Professional Documents
Culture Documents
Week 4
Review:
Perform written solo.
New Concept:
ii7/V7/I7. Piano voicing sheet.
th
th
th
Play/sing major 9 , minor 9 , dominant 9 arpeggios
rd
th
Apply 3 and 7 concept to quick and long ii7/V7/I7.
th
Explain voice leading from Root-7 .
New Tune:
Autumn Leaves Emin. To be learned.
Listening:
Autumn Leaves Tony Bennett.
Class Exercises:
Bb Blues, So What
Assignment:
Autumn Leaves. Compose two quick and two long ii7/V7/I7 ideas in G major. Make copies to
share.
Improvise on So What, Bb Blues,
Week 5
Review:
ii7/V7/I7
Perform ii7/V7/I7 lines.
Improvise on So What, and Sonny Moon For Two.
New Tune:
Autumn Leaves. Explain form.
Explain harmony. How it develops.
Listening:
Autumn Leaves Wynton Kelly
Class Exercises:
Autumn Leaves using ii7/V7/I7 ideas, and G major tonality. Bb Blues, So What.
Assignment:
rd
th
Apply 3 and 7 concept to Autumn Leaves
Week 6
Review:
Perform Autumn Leaves.
Review Form, ii7/V7/I7.
New Concept:
Minor ii7b5/V7/i7
Scales and nomenclature.
New Tune:
Blue Bossa. Explain harmony and feel. Eb/Eb/Db/Eb.
Listening:
Blue Bossa Pat Martino and Ray Brown Trio. Girl From Ipanema Getz/Gilberto.
Class Exercises:
Improvising over minor ii7b5/V7/i7 using scales and arpeggios in the Bossa Nova style.
Autumn Leaves, So What, and Sonny Moon For Two.
Assignment:
Learn Blue Bossa.
Compose two minor ii7b5/V7/i7 ideas for Blue Bossa and use them in improvisation next week.
Week 7
Mid term:
Play So What, Sonny Moon For Two, Autumn Leaves.
Review: Blue Bossa with two minor ii7b5/V7/i7 ideas.
Week 8
New Concept:
AABA Form
Discuss standard intros and endings.
New Tune:
Take the A Train
Explain harmony. Lydian and lydian dominant scales.
Listening example:
Take the A Train Oscar Peterson, Clifford Brown and Ella Fitzgerald.
Class Exercises:
Minor ii7b5/V7/i7 and ii7/V7/I7
Improvise on Autumn Leaves, Blue Bossa, Sonny Moon For Two, So What.
Assignment:
rd
th
Learn Take the A Train. Write a solo chorus utilizing 3 and 7 with proper scale material.
Week 9
Spring break
Week 10
Review:
Perform Take the A Train. Critique written choruses.
New Tune:
Satin Doll
AABA form
Explain harmony and function.
Listening:
Satin Doll Joe Pass, Duke Ellington
Class Exercises:
Quick ii7/V7/I7 in context of Satin Doll.
Improvise on Take the A Train, Autumn Leaves, Blue Bossa, Sonny Moon For Two, So What.
Assignment:
Satin Doll
Week 11
Review:
Satin Doll
New Concept:
th
Funky/Straight 8 tunes and Form.
Cantaloupe Island, Watermelon Man, Chameleon.
New Tune:
Watermelon Man
Listening:
Watermenlon Man
Class Exercises:
Improvise on Autumn Leaves, Blue Bossa, Sonny Moon For Two, So What, Take the A Train.
Assignment:
Watermelon Man
Week 12
Review:
Watermelon Man.
Minor ii7b5/V7/i7 and ii7/V7/I7.
New Tune:
Oleo - Rhythm Changes.
Listening:
Oleo Miles Davis and Sonny Rollins.
Class Exercises:
Improvise on Watermelon Man, Autumn Leaves, Blue Bossa, Sonny Moon For Two, So What,
Take the A Train, Satin Doll.
Assignment:
Oleo
Week 13
Review:
Oleo
New Concept:
Discuss gig protocol.
Discuss professionalism.
Discuss communication and leadership as it pertains to the band stand.
Class Exercises: Students call tunes. Direct intros and endings.
Assignment:
Continue to compose, and improvise on the assigned tunes. Develop ii7/V7/I7 vocabulary.
