iSpeak Jazz

Volume 1 - The Basics

A Method for Authentic Jazz Improvisation

AudioBook
by Wayne McConnell

In dedication to the memory and music of James Williams and to every

student of the Jazz Tradition.
Keep the music in your head and your head outta the music!
-James Williams

Table of Contents
Audiobook Track Listings/Musical Examples
Acknowledgments
How to Use This Audiobook
Chapter 1 - Components of Melodic Architecture
1.1 Chapter Introduction
1.1
Hearing Arpeggios
1.1x Introduction
a. Thirds and Sevenths
b. Chord Quality
c. Chord Extensions
d. Choose a Note to Start On
1.2-
Hearing Scale Fragments
a. Introduction
b. What is a Scale Fragment?
c. Scale Quality
d. Starting Notes
e. Scales in Thirds
1.3-
Hearing Chromatic Notes
a. Introduction
b. Chromatic Notes in Arpeggios
c. Recognising Chromatic Notes
1.4 -
Hearing Chord Extensions and Alterations
a. Major Chord Extensions
b. Major Chord Alterations
c. Minor Chord Extensions
d. Minor Chord Alterations
e. Dominant Chord Extensions
f. Dominant Chord Alterations
1.5 - Chapter Summary

Acknowledgments
There are many people, without whom this book wouldnt be possible. Enormous thanks to
Mike Guest for his endless support to the School and myself over the years. His technical
wizardry for all things audio/video and graphics have made things a much brighter and clearer
place. Your contributions to the Jazz School will remain with me, and the students, forever.
Huge thanks for the immensely talented Kate Hogg whose saxophone playing on this project is
exemplary. Thank you for your constant stream of ideas and creativity. Im very proud to
have you as a tutor at Brighton Jazz School.
Thank you; The Brighton Jazz Scene. Too many people to mention but thank you to everyone
who contributes to the amazing scene we have here; fellow musicians, supportive audience
members, the Sussex Jazz Mag and two wonderful venues: The Brunswick in Hove and the
Verdict Jazz Club.

Thank you to students of Brighton Jazz School and the University of Chichester; jazz is safe.
Thank you to my colleagues at the University of Chichester, in particular, Nick Reynolds
whose energy for teaching knows no limits.

For inspiration and guidance: James Williams, Mulgrew Miller, Geoffrey Keezer. Joe Locke,
Ahmad Jamal, Aaron Goldberg, Phineas Newborn Jr, and Christian McBride.
Special thanks to my family; Mum, Dad for allowing me the opportunity to study music and for
constant encouragement and for my first keyboard and piano.

I dedicate this book to my beautiful wife Prim for endless support and love. Your courage,
determination and selflessness never cease to amaze me. Thank you for always being there.

How to Use This Audiobook

Welcome to iSpeak Jazz - A Method for Authentic Jazz Improvisation. This audiobook is
meant to be used in a similar way to audio language books where you listen, copy and repeat.
There is a vast hole in jazz education or jazz learning. The most important aspect of it is
getting lost and replaced with theoretical concepts. I used to think that knowing more theory
would allow me to be more expressive and achieve a higher level of proficiency. Over the
years, I have realised that theory is not the key to this. The answer is simple, it's being able
to hear more. That really is it. There is no secret. If I listen to jazz that inspires me before I
play, I play better. That in itself is enough evidence to know that this music is about vibe and
spirit. I want to be clear though, it is essential that you know the fundamentals of western
music; major, minor, dominant chords, major scales, melodic/harmonic minor scales and
alike. It also requires you to have some level of proficiency on your instrument. If you are a
beginner on your instrument, I highly recommend getting some classical lessons to learn your
instrument. The material in this audiobook will teach you how to construct melodies or lines
that are rooted in authenticity. It will all be done through listening and copying because
there really is no other way. The first Chapter will cover how to hear the basic components
that make up jazz lines and must NOT be skipped. This is where a lot of the ground-work is
done, it will open up your ears and allow you to hear in greater detail. Chapter 2 will take
you through how to hear and learn a simple jazz line the correct way. Think of it as a
walkthrough; a solid methodology that will set the precedence for the rest of the book. The
first part of the third chapter will be your first try at learning a lick on your own and the
second half will show you how to transpose it into all 12 keys. The fourth chapter will contain
three more lines increasing in complexity and are to be transposed into all 12 keys. Any
transposing should be done with a combination of architectural knowledge of the line and by
ear. As your ear gets better, youll be able to rely more on your ear. Eventually, the idea is
that you bypass almost all thought processes from your left brain. In order to achieve the
vibe and spirit discussed earlier, jazz must be approached from a right brain, gut instinct
perspective. The more you can hear, the more you can let go and the more you can be free.
This booklet contains additional material that best represents itself as visual aids rather than
spoken and is therefore useless unless you have the main audio. Please take the CD or have
access to the audio files wherever you go. Remember, you can do a lot of practise without
your instrument. Let's get started.

