, in a presentation it is
generally more interesting for the listener to hear the melody interpreted by a
musician, instead of manifesting in unison. This is especially true for ballads.
Fast bebop songs are usually played in unison.

For songs with a 32-bar form, the head is usually played only once.
Sometimes. For blues music or other shorter forms, it is usually played twice.
times. The melodies of many songs end on the penultimate measure of the form. For
For example, the twelve-bar blues "Sandu" by Clifford Brown ends on the first.
time of the eleventh measure. Usually the rhythmic section stops playing in the
last two measures of the form to allow the first soloist two measures
unaccompanied by "passage", or interval of the soil. In some songs, such as in
"Moment's Notice" by John Coltrane, this interval is usually observed in each
chorus, but usually it is only done as a transition to the first solo, or in the
maximum as a ticket for each soil.

Means

Once you are on your ground, you will basically be alone, although you should listen to the
what everyone else is doing around you, reacting to what they are playing,
and leading them with their own music. This is your chance to apply the techniques that
learned so far. Think melodically. Take risks. Have fun!

We have said several times that a soil must tell a story. This means that it
there must be a clear exposition, development, climax, and resolution. If you were to do
a graph of the intensity level of good soil would often find that it
It starts at a low level and slowly builds up to a climax, after which it relaxes.
quickly to open for the next soloist, that is, whatever comes next.
Beginners often have difficulty deciding the number of choruses to play. This is a
something that varies from musician to musician. Charlie Parker usually only played one
you must in recordings, although this was partially due to the limitations of the format
two 78 RPM records. John Coltrane often played dozens of choruses,
especially in presentations. When there are many soloists, you should try to keep the
low number, to prevent the rest of the group from getting tired. Anyway,
when you are approaching the end of your solo, you must somehow convey
this fact to the other musicians so that they can decide who goes next, or if
they want to do a rotation of four measures, or eliminate the presentation
initial of the theme.

If you plan to alternate every four measures after the last solo, someone
it usually indicates this by showing four fingers where everyone can see them. Usually,
the soloists play in the same order in which they originally played, playing four
each with their own beat. The bassist usually stands to the side; sometimes the pianist does as well.
Frequently, the drummer plays four measures between each of the other soloists.
Even more than during the original soils, the intensity of the four sentences
rhythms will generally be at a consistently high level, and the soloists must
try to develop and advance each other's ideas. This cycle can be repeated by
as long as you want; someone will usually point to their head.
to indicate a return ahead, the theme.

Fins

The endings of the songs are undoubtedly the most difficult to do together. When
you have played a certain song several times with the same group of people,
you may have prepared and rehearsed the closures. But when you are playing a
music for the first time with a specific group, the ending almost always.
results in chaos. However, there are some known tricks that you can use to
end the songs. Once you are familiar with the endings
basics, so all that is needed is a person to act as a leader for everyone to
follow them.

The easiest ending, used in fast bebop songs, is simply

concluding the music by abbreviating the last note. This works for songs with the
progression Rhythm, like "Oleo", and other forms of bop, like "Donna Lee". As
a variation, one can extend the last note for a time. Or you can abbreviate it
last note, but then repeat it and extend it after a pause of some time. This is
especially made in 32 bar forms where the melody ends in the first
time of measure 31. This note is abbreviated, but then it is repeated and extended in the first
time of the measure 32, or as an anticipation on the fourth beat or on the 'and' of the fourth
time of the measure 31.

Another ending often used in ballads and slow swing songs is oritardando.
Just slow down the last two or three measures, and finish on the last note of the
melody, which can be held for as long as desired. A variation of this
the technique is to stop on the antepenultimate note, or on any note near the end that falls on
penultimate chord, and a soloist plays a cadence without accompaniment, signaling
to the rest of the band to play again with him on the last note.

When playing songs with a medium or faster tempo, a closure

often used is to play the last measures three times before the final note. In a form
of 32 measures, where the last note is on the first beat of measure 31, you
I would play the form until the end of measure 30, then I would play measures 29 and 30 again, and
there once again, before finally touching measure 31. This can be combined
with the delaying or the cadence, or the last note can simply be abbreviated.