Week 14
Review:
Minor ii7b5/V7/i7 and ii7/V7/I7
New Concept:
Advanced ii7/V7/I7 concepts. ! step dorian and ascending melodic minor over V7 chord.
New Tune:
Summertime
Discuss style variations on Summertime.
Listen:
Herbie Hancock, and George Benson.
Class Exercises:
Improvise on Autumn Leaves, Blue Bossa, Sonny Moon For Two, So What, Take the A Train,
Satin Doll, Watermelon Man.
Assignment:
Summertime
Week 15
Review:
Summertime
All tunes.
Week 16
Final: Comprehensive. All tunes over the semester to be performed.
Week 4
Review:
Perform written solo.
New Concept:
ii7/V7/I7. Piano voicing sheet.
th
th
th
Play/sing major 9 , minor 9 , dominant 9 arpeggios
rd
th
Apply 3 and 7 concept to quick and long ii7/V7/I7.
th
Explain voice leading from Root-7 .
New Tune:
Autumn Leaves Emin. To be learned.
Listening:
Autumn Leaves Tony Bennett.
Class Exercises:
Bb Blues, So What
Assignment:
Autumn Leaves. Compose two quick and two long ii7/V7/I7 ideas in G major. Make copies to
share.
Improvise on So What, Bb Blues,
Week 5
Review:
ii7/V7/I7
Perform ii7/V7/I7 lines.
Improvise on So What, and Sonny Moon For Two.
New Tune:
Autumn Leaves. Explain form.
Explain harmony. How it develops.
Listening:
Autumn Leaves Wynton Kelly
Class Exercises:
Autumn Leaves using ii7/V7/I7 ideas, and G major tonality. Bb Blues, So What.
Assignment:
rd
th
Apply 3 and 7 concept to Autumn Leaves
Week 6
Review:
Perform Autumn Leaves.
Review Form, ii7/V7/I7.
New Concept:
Minor ii7b5/V7/i7
Scales and nomenclature.
New Tune:
Blue Bossa. Explain harmony and feel. Eb/Eb/Db/Eb.
Listening:
Blue Bossa Pat Martino and Ray Brown Trio. Girl From Ipanema Getz/Gilberto.
Class Exercises:
Improvising over minor ii7b5/V7/i7 using scales and arpeggios in the Bossa Nova style.
Autumn Leaves, So What, and Sonny Moon For Two.
Assignment:
Learn Blue Bossa.
Compose two minor ii7b5/V7/i7 ideas for Blue Bossa and use them in improvisation next week.
Week 7
Mid term:
Play So What, Sonny Moon For Two, Autumn Leaves.
Review: Blue Bossa with two minor ii7b5/V7/i7 ideas.
Week 8
New Concept:
AABA Form
Discuss standard intros and endings.
New Tune:
Take the A Train
Explain harmony. Lydian and lydian dominant scales.
Listening example:
Take the A Train Oscar Peterson, Clifford Brown and Ella Fitzgerald.
Class Exercises:
Minor ii7b5/V7/i7 and ii7/V7/I7
Improvise on Autumn Leaves, Blue Bossa, Sonny Moon For Two, So What.
Assignment:
rd
th
Learn Take the A Train. Write a solo chorus utilizing 3 and 7 with proper scale material.
Week 9
Spring break
Week 10
Review:
Perform Take the A Train. Critique written choruses.
New Tune:
Satin Doll
AABA form
Explain harmony and function.
Listening:
Satin Doll Joe Pass, Duke Ellington
Class Exercises:
Quick ii7/V7/I7 in context of Satin Doll.
Improvise on Take the A Train, Autumn Leaves, Blue Bossa, Sonny Moon For Two, So What.
Assignment:
Satin Doll
Week 11
Review:
Satin Doll
New Concept:
th
Funky/Straight 8 tunes and Form.
Cantaloupe Island, Watermelon Man, Chameleon.
New Tune:
Watermelon Man
Listening:
Watermenlon Man
Class Exercises:
Improvise on Autumn Leaves, Blue Bossa, Sonny Moon For Two, So What, Take the A Train.
Assignment:
Watermelon Man
Week 12
Review:
Watermelon Man.