Chapter1ComponentsofMelodicArchitecture
When we hear the great players improvise, we hear a combination of the uniqueness
of their sound and their inner musical world. How they construct melody is a result of
what music they have been influenced by. One player might be more bluesy and
soulful like Stanley Turrentine and another might be more lyrical and spacious like
Paul Desmond. What can be said though is that all musical ideas in jazz contain
arpeggios, fragments of scales, chromatic notes and more advanced things like
specific intervals (quartal), exotic scales such as the diminished, altered or whole
tone scale. The latter two components will be explored in a further series of this
book. This volume and chapter will deal with first three; Arpeggios, Scale Fragments
and Chromatic Notes. Most jazz books start by saying that this scale goes with this
chord. One cannot argue that those facts are correct. The D Dorian Scales offers a
good solution to what notes you can use on a Dm7 chord, for example. The issue
comes when students try to improvise using that scale. Very rarely do you hear the
great players use an entire scale and yet books tell us to practise scales up and down
religiously. No matter how many times you play the scale, it wont make you a better
improviser. Scales are important for technical development but they really should
not be used as the sole solution to improvisation, especially as the alternative offers a
quicker and more natural method to improvising. Rather than using musical theory as
a basis of improvisation, we must use the vocabulary that the great players left
behind as the basis of our own creativity. The truth is, musicians and audiences can
tell the difference between someone who uses scales to improvise vs someone using
key, historical components. The latter will sound more authentic, more jazz.

1.1HearingArpeggios
An arpeggio is simply the notes in a chord played one after another. They can ascend
through the chord or descend.
1.1a 1 - Ascending C major Arpeggio (Straight Feel)
1.1a 2 - Ascending C Major Arpeggio (Swing Feel)
1.1a 3 - Descending C major Arpeggio (Straight Feel)
1.1a4DescendingCmajorArpeggio(SwingFeel)

Thirds and Sevenths

As you listen to the arpeggios, listen out for the 2nd and 4th notes. These notes are
the thirds and sevenths of the chord. These two notes are very important because
they tell you if the chord is major, minor or dominant. Because ultimately we want
to be improvising across the chords in a horizontal fashion, you will need to be able to

connect thirds and sevenths through the chords.

Knowing where they are on all
chords is essential.
We will come back to this area later on.

Chord Quality
Chord Quality is a term used to describe whether a chord is major, minor or dominant. Since
there are five main types of seventh chord, we can have arpeggios of different quality: Major,
Minor, Dominant, Half Diminished and Fully Diminished. By learning the sound of the chord
qualities, not only are you hearing the chords but you are also learning shapes that will be
useful for improvisation.
1.1b
1.1b
1.1b
1.1b
1.1b
1.1b
1.1b
1.1b

1
2
3
4
5
6
7
8

- Cm7 Arpeggio (Straight Feel)

- Cm7 Arpeggio (Swing Feel)
- C7 Arpeggio (Straight Feel)
- C7 Arpeggio (Swing Feel)
- Cm7b5 Arpeggio (Straight Feel)
- Cm7b5 Arpeggio (Swing Feel)
- Cdim Arpeggio (Straight Feel)
- Cdim Arpeggio (Swing Feel)