Another approach is the III-VI-ii-V reprisal. If the song ends with a ii- cadence
V-I in the last four measures, so it is possible to replace the final I chord with the
progression of four chords III-VI-ii-V, which can be repeated several times. By
example, in the key of F Major, if the song ends with

| Gm7 | C7 | F | F |

so you can replace this with

| Gm7 | C7 | A7alt | D7alt | Gm7 | C7 | A7alt | D7alt | Gm7 | C7

|...

You can also use tritone substitutions for any of the dominant chords.
Additionally, you can use a I chord (F Major) in place of the A7alt chord.
you can continue with this chord progression for as long as you want, soloing or
improvising collectively about it. This is called a "vamp." The song is
finally concluded with an I chord, usually preceded by a firm movement
by hand, to ensure that everyone finishes together.

Another very popular ending is sometimes called the Duke Ellington ending.
because he is associated with music arrangements like 'Take The A Train', which were
written by Duke or performed by his orchestra. This ending assumes that the
the music ends in the first time of the penultimate measure of the form, but what the last
the chord is a I chord, and the last note is the root of that chord. Assuming
that the music is in C Major, you simply replace the last two measures
for "C, E, F, F# (F Sharp), G, A, B, C", where the second note is a sixth
below the first, and not a Tuesday above. If you try to play this line, I think that
He will recognize the intended rhythm, so I will not try to make his notation.

Dealing with Problems

You must prepare for when some things, or many, go wrong. If you
lose your place in the form, or feel that some other musician has lost theirs, do not get involved
in panic. If you got lost, stop playing for a bit to see if you can hear
where the rest of the group is. This shouldn't be so difficult if you are familiar
with the music and the other musicians being reasonably sure about their
own positions. Someone who is sure of where they are can ask for some change,
you shout 'BRIDGE' or 'BEGINNING' at the right moments, to carry things forward
back on track. If a person is clearly in the wrong position, and everyone else
We know where that person is, they can try to switch places to keep up with the
lost musician, but that's hard to coordinate. Besides, it's better to try to fix the
a person who is out of step with what makes everyone else out of step
together, because ideally, what is wanted is for the shape to remain uninterrupted.

Another thing that can go wrong is an unintentional change in the pace.

Some people tend to run, others to drag themselves. Sometimes the interaction between two
musicians with good timing can change the tempo. For example, if a pianist and
a bassist plays after the timing, this can make the tempo seem dragged, and the
the drummer can slow down so it doesn’t seem like he is ahead of them. If
if you are convinced that the progress is changing, you can try to lead some
a few beats to correct the tempo. A metronome can help you keep it
be honest, but playing with a metronome is often unavoidably
frustrating, because it is virtually impossible to keep a group synchronized with one.
One reason is that it is generally difficult to hear a metronome when several people
They are playing. Another is that it is difficult to get everyone in the group to adjust to the same.
time and in the same way, if the group collectively speeds up or slows down a
music. Meanwhile, practicing with a metronome can be a useful way to
solidify the notion of time. A particularly sadistic conductor that I
I used to start our rehearsal with a metronome, then lower the volume.
after a few measures, and then increase it, more or less a minute later, to see
if we had deviated from the course.

Listening Analytically
Now that you have an idea of what it takes to play jazz, you should also have a
much more critical ear. You will be less inclined to be impressed by mere
technical ease, and can listen seeking melodic, harmonic, and rhythmic sophistication.
On the other hand, if the music still touches you emotionally, don't worry if it doesn't
seem particularly bold when examined closely. Do not let your analysis
two theoretical aspects of music interfere with your reaction on an emotional level. The
Theoretical knowledge should be a tool to help you understand the
music that you might not appreciate otherwise; it should not distance you from
enjoy some music.

As a musician, now that you have some idea of the things that are expected of a musician
from jazz, you can listen to the greats of jazz and learn from them. You can listen
the first recordings of Bill Evans' trios and see examples of interaction within the
rhythmic section, and try to develop ears as sharp as theirs. You can hear
Thelonious Monk and analyze the way he used dissonance and syncopation, and see if
can achieve the same effects. You can hear John's emotional explosions
Coltrane or Cecil Taylor and expand your notion of how far you can go.
express directly.

Breaking the Rules

Charles Ives was a composer who wrote a piece of music that was considered to be
avant-garde in his time. They say that his father taught him that "you need to learn the
rules first, so that you know how to break them." This is especially true in
music like jazz, where you are expected to be constantly creative. Following the
rules all the time would result in a predictable and dull song. Not paying attention to any
attention to the rules can easily result in music that is ultimately boring in its
randomness.