Minor ii7b5/V7/i7 and ii7/V7/I7.
New Tune:
Oleo - Rhythm Changes.
Listening:
Oleo Miles Davis and Sonny Rollins.
Class Exercises:
Improvise on Watermelon Man, Autumn Leaves, Blue Bossa, Sonny Moon For Two, So What,
Take the A Train, Satin Doll.
Assignment:
Oleo
Week 13
Review:
Oleo
New Concept:
Discuss gig protocol.
Discuss professionalism.
Discuss communication and leadership as it pertains to the band stand.
Class Exercises: Students call tunes. Direct intros and endings.
Assignment:
Continue to compose, and improvise on the assigned tunes. Develop ii7/V7/I7 vocabulary.
Week 14
Review:
Minor ii7b5/V7/i7 and ii7/V7/I7
New Concept:
Advanced ii7/V7/I7 concepts. ! step dorian and ascending melodic minor over V7 chord.
New Tune:
Summertime
Discuss style variations on Summertime.
Listen:
Herbie Hancock, and George Benson.
Class Exercises:
Improvise on Autumn Leaves, Blue Bossa, Sonny Moon For Two, So What, Take the A Train,
Satin Doll, Watermelon Man.
Assignment:
Summertime
Week 15
Review:
Summertime
All tunes.
Week 16
Final: Comprehensive. All tunes over the semester to be performed.
So What
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Sample Bass Line:
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Useful Scales:
D min7
b b
b b
b min7
b b b
b b
b7
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b 4
B
b7
? b . b
b
E
C min7 .
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Sonny Rollins
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C min7
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b7
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Useful Scales:
7
Blues Scale
F
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b
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C min7
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Motif #1 - Question # 1
B 7
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Motif # 1 - Question #2
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C min7
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C min7 F 7
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D min7
4.
G7
3.
D min7
D min7
G7
G7
C Maj7
G7
C Maj7
C Maj7
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Autumn Leaves
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B7
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Johnny Mercer
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B7
E min7
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A min7
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G Maj7
Fine
[Autumen Leaves]
Useful Scales:
D7
C Maj7
G Maj7
?#
A min7
55
# m7(b5)
?#
F
59
E min7
#
b7
b7
min7
b
D
D
b
b b b
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b b
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62
A min7
w
?# 4
4
?# w
?# w
A min7
G Maj7
D7
C Maj7
Dw7
G Maj7
C Maj7
D7
G Maj7
C Maj7
?#
13
?#
17
C Maj7
C Maj7
?#
A min7
21
D7
G Maj7
C Maj7
Continue to compose and keep treack of your ideas. Practice them and retain them for use later.
Try using the extended tones within the scale i.e. 9,11,13, and any altered tone on the dominant 7th chord.
Experiment with accented passing tones.
It is OK to use the 1rst and 5th chord tone.
Experiment with rhythmic and stylistic variations.
Analyze the idea below and use them as a vehicle to create your own ideas.
Don't forget to use your ear. It is your greatest crtitc.
G Maj7
C Maj7
n
? # n
25
A min7
D7
? # b n #
#
29
A min7
D7
G Maj7
C Maj7
Medium Bossa
? b b 44
b
D m7(.b 5)
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bb
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bb
10
E m9.
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bb
14
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b
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b
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Blue Bossa
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F m9
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.
J
J .
D m7(b 5)
.
J
.
J
b9
G 7 #5
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[Blue Bossa]
Useful Scales:
? bb
b
C m9
34
F m9
D m7(b5)
(C Harmonic Minor)
b9
G 7 #5
b m9
b 13
D b Maj7
b
b
b
b
b
? b b
b
bb
E
38
D m7(b 5)
? b 4
bb 4
n
D m7(b 5)
? b j # n
bb
D m7(b 5)
G7
G7
C min7
C min7
n b
G7
C min7
? b
bb
n
C Maj7
?4 w
4
C Maj7
D min7
.
?
D7
14
1.
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D 7(# 11)
2.
G min7
.. w
J #.
D 7(# 11)
? # .
fi
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20
# .
D min7
F Maj7
.
D min7
D min7
G7
J .
J
G 7 G 7 (b 9) C Maj7
fi C Maj7
# b b .
G7
D 7(# 11)
# b b
26
C7
D min7 G 7
D
G
?