Chord Extensions
and Alterations

Once you are familiar with the five types of arpeggio in most or all keys, you can start
to add in some chord extensions. So far our arpeggios have stopped on the 7th. Jazz
utilises a lot of upper extensions; 9ths, 11ths, 13ths and alterations of them # or b9,
#11, b13. Listen to the following musical examples and try to identify what effect the
extensions and alterations have on the sound of each arpeggio. At this stage, do not
think too much about the mathematics of it and concentrate on the sound. We will
be spending a great deal of time on Extensions and Alterations later on.
1.1c
1.1c
1.1c
1.1c
1.1c
1.1c
1.1c
1.1c
1.1c
1.1c
1.1c
1.1c
1.1c
1.1c
1.1c

1 - Cmajor Arpeggio to the 9th (Straight Feel)

2 - Cmajor Arpeggio to the 9th (Swing Feel)
3 - Cmajor Arpeggio to the #11th (straight Feel)
4 - Cmajor Arpeggio to the #11th (Swing Feel)
5 - Cminor Arpeggio to the 9th (Straight Feel)
6 - Cminor Arpeggio to the 9th (Swing Feel)
7 - Cminor Arpeggio to the 11th (Straight Feel)
8 - Cminor Arpeggio to the 11th (Swing Feel)
9 - C7 arpeggio to the 9th (Straight Feel)
10 - C7 arpeggio to the 9th (Swing Feel)
11 - C7 arpeggio to the b9th (Straight Feel)
12 - C7 arpeggio to the b9th (Swing Feel)
13 -C7 arpeggio to the #11th (Straight Feel)
14 -C7 arpeggio to the #11th (Swing Feel)
15 - C7 Arpeggio to the (incl #11) 13th (Straight Feel)

1.1c 16 - C7 Arpeggio to the (incl #11) 13th (Swing Feel)

1.1c 17 - C7 Arpeggio to the b13 (Straight Feel)
1.1c 18 - C7 Arpeggio to the b13 (Swing Feel)

Starting Arpeggios on Different Notes

Arpeggios do not always have to start on the root, in fact, they sound great when they
start on the seventh (a semitone below the root), it makes it sound like there is a
chromatic note or a pickup note. Listen to all the examples numerous times so you
can get the feel of the arpeggios starting on different notes.
1.1d
1.1d
1.1d
1.1d
1.1d
1.1d
1.1d
1.1d
1.1d
1.1d

1 - C Major Arpeggio to the 9th starting on the 3rd (Straight Feel)

2 - C Major Arpeggio to the 9th starting on the 3rd (Swing Feel)
3 - C Major Arpeggio to the 9th starting on the 5rd (Straight Feel)
4 - C Major Arpeggio to the 9th starting on the 5rd (Swing Feel)
5 - C Major Arpeggio to the 9th starting on the 6th (Straight Feel)
6- C Major Arpeggio to the 9th starting on the 6th (Swing Feel)
7 - C Major Arpeggio with the 9th starting on the 7th (Straight Feel)
8 - C Major Arpeggio with the 9th starting on the 7th (Swing Feel)
9 - C7 Arpeggio starting on the b9 (Straight Feel)
10 - C7 Arpeggio starting on the b9 (Swing Feel)

1.2HearingScaleFragments
As I said, there are plenty of books out there that describe scale theory as the
be-all-and-end-all for jazz improvisation. Jazz theory books often use it as a starting point.
This is so fundamentally wrong and puts people on the wrong path. Great music occurs not
from knowing scales but from knowing how to make good melody by know how and when to
resolve lines. It is true, scales are important, they are a good foundation of technical skill
and they show you what notes you have available to you on any given chord. That IS useful
stuff. But many students think that if they learn scales, they will be able to improvise with
fluidity and authenticity. They quickly find out it's not as easy as that and they end up
discouraged. Let me say this IT IS VERY IMPORTANT TO KNOW, AT LEAST, YOUR MAJOR
SCALES. From on improvisation perspective it is important to recognise scale fragments.
When you listen to the grand masters play, youll notice pretty quickly that they hardly ever
use complete scales (unless it is a run rather than a melodic line). They will use parts of the
scale. This section is all about hearing scale fragments.
In the following examples, you will hear scale fragments played on the saxophone. A scale
fragment is simply a fragment of the scale, it could be four notes which is what you will hear

in the examples but try making up your own. Just to be on the safe side, lets first hear a
scale:
The chances are, the C major scale is probably the first scale you learnt on

your instrument. The scale will be played in a straight feel and swing feel and you
you also hear the scale descending too.
1.2a 1 - C Major Scale (Straight Feel)
1.2a 2 - C Major Scale (Swing Feel)