There are many rules and conventions that have been presented here. However, there is not
criminal penalties for disrespecting any of them. You must experience both
as much as possible to discover new ways of doing things. The rules of harmony
presented here form a guideline, but not something rigid. I have already suggested that the way
How you use these rules will shape how you sound. How you break the rules.
go about defining your own style. Experiment with the rules of
harmony, however, is only the beginning of individuality. Look for other ways,
less conventional ways of expressing oneself. Try playing the piano keys with your wrist. Try
blow your saxophone with all your might. Try to remove the pin from the first valve of your
trumpet. There are an infinite number of possibilities of what you can do with your
instrument.

In addition, broaden the universe of what you listen to, to include other types of music,
like classical or reggae, and see if you can learn from them and apply that learning to
What do you want you to play. It's extremely limiting to think that everything that is music of
jazz deva consists of music with 32 bars, bass lines, swinging patterns
for the driving dish, and forms theme-soil-theme. The world does not walk in a
four four time.

Annotated Bibliography
My personal experience with other books on jazz improvisation is limited;
my ears have been my best teachers. Here is a list of some of the books
with which I became familiar in some way, or that were recommended to me. Most of them
The books and fakebooks are for sale in any well-stocked music store. They
they can also be ordered from online bookstores.

Fakebooks
Chuck Sher, The New Real Book, Sher Music. This is probably the cool fakebook.
the most popular jazz currently, and perhaps the best in terms of its scope
selection, editorial care, and readability. Many of the most played songs from others
Known fakebooks are included in this. It is for sale in Bb and Eb editions for
instruments that require transposition, and like all the books by Chuck Sher, contain
the lyrics when necessary. It contains standards like 'Darn That Dream', classics
of jazz like "Oleo" by Sonny Rollins, and some contemporary pieces like
"Nothing Personal" by Michael Brecker. It also contains some pop songs.
like "Killing Me Softly," by Roberta Flack. Due to its diversity, it does not contain
so many songs from the mainstream jazz, the so-called straight-ahead jazz, like the
most of the other fakebooks on this list, and therefore, although it is highly
recommended, you may need to find another to supplement it for
fill in the mainstream jazz selection.
Chuck Sher, The New Real Book Volume 2, Sher Music. This is a good companion.
for the first volume, since there is no overlap, and this volume adds a
good dose of classic jazz from the 50s and 60s, including several songs by John Coltrane and
Horace Silver. There are also arrangements of complex modern compositions by Michael.
Brecker and others, as well as a few standards. It is for sale in Bb and ...
Eb.

Chuck Sher, The World's Greatest Fakebook, Sher Music. This was the first fakebook.
by Chuck, but it was not as well received as The New Real Book because it contains
even fewer jazz standards. Still, he can be a good companion for
his other books.

Herb Wong, The Ultimate Jazz Fakebook, Hal Leonard Publishing. This has hundreds
of music, but it is printed in very small typography to fit everything in it, and
The result is that it is very difficult to read. Many of the songs are old Tin Pan Alley.
that are not played as often anymore, hence the selection of true
jazz standards is not as broad as it initially seems. It is for sale in
editions Bb and Eb, and contains lyrics.

The Real Book. This has been the standard for many years. It contains a wide
selection of standards and classics of jazz, and in fact helped to define these terms in both
last decades. There are many errors in this book, and many of the recordings that I have.
the music heard from this book in the last twenty years reproduces these mistakes, which
shows that the Real Book has been a basic source of songs for many musicians
professionals. It was only recently that The New Real Book started to surpass it.
The original Real Book, however, is not legal, since the authors did not obtain permission.
of copyright for the selected songs, and they do not pay royalties to the
holders of these rights. In most cases, the authors of this book themselves do not
they earn no money with it; most people manage to get a copy
photocopying a friend's copy, or someone who photocopies books and sells them to
a small profit under the table. If you can find a copy, and your
consciousness doesn't disturb you too much, it's worth grabbing it. There are versions in Bb and Eb, and
also a version for voice. There are several slightly different edits, being the
Pacific Coast Edition is one of the most common Fifth Editions. Being of questionable origin,
It is difficult to say how these differences evolved, or what exactly the differences are.
among these editions, but be warned that not all copies will be exactly
the same set of songs.