#
#
28
1.
D min7 G 7
min7
2.
34
G min7 C 7 F Maj7
?
.
.
C Maj7
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G 7 b9
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#
40
D7
D 7(# 11)
D min7
G7
C Maj7
G
C
D
G
D
?
#
#
46
min7
Maj7
min7
D 7(# 11)
D min7
G7
?
# #
C Maj7
53
F Maj7
C7
D7
G min7
57
Common Intros:
Common endings :
? # 4 .
4
?#
?#
?#
13
?#
17
?#
21
. A min7
.
J
1.
.A min7
2.
A min7
A min7
3.
4.
. A min7
5.
D 7
.
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B min7
E min7
G Maj7
D 7
>
G Maj7
D 7
G Maj7
D7
G Maj7
D 7
Piano or Guitar
Band Unison
J .
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A min7
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29
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7.
33
?#
37
A min7
D 7
Bm7. (b 5)
D 7
D7
D7
# m7(b5)
J
E 7
G Maj7
C min7
G Maj7
B m7(# 5)
b 13
.
Satin Doll
? 4 .. .
4
J
D min7
E min7
G7
.
J
A7
D min7
A min7
()
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C Maj7
.
J
A7
.
J
b
b
A min7
D 7
b.
b
.
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G7
D7
Duke Ellington
E min7
2.
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D min7
C Maj7
A7
#
D o7
G
C
G
C
F
w
b
min7
11
A min7
min7
G7
Dwmin7
D7
G min7
Maj7
A min7
D7
E min7
C7
E m7(b 5) A 7
G7
15
? .
J
D min7
G7
D min7
19
A min7 .
23
D7
b min7
b.
.
J
b7
b
.
J
E min7
A7
C Maj7
E min7
.
J
A7
E m7(b 5) A 7
[Satin Doll]
D min7 G 7
D min7 G 7
E min7 A 7
E min7 A 7
A min7 D 7
b
b
A min7 D 7
1.
C Maj7
? ..
b b
27
#
C Maj7 D min7 D o 7
( ) A7
E m7 b 5
34
2.
b
b
A min7 D 7
E min7 G min7 C 7
()
E m7 b 5
A min7 D 7 D min7 G 7
A7
G min7 C 7
F Maj7
G min7 C 7
D min7 G 7 D min7 G 7
E min7 A 7
b b #
41
b
b
E min7
A7
A min7 D 7
A min7 D 7
C Maj7
E m7(b 5)
A7
?
b b b #
48
Useful Scales:
E
A
A
G
#
#
#
D min7
53
? #
D7
b min7
b b
b b b b
min7
b7
b b
min7
b
b
b
C Maj7
m7( b 5)
E
# o7
G min7
C7
F Maj7
? b # # # # #
58
A7
63
F7
? 4 .. b w
b 4
?
?
12
b
b
Watermelon Man
j
j
b w
17
Herbie Hancock
b
B 7
b
b7
b
B
B 7
C7
F7
>
b
b
b j w
F7
C7
Break
F7
b .. . j b
b7
j
j
b
C7
Resume Time
b
B 7
w
b7
j b
.
..
j j
j
j
j
j
b . j b
n b n n
23
b
b
B 7
C7
B 7
F7
j
j
j
?
j
j b ..
b b n n
.
?
F7
C7
C7
28
b7
F Blues Scale b
B
C7
b
b
b n
b
Useful Scales:
F7
33
Oleo
Bebop q=180
b Maj7 G 7 C min7
.
? b 4 ..
b 4
J J
F7 B
Sonny Rollins
1.
2.
b
b
b
b
min7
7
Maj7
7
min7
7
E
A
B
G
C
F
B Maj7
? b
.
J J
J
.
b
J
J
? b
b
D7
G7
C7
10
bMaj7
G 7.
? b
b
J
18
J
C min7
F7 B
F7
bMaj7 G 7
C min7
F7
# n
J
J
b7
b
b
b
b
E min7
A 7
B Maj7
G7
B Maj7
>
? b
J
J J
b
J
J
F min7
22
Fine
[Oleo]
Sample Bass Line:
b Maj7 G 7
? b .. b b
b
26
b
b
E min7
A 7
? bb b
31
? b
b
b n b
D7
35
? b
b
40
b Maj7 G 7
b
b
C min7
F7
b
B Maj7
G7
b
b
b n
F7
C min7
F7
b7
F min7
b Maj7
..