1.2a Scale and Scale Fragments

A scale fragment is what it says on the tin, its a part of the scale. It could be
between three or seven notes and just with arpeggios, scale fragments can take the
shape of any chord quality: major, minor and dominant. The following examples are
scale fragments of C major. There is space left in the recording for you to sing back
the fragments in a call and response fashion.
1.2a 3 - C Major Scale Fragments in Sequence Ascending and Descending (Straight Feel)
1.2a 4 - C Major Scale Fragments in Sequence Ascending and Descending (Swing Feel)
1.2a 5 - C Major Scale - 4 Note Fragments (Randomised) Call and Response from the 4th
(Swing Feel)
1.2a 6 - C Major Scale - 4 Note Fragments Descending from the 4th (Straight Feel)
1.2a 7 - C Major Scale - 4 Note Fragments Descending from the 4th (Swing Feel)
1.2a 8 - C Major Scale - 4 Note Fragments (Randomised) Call and Response (Straight Feel)
1.2a 9 - C Major Scale - 4 Note Fragments (Randomised) Call and Response (Swing Feel)
1.2a 10 - C Major Scale - 4 Note Fragments (Randomised) Call and Response from the 4th
(Straight Feel)

1.2b - Scale Fragment Quality

Here are some more that use different qualities; major, minor and dominant.
1.2b
1.2b
1.2b
1.2b
1.2b
1.2b
1.2b
1.2b
1.2b
1.2b
1.2b

1 - C Dorian Scale (Straight Feel)

2 - C Dorian Scale (Swing Feel)
3 - C Dorian Scale Fragments Ascending in Sequence (Straight Feel)
4 - C Dorian Scale Fragments Ascending in Sequence (Swing Feel)
5 - C Dorian Scale Fragments Descending in Sequence (Straight Feel)
6 - C Dorian Scale Fragments Descending in Sequence (Swing Feel)
7 - C Mixolydian Scale (Straight Feel)
8 - C Mixolydian Scale (Swing Feel)
9 - C Mixolydian Scale Fragments Ascending in Sequence (Straight Feel)
10 - C Mixolydian Scale Fragments Ascending in Sequence (Swing Feel)
11 - C Mixolydian Scale Fragments Descending in Sequence (Straight Feel)

1.2b 12
1.2b 13
Feel)
1.2b 14
1.2b 15
Feel)
1.2b 16
Feel)

- C Mixolydian Scale Fragments Descending in Sequence (Swing Feel)

- C Mixolydian Scale - 4 Note Fragments (Randomised) Ascending (Straight
- C Mixolydian Scale - 4 Note Fragments (Randomised) Ascending (Swing Feel)
- C Mixolydian Scale - 4 Note Fragments (Randomised) Descending (Straight
- C Mixolydian Scale - 4 Note Fragments (Randomised) Descending (Swing

You can also try starting on different notes within any scale. Use this as a jumping off
point for your own creativity.
Scales in Thirds
Good melody has melodic structure and it has connectivity. What do I mean by connectivity?
Each note in your phrase must be there for a reason, nothing can be thrown away, it's like
speaking, the best speakers do away with waffle and are concise and clear. That is how you
want your improvisations to be. This is why you cannot use theory to create lines because
theory does not deal with connectivity. Good connectivity is when you listen to a line and the
logic of it is so strong that you can sing the next phrase (more or less) before it is played.
There are many ways of doing this but to start with, we will look at scales or scale fragments
in thirds. We will come back to the subject of connectivity later on. Scales in thirds is simply
playing a scale or scale fragment skipping up to the note a third up. It's actually easier to
hear than to explain so have a listen:

1.2d 1 - C Major Scale in 3rds (Straight Feel)

1.2d 2 - C Major Scale in 3rds (Swing Feel)

