Introduction to Jazz Style,

Improvisation, and Small Combo

Performance

Professor Michael Drost

drostm@gvsu.edu

Introduction to Jazz Style, Improvisation and Combo

Performance
Week 1
New Concept:
Introduction to jazz style
Swing style doo Va etc.
Nomenclature
Form
Basics of chord-scale relationships as it pertains to So What
New Tune:
So What
Listening Example:
So What Miles Davis, Erika Badu.
Class Exercises:
Practice scale and arpeggio over Dm7/Ebm7.
Improvise on So What
Assignment:
Practice improvising on So What using the dorian scale.
Week 2
Review:
So What utilizing the dorian mode. Focus on form, style, intonation, use of dorian mode.
New Concept:
Chord structure and theory: Major 7, minor 7, dominant 7, half-diminished 7, augmented 7,
diminished 7.
Scale and chord relationships: Major, minor, dominant, modes of major, the blues scale.
New Tune:
Sonny Moon For Two. The Blues: Form, style, question answer. Evolution from I, IV, V.
Listening Example:
Pride and Joy SRV, Sweet Home Chicago, and Sonny Moon For Two Sonny Rollins.
Class Exercises:
Improvise on Bb Blues using ?/?/answer concept. Continue improvising on So What.
Assignment:
Practice improvising on blues using ?/?/answer concept with blues scale. Sonny Moon For Two.
Week 3
Review:
Bb Blues and So What.
Review chord-scale relationship.
New Concept:
Play and sing major, minor scales, dominant scales, bebop scale and arpeggios.
rd
th
Connecting 3 and 7 .
Listening:
Tenor Madness - Coltrane and Sonny Rollins. Follow solo and analyze.
Class Exercises:
rd
th
Improvise on Bb Blues using ?/?/answer, use 3 and 7 voice leading. Whole notes. Continue
improvising on So What.
Assignment:
rd
th
Write solo on Blues utilizing scale and arpeggio material connecting 3 and 7 . Analyze Rollins
solo.

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.

Improve Your Jazz Improvisation

Take your time while improvising.
Breath both physically between ideas.
Allow time for musical ideas to take shape.
Think and plan ahead.
Plan your solo out before you play one note. How many choruses, dynamics, development etc.
Compose your own solid lines and riffs.
Compose and learn your solo ideas well so you can insert them whenever you choose.
Borrow lines from your favorite players.
Emulate.
Emulate the sound and feel of your favorite players.
Make your own transcriptions of your favorite players.
Play transcription of your favorite players.
Good improvisers take ideas from their favorite players.
Tone and Feel.
Concentrate on creating the proper tone for the piece.
Concentrate on creating the proper feel for the piece.
Internalize the tune.
Internalize the melody and form.
Internalize the chords, arpeggios, and scales for the tune.
Internalize the changes.
Listen.
Listen to the group you are playing with and listen to yourself in context of the group.
Listen to your favorite players, and your colleagues favorite players.
Make it a point to see live music on a regular basis.
Play.
Play with other people as much as possible. This will improve your playing greatly and heighten
your concentration level. It will greatly improve your musicality and comfort level.
Record and critique.
Record your practice sessions.
Critique and make notes on positive and negative aspects of your playing.

So What

4
& b 4

Medium Swing

..

? 4
..
b 4
5

& b

?b

D min7

j
n ..
.

..

j
n ..
.

j
n ..
.

Miles Davis

..
n J .

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fi 1.
j
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.
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.
n
J

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j

.
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& b
b b
b b .. b b
10
b
E min7
bb b . . b
b b b

.
b

? b
. b b
J
. b
b
J
J

2.

& b

14

? b b

19

fi
& b

j
b ... b
b b

b b b
!

?
b
[Sample bass lead in]

.. b j
b
b . b

D.S. al Coda

.. b . b J . .. b
n

b
b
J
J

Solo over AABA

[So What]
Sample Bass Line:

n
? b ..

D min7

20

?b

26

E b min7

b b
.. b

b b

b b
b

?
b b
b
b

31

37

&b

44

b D min7
b

n D.C.
n

Useful Scales:

D min7

b b

b min7

b b

b b

Sonny Moon For Two

Medium Bebop q=120

Sonny Rollins

b7
b
b
E 7
B 7
b 4
& b 4 . b b j
j b b
b

b
b
E 7
B 7
G7
b

& b . b b j
j b
b

5
b
C min7
F7
B 7
G7
C min7
F7
b
..
& b . b b j
j b b
b

9
B

Sample Bass line:

b7

? b
b
B

b7
? bb

13

17

? b n
b
C min7

21

b7

b7
b n

&

25

F7

&

28

b7

b7

b G b

b n

G7

C min7

F7

b7

G7

n
b

b
b

C
b
b

Useful Scales:

bb

B 7

min7

F7

Blues Scale

..