1.
C min7
F7
2.
n b
n b
B b Maj7 G 7
C min7 F 7
b
b
b n
G7
n
b
C7
? b b b
b b
b
b
45
Useful Scales:
b Maj7
G 7 b n n C min7
F7
? b
b
B
51
b7
b min7
b7
b b
B
E
A
b
? b b
b b b
F min7
55
? b n b n
b n w
n
59
D7
Summertime
Style - ???
? b 44
D. w
.
b Maj7
?
b
F Maj7
?
b
12
b ..
E m7(b 5)
D min7
E m7(b 5)
G min7 C 7
min7
A7
George Gershwin
Gw
min7
D min7
b 7 E m7(b5) A 7 D min7
w
F Maj7
E m7(b 5) A 7
Fine
C7
F Maj7B
G min7 C 7
..
b Maj7
D min7
A7
G min7 C7
#
b
18
24
30
F Maj7
B 7
E m7(b 5)
A7
D min7
E m7(b 5)
A7
..
C7
min7
F Maj7
b
Useful Scales:
D min7
bMaj7
b7
m7( b 5)
7
E
A
B
b
?b
34
38
Reference Material
Listening and practice materials can be
found at:
www.michaeltdrost.com/GVSU/listen.html
NOMENCLATURE
LEGEND: " or = raise 1/2 step; or = lower 1/2 step; H = Half Step; W = Whole Step
Because jazz players, composers, educators and authors havent agreed on a common nomenclature for writing chord and scale
symbols, the novice will have to become familiar with several different ways of writing the same scale sound.
Listed below are the most common symbols in order of usage - most-used to least-used. The symbol that is boldface is the one
I use most often. Notice that throughout this book you will see C and C to designate a major chord/scale sound. I am doing
this so you can begin to get better acquainted with various nomenclature.
= Major scale/chord or major seventh (C). A (7) after a letter means to lower the 7th note of the scale, making it a Dominant
7th quality (C7). A dash () when located beside a letter means to lower the third and seventh of the scale 1/2 step, thus making
it a minor tonality (Dorian minor) (C). means half-diminished (C). Cmeans a minor scale/chord with a major 7th. 3
means 3 half-steps (a minor 3rd). A beside a letter means diminished (C = diminished scale/chord).
CHORD/SCALE TYPE
*
*
*
*
C C
C7
DIMINISHED (WHWHWHWH) C D E F G A A B C
C"4
C2
C7"4
C7"
"4
C7aug, C7"5, C7"5
C79
"9
"9
C79"4, C139"11
C7"9
"9"5 "913
C7alt, C79"4, C79"11
"5
C"4
C"5
Cmi, C(Har), C6
WHOLE-TONE (WWWWWWW) C D E F# G# Bb C
I believe in a reduced chord/scale notation that allows our creative side, our natural side (right brain function) to have direction
and guidance without feeling inhibited or limited. When we speak of quality we mean whether it is Major, Minor, Dim., or
whatever. I have tried to standardize the chord/scale symbol notation in my books. Since some have been out many years there
are instances where I may have used a different chord symbol in one book than I used in this one.
I feel the improvisor needs as little notation as possible in order to transcend the actual nomenclature on the page. The more
numbers, letters and alterations that appear on the page, the less chance they will have to remove their thoughts from the
written page and express what is being heard in their mind. That is why I prefer C, C7, C, C, C7"9, C79. Remember, we are
playing a music called jazz, and it contains many altered tones. Once we learn the various alterations and their corresponding
abbreviated chord symbol, why keep writing all the alterations beside the chord symbol? Check out carefully the Scale Syllabus!
Listen to Volume 26 The Scale Syllabus.
Remember: 2nds are the same as 9ths, 4ths are the same as 11ths, 13ths are the same as 6ths. Example: Key of C ... the
2nd, D, is the same as the 9th, D. Often a composer will simply write their preferred name of the scale beside the chord symbol,
such as E (melodic minor), F (phrygian), F (phry).