The Real Book Volume 2. This book, like the original, is illegal. It is not even close to
as popular as the first volume, but contains a lot of classic jazz.

Spaces Bebop Jazz. This book is actually sold in various forms, none of the
As far as I know, it's legal. The one I have has spiral binding and is printed.
on standard size paper, although the music itself is printed in typography
small. I have also seen it printed on half a page and separated into two or three.
volumes. It mainly contains music from the eras of swing, bebop, and cool jazz.

Think Of One. I have no idea where this book came from, but someone
apparently decided that Thelonious Monk, Wayne Shorter, and Horace Silver were
poorly represented in the Real Book and produced this somewhat poorly transcribed book,
which is also illegal and consists almost exclusively of songs that are not in
Real Book, many of them from the composers mentioned above. Very few people seem
knowing about this book, what is bad, because there are many wonderful compositions in it that
they are not on any other fakebook that I have ever seen.
Annotated Bibliography
Theory and Practice

There are dozens, if not hundreds, of books on practice methods, theory, and methods of
analysis in the market. I have only seen half a dozen of them, and no good holistic introduction,
about general purpose on improvisation, what is the reason I wrote this
Introduction. The comments below vary in the amount of detail included. As if
you can wait, I have more to say about the books I am most familiar with,
while those with a short summary are mostly books that I never
yes, but I was recommended.

The books below are presented in the following general order: background material;
basic, intermediate, and advanced general instruction; specific instruction for a
instrument; and composition/arrangement.

Jerry Coker, How To Practice Jazz. This is not so much a book about how to do it, but
about how to learn to do. He has many tips about practice, as the name suggests
understand, as well as many references to other books, especially the books of
David Baker or from Coker himself, which contain more detailed information about
improvisation.
Jerry Coker, How To Listen To Jazz. This book is a good introduction to jazz from a
listener's perspective. There is a discussion about history, the roles of the various
instruments, various styles and forms of jazz compositions and performances. There is a
direct discussion about common techniques and schemes. Coker also guides the listener
through several famous recordings, pointing out how the techniques or schemes
the specifics he describes are used. Like most theoretical books for sale
they are weak in associating their instruction to a broader context, this volume is
recommended as a companion to any other beginner's method book or
advanced that you are reading.

Dan Haerle, The Jazz Language. This book deals with the theory and terminology used
no jazz, it is not necessarily organized like a practical guide.

Jerry Coker et al., Patterns For Jazz. This book presents a series of patterns
based on specific chords and scales, and makes you practice everything in all
timbres. The patterns are related to specific harmonic progressions.

Dan Haerle, Scales For Jazz Improvisation. This book lists most of the scales used.
by jazz musicians and transcribes them for use in practice. It is useful if you want to see
all the scales in one book, but in fact it does not contain much information that
not found in most basic or intermediate instructional books, or
in this Introduction, for that matter.

Jerry Coker, Improvising Jazz; David Baker, Jazz Improvisation. These are
probably the most widely used introductory books on improvisation.
Coker and Baker are among the most respected authorities on jazz pedagogy.
They write from similar perspectives. The emphasis in these two books is on the
basic theory of scales and melodic patterns.
Mark Boling, The Jazz Theory Workbook. This is basically a beginner's book and
intermediate.

ScotReeves, Creative Jazz Improvisation. This book was recommended as one of the
most useful books on improvisation. Like this Introduction, it emphasizes context
historical, instead of simply presenting the theory.

David Baker, How To Play Bebop. This material actually consists of three volumes.
they are mainly dedicated to the development of melodic lines. The scales
the bebop are emphasized.

Hal Crook, How To Improvise. This is an intermediate to advanced book, as it

It presupposes some knowledge of scale theory. It emphasizes the use of schemes.
harmonic and rhythmic elements in melodic development.

Steve Schenker, Jazz Theory. This is an intermediate to advanced book.

Complete Method For Improvisation

Improvisation. These are more advanced versions of the introductory books.
authors.

Walt Weiskopf and Ramon Ricker, Coltrane: A Players Guide To His Harmony. This is a
entire book dedicated toColtrane Progressions.

Gary Campbell, Expansions. This intermediate to advanced book presents several

scales, among them some quite esoteric, and shows how to form melodic lines
quadram benefit from them on specific chords. It presupposes familiarity with the
basic scales described in this Introduction.