1.3HearingChromaticNotes
Chromatic Notes are not just random notes that cant be accounted for. They are notes that
enhance the melodic components to propel the music forward. Chromatic notes can be
applied to both arpeggios and scale fragments to make them more interesting. First we need
to be able to identify the sound of the chromatic notes. A chromatic note will sound like a
note that isnt in the chord. Let's have a listen to the chromatic scale as a starting point:

1.3a 1- Chromatic Scale on C (Straight Feel)

1.3a 2 - Chromatic Scale on C (Swing Feel)

The chromatic scale on its own is instantly recognisable, it has a ladder type sound you would
rarely hear it played in its entirety. Its use in jazz is usually more subtle. Lets try and hear it
on an arpeggio.

1.3b
1.3b
1.3b
1.3b

1
2
3
4

C
C
C
C

Major
Major
Major
Major

Arpeggio
Arpeggio
Arpeggio
Arpeggio

with
with
with
with

a
a
a
a

Chromatic
Chromatic
Chromatic
Chromatic

note
note
note
note

below the 3rd (Straight Feel)

below the 3rd ( Swing Feel)
above the 3rd (Straight Feel)
above the 3rd (Swing Feel)

It is important to be able to recognise that this is still an arpeggio with a funny note or a
note that doesnt really belong to the arpeggio. The chromatic note adds depth to the
arpeggio, it breaks up the predictability of the arpeggio and also adds tension which resolves
once you get back inside the arpeggio. Try this on the remaining notes in the arpeggio (the
5th and 7th) and then try it on minor and dominant chords.

1.4HearingChordExtensionsandAlterations
We are going to learn how to hear chord extensions and alterations. I remember a
time when I was visiting James Williams in NYC and I went up to his office overlooking
Times Square to find him listening to the vocal group Take 6. He proceeded to ask me
questions did you hear that sharp 11, ohhh yeah, #9th, how about that b13. I
remember thinking to myself, wow, how amazing that he can hear all of that detail in
real-time. I thought he had superhuman powers. In many ways he did but it is
possible to get to this level of hearing. Now, much later on, I am able to hear the
same things that he was describing.
Dont be scared off by the mathematics of chord extensions/alterations. You can
eventually learn the numbers (#11, b13 etc) but first, you must be able to recognise
how they sound. If you approach this from a theoretical perspective, it seems really
difficult. If you approach it in the way that we do things, itll be nothing more than
an extension of happy and sad.
In the examples you will hear the chord on piano and the extension or alteration on
the piano. Encourage them to listen multiple times and to sing the
extensions/alterations.
Here is a visual aid to help you remember which extensions and alterations are
acceptable on which chords. N/A indicates enharmonic spelling, Ive chosen the most
commonly named alterations in all cases.

Extensions

6th

9th 11th

13th

Major 7th

n/a

Minor 7th

n/a

Dominant 7th

n/a

Alterations

b5

#5

#7

b9

#9

#11

b13

Major 7th

n/a

Minor 7th

n/a

Dominant 7th n/a

n/a x

We need to be able to hear the effect of all of these extensions and alterations so
that we know when and where to use them. Its like fine-tuning a recipe, too much
salt, garlic, chili or oil can ruin a dish. Each extension and alteration can drastically
change the flavor of the chord so you need to fully understand the effect of each
one to use them creatively. We will go through each chord type with the accepted
extensions followed by the alterations.
1.4a Major Chord Extensions
The humble major seventh chord is usually associated as being a happy, bright sound
but adding alterations can change this albeit subtly. Have a listen to the following
extensions and make a note of what each one does to the chord.
1.4a - 1 Cmaj7 chord on piano with sax playing 9th
Usually if you see the chord symbol Cmaj7 you would expect the pianist or guitarist
to voice it with a 9th. The 9th is assumed because we are playing jazz which is
supposed to be harmonically rich.
1.4a 2 - Cma6 chord on piano with the sax playing the 6th
The 6th usually replaces the 7th and therefore the chord symbol is altered to Cmaj6
from Cmaj7.