2010 Jamey Aebersold Jazz All Rights Reserved.
2 Octave Scales
4
&4
&
&
Harmonic Minor
b b
b b
11
&
13
&
16
b n
b
# b
&
18
&
20
b n
MTD
b b
b
b b b
& b
7
&
&
22
Scales 2
b n
&
b
#
27
b n
&
24
b n b n
& b n b n # b n b n b n
Chromatic
30
ii7 - V7 - I7
4
& 4
D m9 G 13 C Maj9
?4
4
ww
ww
? ###
w
www
w
w
b m9 D b 13 G bMaj9
ww
b
b
w
& b b bb w
A
13
? bbb
bbb
b 13 E b Maj9
wwww
F m9 B
19
b
b
& b
? b
bb
ww
ww
G Maj9
B m9 E 13 A Maj9
###
&
A m9 D 13
# m9 B 13
# # # #
F
ww
ww
w
b m9 A b 13 D bMaj9
n b b b b b www
w
E
nbbbbb
C m9 F 13 B
b
n b
b
nb
b Maj9
ww
ww
w
# #
ww
ww
##
E Maj9
####
E m9 A 13 D Maj9
# m9 F # 13
####
#
####
#
B
ww
ww
w
b m9 E b 13 A b Maj9
bb
n b b
bb
nb b
nb
B Maj9
ww
ww
w
G m9 C 13 F Maj9
nb
ww
ww
w
4
&4
C Maj7
5 53fr.
555
C Maj9
5 5 53fr.
55
www
ww
ww
ww
w
5555
C6
5
5 55
2fr.
5
555
& b wwww
7
C 7(# 9)
555
bw
& b ww
w
15
C7
C9
5 5 53fr.
55
5 5 555
w
b www
w
C 7(b5 b9)
5 5 5 55
w
b ww
ww
C 7sus4
x
b b b www
ww
5 5 55
w
b ww
ww
5 55
w
b ww
w
b b b www
ww
# ww
w
ww
5 5 55
#w
b ww
w
5 5 55 52fr.
55555
w
b www
w
5 5 5 5 52fr.
C 9(# 5)
C 9(# 11)
C 9sus4
55555
ww
b ww
w
#w
b ww
ww
C 7(b5# 9)
5 5 53fr.
55
C 11
5 5 55 5
10fr.
ww
ww
w
C 7(# 11)
C 13
MTD
C Maj9#11
5 55 55
ww
ww
w
ww
ww
[Dominant
C7
6
9
#w
b ww
ww
C 7 (b 9)
x
b b ww
ww
C 13(b5)
5 5 55
w
w
b
b ww
w
5555
5 5 53fr.
55
b www
& ww
23
C m(maj7)
5 5 5 53fr.
5
b www
& ww
29
C min7
5 5 5 53fr.
5
b b www
w
C m7 (add11)
5 55
55
w
b ww
b ww
C min7
C min 9
C min6
5 555
5 55
5 555
x x
w
b b ww
w
C m7(# 5)
5x 5 553fr.
b b # www
w
MTD
b ww
b ww
x x
5555
b b b www
w
b ww
w
w
# 11
C 7#9
55555
3fr.
b b # www
ww
[Minor&Diminished
C min
C min9
5
5 55
ww
b ww
C o7
5555
bw
b www
5 5 5 53fr.
55
ww
& www
w
G Maj7
G Maj9
5 55 5 3fr.
5
5 55 5
w
w
# ww
w
w
# ww
w
5 555
w
& ww
w
9
G 7(# 9)
5 5 5 3fr.
5 55
b ww
& www
w
16
[Minor
G min
5 5 5 53fr.
55
ww
& b www
w
23
G m(maj7)
5x 5 5553fr.
ww
& # b ww
w
28
G9
5x 5 5
55
ww
ww
w
ww
w
ww
G 7(b5 b9)
x
5 555
5 555 55
b9
bw
# ww
w
w
G 7sus4
5 5 55
55
# b www
w
w
G min7
ww
w
ww
w
G min9
5 555
G m9(maj7)
G m7(# 5)
b www
w
5x 5 55
ww
# b ww
w
3fr.
5 55 5
b # www
w
MTD
ww
ww
w
w
G 7 ( b 9)
5 5 5 5 53fr.