Question and Answer Blues

b7

b7
n b b

Motif #1 - Question # 1

b
n
& b 44 b
B

b
E 7

Motif # 1 - Question #2

b
b n
&b
Motif # 2 - Answer
C min7

b
b
&b

b7

b7

G7

b7

n b b n b b

w
F7

MTD

G7

C min7 F 7

3rd & 7th Blues

B

b7

b7

MTD

b7

b 4
b
& b 4 b b b b
E

b7

b7

G7

b
b
& b b b b n n
C min7

F7

b7

G7

C min7

F7

& b b n n

Sonny's Tenor Madness Solo

Bb

Tenor Saxophone

5
T. Sx.

F7

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$ $
%

$ %!

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'$ 3$ '$ $ (C7$ $

#

G7
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$

9
T. Sx.

A C7
"! #

Dm7

Sonny Rollins

$ $
$
$
) & $
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C7

$ $ $ $ $
$ $

B C7
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$
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+
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12
T. Sx.

F7
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16
T. Sx.

19
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23
T. Sx.

C7

C7

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Dm7

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Basic "ii7 - V7 - I7" ideas

1.

MTD

4

&4

2.

D min7

D min7

&

4.

G7

&

3.

D min7

D min7

&

G7

G7

Maj7

G7

C Maj7

C Maj7

C Maj7

Medium Swing q=120

# 4
& 4

# B7
&
1.

()

.. w

E min7

18

# .
&

D min7 D

23

b7

D7

G Maj7
2.

C Maj7

E min7

B7

E min7

A min7

# m7(b5)
#
C Maj7

# m7(b5)

Johnny Mercer

.
. w

G Maj7

& w

A min7

B7

&

12
#

w
# #

F # m7 b 5

Autumn Leaves

B7

D7

B7

E min7

Fine

E min7

b7

( )

Sample Bass Line:

1.
#
b5
m7
F ( )
B7
E min7

? # ..

A min7

D7

G Maj7

C Maj7

# m7(b5)
B7
E min7

? # .. #
#

28

2.

B7

E min7

# m7(b5)
B7

?#

42
b
b
E min7 E 7 D m7 D 7 C Maj7
B7
E min7

? # b b #

35

A min7

49

D7

G Maj7

Fine

[Autumn Leaves]

Useful Scales:

G Maj7
C Maj7

#A min7 D 7

&

55

# m7(b5)

&
F#

59

b7

B 7 (E Harmonic Minor)

E min7

b7

b b

b b b

& b n b b

b b

62

D min7

Autumn Leaves Exercises

Play just 3rd's of chord. Then just 7th's

# 4A min7
& 4w

D7

G Maj7

C Maj7

D7

G Maj7

C Maj7

D7

G Maj7

C Maj7

Play 3rd's to 7th's

&

#A w

min7

Play 7th's to 3rd's

A min7

& w

Increase rhythmic pulse slowly using stepwise or arpeggiated motion.

&

13

#A

D7

min7

G Maj7

C Maj7

Continue to increase rhythmic pulse to quarter notes.

&

17

#A

min7

D7

G Maj7

C Maj7

Increase rhythmic pulse to eighth notes.

#


&

21
A min7

D7

G Maj7

C Maj7

[Autumn Leaves Exercises]

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.

&

7
D
G Maj7
C Maj7

#A min7

25

D7
G Maj7
C Maj7

n #
#

&

#
A min7

29

Medium Bossa

b
& b b 44

D m7(.b 5)

b
b
& b

..

J J

b m9
b . b
&b b
J J

D m7(b 5)

10

b
&b b

14

Sample Bass Line:

? b b .. .
b

C m9

18

.
J

()
? b b . J .
b
D m7 b 5

b m9
? bb .
b

22

26

D m7(b 5)

? b .
bb

30

Cm9.

Blue Bossa
.
J J
J
b9

G 7 #5

.
J
b
A 13
j
.
b9

G 7 #5

J .
b9

.
J

G 7 #5

.
J

b
A 13.
J

.
J

.
J

b9

G 7 #5

b Maj7
b

j
w

w
J

D m7(b 5)

b9

G 7 #5

..

j
.

.
J

j
.

b Maj7
b . J .
J

J b.

.
J

.
J

.
J

.
J

C m9

.
J

w
J

C m9

.
J

C m9

F m9

Kenny Dorham

F m9

.
J

.
J

C m9

.
J

.
J

J .

D m7(b 5)

.
J

.
J

b9

.
J

G 7 #5

.
J .