John Mehegan, Jazz Improvisation. This is a series of several volumes published in

the 60s. At the time, they were considered quite complete, but they contain a lot
little information about developments that have happened since then, or even
about the advances that were being made at the time, such as the Coltrane substitutions and
the quartal harmonies.

George Russell, The Lydian Chromatic Concept of Tonal Organization For

Improvisation. This is a book on advanced theory that describes some applications.
unique to scale theory in improvisation. He uses some unusual scales, and
show how to build complex chromatic melodic lines using these scales
as a basis. The process is somewhat complicated and involves the use of a scheme.
dotpo calculation rule to associate scales with chords. It was considered a milestone.
when first published in the 1960s, although the direct application of the theories
it has never actually been widely used, except in a relatively small group
small musicians, perhaps because they were so complex. Still, they
form a base of a good part of the scale theory currently taught by the majority
of other authors, including in this Introduction.

David Liebman, A Chromatic Approach To Jazz Harmony And Melody. This is a

complete discussion of melodic chromaticism and what I called atonal music.
The book contains many examples of soil lines recorded by John Coltrane, Herbie
Hancock, and other modern musicians.

David Baker, The Jazz Style Of.... This is a series that includes volumes about Miles
Davis, John Coltrane, Cannonball Adderly, Sonny Rollins, Fats Navarro, and Clifford
Brown. Each volume includes a brief biography and a summary of the musical style of
the musician in question. Several transcribed solos and analyses of them make up the bulk of
each volume.

Martn Mann, Jazz Improvisation For The Classical Pianist. This is an introduction to
jazz improvisation aimed at the musician accustomed to an approach
structured learning. Places a strong emphasis on scales and exercises.

Mark Levine, The Jazz Piano Book. This is the most complete book I have ever seen for
jazz pianists. He covers scales, openings, accompaniment, and other topics
also discussed in this Introduction, but it manages to delve deeper.
It contains many useful musical examples, which makes it much more readable.
it also contains a very good discussion about Latin jazz, including information that
it is useful for bassists and drummers. However, it has its flaws. It goes
superficially about the blues, not even presenting the blues scale or
describing a harmonic progression of blues, except as a transition. Moreover,
although he tries to place part of his content in a broader historical context
In practical situations, this is done in a somewhat random manner.

Dan Haerle, Jazz Improvisation For Keyboard Players. This was my favorite book.
about jazz piano until Levine's book appeared a few years ago. Although he
promises to flow logically from the beginner level to the advanced level, most of the
information is actually oriented towards the intermediate. It is not, for me, a book
as pleasant as Levine's, and it is even less convincing regarding placing the
instruction in context. It is for sale either as three separate volumes (Basic,
Intermediate and Advanced) or as a complete set.

Dan Haerle, Jazz/Rock Voicings For The Contemporary Keyboard Player. Most of the
information from this book is reproduced in his book on improvisation, or in the one about
Levine, but is there any advantage in having everything you wanted to know about openings of
chords presented in detail in one place. However, he does not actually
covers a range as broad of openings as one could expect from a book
dedicated solely to this purpose.

Frank Mantooth, Voicings. The emphasis of this book is on open voicings that are used in
monitoring, as opposed to openings that are used in soils. Lots of attention
it is given to quarterly openings and other more contemporary openings. It also has
more explanatory material than Haerle's book on openings.

Garrison Fewell, Jazz Improvisation. This is a fairly extensive text that covers
part of the basic theory of chord/scale relationships, analysis of chord progression, and
construction of melodic lines. It contains many examples, and attempts to explain why
The examples sound good. It is aimed at guitarists, but its methods can be
applied to any instrument, since they are not composed with techniques
specifics of the guitar, such as openings, picking, or fretting.

Paul Lucas, Jazz Chording For The Rock/Blues Guitarist. This book is aimed at the
musician who knows how to play the guitar, but is only familiar with five chords
open string chords used in rock (C, A, G, E, and D). Others
Common chords in jazz are then presented as variations on these patterns.
The book also contains some more advanced material on chord progression,
chord substitution, quartal harmonies, multi-chords, and scales.
 Joe Pass and Bill Thrasher, Joe Pass Guitar Style. This book covers harmony and applications to
improvisation, including chord formation, openings, substitutions, and conduction of
chords.