You can combine the 6th and 9th together and that sounds like this:
1.4a 3 - Cmaj6-9 chord on piano with the sax playing 6th and the 9th
1.4a 4 - Cmaj Shimmering chord on piano with the 6th and 9th on Sax
Ultimately, when we improvise, we want to have these notes both at our fingertips
and in our mind so we can hear them without playing them first. You are about to
hear an example where the saxophone plays random notes of the extensions and 3rds
and 7ths. See if you can identify them.
1.4a 5 - Cmaj7 Shimmering Chord with sax playing 6th 9th and 3rd and 7th
1.4b Major Chord Alterations

#11th
The first important alteration on a major chord is the #11th. The #11 is used because
the natural 11th (or the 4th) is a highly dissonant note. Some people call it the
avoid-note but I think thats a bit harsh. The reason for the dissonance is because it
is a semitone away from the 3rd. As we know the 3rd of any chord is a very important
note. In this case, it sounds dissonant because there is another note at the closest
proximity possible and thus producing a repelled sound. Have a listen to the #11th on
a major chord.
1.4b 1 - Cmaj7 #11 chord on piano #11 on sax
#5th
How to make your major chords dark and angry? Add a sharp 5th. Use with caution
but enjoy the slightly unnerving feeling of playing a major seventh with undertones of
gnarl.
1.4b 2 Cmaj7#5 with sax playing #5
#11th and #5th
For some truly inspiring sounds reminiscent of Olivier Messiaen, heres what happens
when you combine the #11th and #5th.
1.4b 2.2 - Combining the #5 and #11
In the next example you will hear a sustained (shimmering) chord in the piano with
the saxophone alternating between the #5th and the #11th.

1.4b 3 - Cmaj7#5#11 Shimmering chord and the #5 and #11 on Sax

Now let's hear this combination with the saxophone adding in 3rds and 7ths. Hear
how the 3rds and 7ths tame the #5th and the #11th somewhat.
1.4b 4 - Cmaj7#5#11 Shimmering chord and the #5, #11, 3rd and 7th on Sax
Its very easy to create some very beautiful melodies with these notes. Give it a go
yourself.
1.4c Minor Chord Extensions
9th
The 9th on all chords adds a bit of depth and richness to the chord (beit major, minor
or dominant). Have a listen to it and make up your own mind.
1.4c 1 - Cm7 Chord on Piano with 9th played on Sax
11th
Adding in the 11th to a minor chord gives it a more contemporary sound.
1.4c 2 - Cm7 Chord on Piano with the 11th played on Sax

6th
The minor 6th chord usually replaces the Minor 7th chord and has darker sound to it.
The 6th also replaces the 7th hence changing the chord symbol to: Cm6.
1.4c 3 - Cm7 chord on piano with the 6th played on sax
Combined Extensions
Lets listen to all of these extensions combined;
1.4c 4 - Cm7 Shimmering chord on piano with sax playing the 6th, 9th and 11th
Now lets add in the 3rds and 7ths;
1.4c 5 - Cmin7 shimmering sax playing 6, 9 and 11th plus the 3rd and 7ths
1.4d Minor Chord Alterations
b5
The Minor 7 b5 is also called the half diminished chord. This is the first chord in a a II-V-I
progression but more on that later.
1.4d 1 - Cm7b5 Chord with sax playing the b5
1.4d 2 - Cm7b5 Shimmering Chord with sax playing the b5
1.4d 3 - Cm7b5 Shimmering with sax playing the b5 and 3rds and 7ths

#7th
The Minor Major Sound

Technically the
#7th but widely known as the minor/major chord. This chord offers a
dark and rich sound, great for the last chord in a minor key. Have a listen, images of
James Bond will soon follow.
1.4d 4 - CmMaj7 Chord with sax playing the major 7th
1.4d 5 - CmMaj7 Shimmering chord with sax playing maj7th