[Blue Bossa]
Useful Scales:

b
b
& b

34

D m7(b 5)

b9

C m9

38

b 13

G 7 #5

(C Harmonic Minor)

bMaj7
D

b
bb

b
b

&
b

b
E

b m9

F m9

D m7(b 5)

Minor ii7 - V7 - i7 Ideas

G
C

b 4
n
&b b 4

D m7(b 5)

# n
b
j

&b b
D m7(b 5)

min7

G7

C min7

n b

b
n
&b b

n
7
G7

C min7

Take the "A" Train

Medium Swing q=120

D 7(# 11)

j .

# .

4
&4 w

C Maj7

C Maj7

&

& .
D7

14

D min7 G 7

( )

..
w

7 # 11

fi
& J . #

D min7

D min7

26

# b b

D min7

G7

J .
J .

G min7 C 7 F Maj7

J #.

& # .

20

2.

1.

Duke Ellington/Billy Strayhorn

G7

()

G 7 b9

C Maj7

fi
C Maj7
G7

# b b .

j .

D min7 G 7

7(# 11)
D
G7

D min7

?
#
#

Sample Bass Line:

Maj7
C
28

1.

2.

?
.
.
C Maj7

D min7 G 7

G min7 C 7 F Maj7

( ) C Maj7

? #
#

34

D7

D min7

G7

G 7 b9

D 7(# 11) D min7

G7
C Maj7
D min7 G 7

?
#

#

40

46

[Take the "A" Train]

Useful Scales:

D 7(# 11)

& # #

53
C Maj7

&
G min7

57

D min7

G7

D7

b b

C7

F Maj7

Common Intros and Endings

MTD

Common Intros:

No Intro - begin on Melody

Vamp on I/vi/ii7/V7
Play The Last 8 Bars as an Intro
Common Intro Bossa Nova in Minor Key:
Vamp on i7 Chord
Vamp on i7/ii7/V7

Common endings :

Using last 8 bars of "Just Friends"

# 4 A min7 j
& 4 . .
# .

j
.

D7

1.

&

A min7

# .

&

# Amin7
.
3.

&

13

# .

4.

&

17

A min7

# Amin7
.

5.

&

21

D7

D7

D7

D7

G Maj7

G Maj7

G Maj7

>

Piano or Guitar

Band Unison

G Maj7

E min7

G Maj7

Rit.

2.

A min7

D7

j
.

B min7

!
.

# ..

|
J

)
J

G Maj7

[Intros and Endings]

# Amin7
.
6.

&

25

&

29

# .

33

#A min7
& |

37

D7

D7

. ( )

D7

7.

&

D7

# Amin7
.
A min7

Tag 3X's. Second X up one whole step or 1/2 Step

B m7 b 5
E7

# m7(b5)

J

G Maj7

C min7

G Maj7

B m7(# 5)

b 13
.

Medium Swing q=120

Satin Doll
Duke Ellington

j
4
& 4 .. .
D min7

E min7

& .

j
.

A7

A min7

C Maj7

()

&w

G min7

C7

j .
b
b
A min7
D 7
b.

b

j
.

D min7

E m7 b 5

1.

G7

G7

.
J

D7

2.

A7

E min7

D min7

C Maj7

.. w

G min7

C7

A7

#
D o7

F Maj7

E min7

G min7

& b b w

G7

E m7(b 5) A 7

E min7

A7

11

A min7

&

15

D7

A min7

D min7

w
G7

j
& .

D min7

&

.
J

D min7

19

A min7

23

D7

D7

b min7

b.

j
.

G7

b7

j
.

E min7

A7

C Maj7

C7

j
.

E m7(b 5) A 7

[Satin Doll]

Sample Bass Line:

D min7 G 7

D min7 G 7

E min7 A 7

E min7 A 7

b
b
A min7 D 7

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:

&

D min7

G7

53

b min7

b b
& # b b b
D7

58

A7

& b #

63

# o7

#
#

E min7

b b

A7

b7

b b
b

G min7

# #

C7

min7

E m7(b 5)

C Maj7

b b

F Maj7

b b

Latin - Rock q=110

4 bw
& b 4 ..
F7

F7

Watermelon Man
b j w
J
C7

&b w

7
b
7
Bb 7
C
b

&b
12

b
Bb 7

B>7

Break

b
B 7
w

j j F7

b w

17

b .. . j b

b7

b j
J

C7

Resume Time

Sample Bass Line:

F7

Herbie Hancock

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

Useful Scales:

&
F7

33

b7

C7

F Blues Scale

Oleo
Bebop q=180

b Maj7 G 7 C min7
b 4
j

& b 4 .. . J

Sonny Rollins

b Maj7 G 7 C min7 F 7 F min7 B b 7

j
j

# n J

F7 B

1.
2.
b
b
b
b
E min7
A 7
B Maj7
G7
C min7 F 7
B Maj7
b
j j j j j
..