Chuck Sher, The Improvisor's Bass Method. This book starts with the most instruction
basic about how to play the bass, including fingering charts, and how to read music, and
advances to the conventional musical theory of jazz with applications for playing the bass. He
it also contains several transcribed bass lines and solos by well-known bassists,
like ScotLaFaro, Charles Mingus, Paul Chambers, Ron Carter, and others.

Steve Houghton and Tom Warrington, Essential Styles For The Drummer And Bassist.
This book is a recipe of basic patterns for 30 music styles, from pop to funk.
to reggae to jazz latno. It includes a CD.

Peter Erskine, Drum Concepts And Techniques. This book explains the basics of the technique
of battery.

Frank Malabe and Frank Weiner, Afro-Cuban Rhythms For The Drum Set. This book
describe the various styles of African and Latin American percussion and how to play them
on battery.

Ed Thigpen, The Sound Of Brushes. This book explores broomstick techniques for
drummers.

Andy Laverne, Handbook of Chord Substitutions. This book is useful for pianists and
arrangers, discusses various ways to reharmonize songs. The substitutions are
much more advanced than the ii-V substitutions of the tritone and Coltrane discussed
in this Introduction.

Paul Rinzler, Jazz Arranging And Performance Practice: A Guide For Small Ensembles.
This book is more focused on group practice than on individual improvisation.

David Baker, Arranging And Composing. The emphasis is on arrangements for small
groups, from trios to groups with four or five metals.

Annotated Bibliography
History and Biography

As is the case with didactic literature, my knowledge of literature about history

The biography is also limited. The following books are presented basically from
from the more general to the more specific.

Bill Crow, Jazz Anecdotes. This book contains stories told by and about musicians.
jazz.
Nat Hentoff, Jazz Is, The Jazz Life, Hear Me Talkin' To Ya. Nat Hentoff is a remarkable
historian and jazz critic. These books contain stories of his personal experience and
anecdotes told to him by other musicians.

Brian Case, Stan Brite Chrissie Murray, The Harmony Illustrated Encyclopedia Of
Jazz. This book contains short biographies and discographies of hundreds of musicians.
Joachim Berendt, The Jazz Book: From Ragtime to Fusion and Beyond. This book is
organized by decade, by instrument, and by the main musicians and groups. Each
the section can be read independently.

Ian Carr, The Essential Jazz Companion. This book covers the history of jazz throughout
20th century, discussing many artists and styles, and describing specific recordings.
Carr also wrote biographies of Miles Davis and Keith Jarrett.

James Lincoln Collier, The Making Of Jazz. This is a deep survey of

history of jazz.

Frank Tirro, A History Of Jazz. This is a relatively technical survey of

history of jazz.

Gunther Schuller, Early Jazz, The Swing Era. These books by the respected historian,
critic and composer Schuller are considerably more detailed than most,
as they are also more focused on specific periods. There may be more volumes
in this series too.

Richard Hadlock, Jazz Masters Of The.... There are volumes in this series for decades
different. Each contains biographies of about twenty important musicians of the era.

Leonard Feather, Inside Bebop. Feather wrote this book to try to explain to the
That's when this song was new and controversial.

Valerie Wilmer, Jazz People. This book contains interviews with several legends of
the 50s and 60s.

Valerie Wilmer, As Serious As Your Life. This book focuses on the avant-garde and the
new music from the following decades. It has a highly political nature.

Ross Russell, Bird Lives. This is an informal biography of Charlie Parker.

Gary Giddens, Celebrating Bird. This book contains many photographs.

Dizzy Gillespie, To Be Or Not To Bop. This is the autobiography of Dizzy.

J.C. Thomas, Chasin' The Trane. This is an informal biography of John Coltrane.

Miles Davis and Quincy Troupe, Miles. This is a colorful historical perspective written
for the man who was perhaps the most influential jazz musician of all time, with
a career marked by innovations that span nearly half a century. Be
warned, however, that the language is somewhat crude.

Charles Mingus, Beneath The Underdog. The biography of Mingus is even more raw than
that of Miles, and it is less interesting as a historical document, except for the fact that
she documents Mingus's sexual history.

Graham Lock, Forces In Motion. Lock offers a fascinating insight into music and
philosophy of Anthony Braxton.