#7th + 6th - The Minor Major 6th

You can add even more darkness to the minor major chord by adding in the 6th. You
can also swap this around and play a major 7th against a minor 6th chord. Let's hear
that first;
1.4d 6 - Cm6 Chord with the sax playing the maj7th
Next you will hear a minor major chord with the 6th played on the saxophone.
1.4d 7 - CminMaj7 Shimmering Chord with the sax playing the 6th
Combinations + 3rd
You will now hear all of the combinations plus the third.
1.4d 8 - CmMaj6 Shimmering Chord with sax playing the maj7 maj6th and 3rd
1.4e Dominant Chord Extensions
Dominant chords are the must alterable and usually contain extensions as a given. We will
go through all the extensions available first.
9ths and 13ths
Again, adding the 9th is almost expected to add a basic level of richness and the same goes
for the 13th. Adding the 13th gives dominant chords a bit more bite. Have a listen.
1.4e 1 - C7 Chord with the sax playing the 9th
1.4e 2 - C7 Chord with the sax playing 13th
1.4e 3 - C7 Shimmering Chord with sax playing 9ths and 13ths
9ths and 13ths + 3rds and 7ths
Once again, adding in the 3rds and 7ths will ground the overall sound. As you listen to the
next example, try and sing some melodies with the notes you are hearing

1.4e 4 - C7 Shimmering Chord with sax playing 9ths, 13ths and 3rds and 7ths
1.4f Dominant Chord Alterations
Since dominant chords are like little doors into other areas of tonality, they can hold a lot of
the tension and therefore dissonance. Dissonance is a subjective word and what sounds
dissonant to one person will sound totally fine to another. Dont forget that dominant chords
usually resolve (usually on the next chord) so all of the tension gets dissipated. Given that,
we are able to beef up dominant chords more than any other chord type. Here are the
alterations in all of their glory.
b9
The b9 sound is usually associated with the diminished chord. Im not going to get too heavily
into that now as we will be covering this in another volume. Have a listen to to it and youll
see what I mean about the diminished sound.
1.4f 1 - C7b9 Chord with Sax playing the b9th
1.4f 2 - C7b9 Shimmering Chord with Sax playing the b9th
1.4f 3 - C7b9 Shimmering Chord with Sax playing b9th and 3rds and 7ths

#9
The #9 sound is often associated with a bluesy or funky sound. Guitarists might
recognise it as the Jimi Hendrix chord. In jazz we associate the #9 chord with the
altered scale. Again, dont worry about that now, well cover that later on.
1.4f 4 - C7#9 Chord with Sax playing the #9
1.4f 5 - C7#9 Shimmering Chord with Sax playing the #9
1.4f 6 - C7#9 Shimmering Chord with Sax playing the #9 and 3rds and 7ths

#11
The dominant chord with a #11 is called the Lydian Dominant. In fact, Lydian is a
word used to describe any kind of #11 sound.
1.4f 7 - C7#11 Chord with Sax playing the #11
1.4f 8 - C7#11 Shimmering Chord with the Sax playing the #11
1.4f 9 - C7#11 Shimmering Chord with the Sax playing the #11, 3rds and 7ths
b13
This alteration is associated with the whole-tone scale. A lot of people associate this scale
with the sound of being hypnotised or that it is a dreamy sound. Have a listen for yourself.
1.4f 10 - C7b13 Chord with Sax playing the b13th

1.4f 11 - C7b13 Shimmering Chord with the Sax playing the b13th
1.4f 12 - C7b13 Shimmering Chord with the Sax playing the b13th and the 3rds and 7ths
The Altered Sound
There is a special type of dominant chord in jazz called the altered dominant. It refers to a
chord that has a combination of alterations and goes with the altered scale. The scale
contains all of the alterations combined. More on the scale later but for now, have a listen to
each of the alterations played over an altered chord in the piano.
1.4f 13 - C7alt Shimmering chord with Sax playing all of the Alterations #
1.4f 14 - C7alt Shimmering Chord with Sax playing all Alterations plus the 3rds and 7ths

1.5 Chapter Summary

Congratulations, you have made it through the first chapter of the audiobook. It is
perhaps the most technical chapter of all. Hopefully now, you understand why it is so
important to be able to hear the individual components before rushing in and
attempting to decipher the line. This chapter has hopefully set the precedence for
the remaining chapters in the book. We will approach new concepts in this way;
breaking them down into manageable, bite sized components so that we can fully
understand the architecture. It is important that you dont skip any of the steps and
be sure to master each part before moving on.
In the next chapter, Ill be putting your listening skills to the test. Ill take you
through, step by step, how to listen to and identify the components in an improvised
jazz line.