5
5 5 55
bw
ww
ww
w
b ww
w
w
ww
w
w
G 9sus4
5 5 5 3fr.
555
ww
w
ww
w
5 5 55
5 5 5 553fr.
5
G 7 b13
w
b www
w
G7
# ww
ww
ww
# www
w
G min6
25x333
5554
5
5 555 5 5
5
5 55
# ww
w
w
5 5 555
5 5555
5 55 5
5 555
G 7 #5
G Maj7 69
G 11
3fr.
G Maj7(#11)
ww
ww
ww
G 7 #11
G 13
55555
ww
w
w
[Dominant&Diminished
G7
G6
MTD
6
9
b ww
w
w
5 55 5
b b www
w
G 9(# 11)
G 13(b5)
5555
5 5 5 55
55
ww
w
b ww
w
# ww
w
ww
G min9
x
5 555
w
b ww
w
w
2fr.
G o7
x
5 555
b b ww
w
w
3fr.
MTD
b7
? b 4
b
n
b 4
Linear
Arpeggio
i-V
1/2 Step
b
b
E 7
B 7
b n
? b
b
b
5
Arpeggio
Linear
1/2 Step
1/2 Step
Linear
i-V
b
b
7
7
7
F
E
A
b b
? b n
b ..
b
b
B
i-V
1/2 Step
i-V
1/2 Step
i-V
Arpeggio
MTD
Style
Key
Latin
Ballad
Swing
Latin/Swing
Swing
Swing
Blues
R&B
Swing
Ballad
Swing
Ballad
Ballad
R/C
Swing
Swing
Blues
Swing
Swing
Swing
Bossa
Bossa
Ballad
Blues
Blues
Blues
Ballad
Latin
Latin
Latin
Rock
Swing
Swing
Bossa
Swing
Swing
Swing
Swing
Swing
Swing
Swing
Ballad
Blues
Swing
Blues
Swing
Swing
Blues
Emin
Bb
F
Dmin
Fmin
C
G
Dmin
C
Eb
Ab
Dmin
Cmin
Bb
C
Eb
F
Fmin
Emin
Dmin
Amin
Cmin
Bb
Bb
Cmin
F
Db
D
Fmin
Emin
Bbmin
Bb
F
C
Ab
Bb
Eb
G
F
C
Ab
C
Cmin
Eb
Cmin
Eb
Gmin
Bb
Rating
4
1
2
2
2
3
1
3
1
3
3
2
2
3
3
2
2
3
1
2
1
1
4
1
1
3
3
4
2
3
1
3
3
2
1
4
3
3
2
4
3
1
1
4
2
3
3
1
Bossa
Ballad
Swing
Bossa
Ballad
Latin/Swing
Swing
Swing
Swing
Bossa
Swing
Swing
Ballad
Swing
Swing
Ballad
Swing
Latin
Swing
Swing
Swing
Rock
Swing
Swing
Swing
Swing
Ballad
Latin
Blues
Ballad
Swing
Ballad
Ballad
Ballad
Swing
Swing
Blues
R/C
Bossa
Swing
Swing
Swing
Ballad
Latin
Latin
Swing
Swing
Bossa
Swing
Amin
F
B
F
Ab
C
Eb
F
G
Dmin
C
Eb
F
Dmin
Bb
Dmin
Bb
Cmin
Eb
C
Gmin
Bbmin
F
G
C
Fmin
Db
F
Cmin
Eb
Emin
Bb
Cmin
C
Bb
C
F
Bb
Bb
G
G
F
C
Gmin
Amin
C
F
G
Dmin
1
3
4
2
4
2
2
2
2
2
1
2
3
2
2
3
3
4
2
2
1
3
3
2
1
2
4
2
1
1
3
3
2
3
2
2
2
1
2
3
2
2
4
2
3
1
2
2
1
Swing
Ballad
Swing
Latin
Latin
Swing
Swing
Blues
Swing
Swing
Swing
Swing
Rock
Swing
Rock
Latin
Ballad
Swing
Ballad
Latin
Cmin
Db
Bb
Fmin
G
Bb
Cmin
F
C
Bb
Eb
Eb
F
Bb
F
D
Amin
C
F
C
3
2
2
2
4
3
2
2
1
2
3
2
2
4
2
3
2
2
2
3