&b

b
b
&

D7

G7

10

b Maj7
G7
b
j
& b .

18

J
C min7

C7

F7

b Maj7 G 7
C min7
F7
j
j

# n

F7 B

b7
b
b
b
b
E min7
A 7
B Maj7
G7
B Maj7
b j j j j >
b
&

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

C7

n
b

b Maj7 G 7 C min7 F 7 F min7 B b 7 E b min7 A b 7 B bMaj7 G 7 B b Maj7

b

? b b b
b b
b
b

45

Useful Scales:

b Maj7

C
F

b
n

b n

&b

51
b
b
b
F min7
B 7
E min7
A 7

b b
b

b
& b b
b b b

55
B

G7

min7

& b n b n b n

b n w

59
D7

C7

B Flat Bebop Scale

Summertime

Style - ???

& b 44

D min7

.. w

F Maj7

b Maj7

&b
&b

b ..

E m7(b 5)

A7

Sample Bass Line:

D min7

E m7(b 5)

G min7 C 7

12

F Maj7

b7

E m7(b 5) A 7

G min7 C 7

D min7

George Gershwin

E m7(b 5) A 7

D min7

Fine

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)

Useful Scales:

A7

D min7

E m7(b 5)

A7

..

C7
F Maj7

&

34
b
b
B Maj7
E m7(b 5)
A7
B 7

&b

#
38
D min7

G min7

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

*
*
*
*

MAJOR (Ionian) (WWHWWWH) C D E F G A B C

DOMINANT SEVENTH (Mixolydian) (WWHWWHW)
5th Mode of Major: C D E F G A B C
MINOR SEVENTH (Dorian) (WHWWWHW)
2nd Mode of Major: C D E F G A B C

C C

Cmaj, Cma, Cma7, Cmaj7, CM, CM7, Cmaj9, Cmaj13

C7

C9, C11, C13

C7, Cmi, Cmi7, Cm7, Cmin, Cmin7, Cm9, Cm11, Cm13

LYDIAN (Major Scale with 4) (WWWHWWH)

4th Mode of Major: C D E F G A B C
HALF-DIMINISHED (Locrian) (HWWHWWW)
7th Mode of Major: C D E F G A B C
HALF-DIMINISHED #2 (Locrian #2) (WHWHWWW)
6th Mode of Melodic Minor: C D E F G A B C

DIMINISHED (WHWHWHWH) C D E F G A A B C

LYDIAN DOMINANT (Dom. 7th with 4) (WWWHWHW)

4th Mode of Melodic Minor: C D E F G A B C

C"4

C2

C7"4

Cmaj"4, CM"4, C"11, C5, Cmaj5

Cmi7(5), C75
C"2, C9
Cdim, C7, Cdim7, C9
C7"11, C75, C9"11, C13"11

C7"

"4
C7aug, C7"5, C7"5

DOMINANT SEVENTH (Using a Dim. Scale) (HWHWHWHW)

C D E E F G A B C

C79

"9
"9
C79"4, C139"11

DIMINISHED WHOLE-TONE (Altered Scale) (HWHWWWW)

7th Mode of Melodic Minor: C D E E F G B C

C7"9

"9"5 "913
C7alt, C79"4, C79"11

LYDIAN AUGMENTED (Major with 4 & 5) (WWWWHWH)

3rd Mode of Melodic Minor: C D E F G A B C
MELODIC MINOR (Ascending Only) (WHWWWWH)
C D E F G A B C

"5
C"4

C"5

Cmin(maj7), Cmi, C(Melodic), Cm6

HARMONIC MINOR (WHWWH3H) C D E F G A B C

Cmi, C(Har), C6

SUSPENDED 4th (W3WWHW) or (WWHWWHW)

C D F G A B C or C D E F G A B C
BLUES SCALE (Use at players discretion)
(3WHH3W) (1, 3, 4, 4, 5, 7, 1) C E F F G B C

G G7, C7sus4, C7sus, C4, C11

C
C
(There is no chord symbol for the Blues Scale)
Used mostly with dominant and minor chords)

WHOLE-TONE (WWWWWWW) C D E F# G# Bb C

ABBREVIATED CHORD/SCALE SYMBOL

* These are the most common chord/scales in Western Music.

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

Major - Maj7, 9,11,13

&

&

Natural Minor(Aeolian Mode)

Harmonic Minor

b b

b b

11

&

13

&

16

b n

b
# b

Whole-Tone Scale - Augmented Chords

&
18
&

20

Major Pentatonic - Maj7,9,11,13 Chords

Blues Scale - 7,9,13, and alt Chords

b n

Be-Bop Scale - 7,9,11,13

MTD

b b
b
b b b

& b

7
&

(Melodic Minor ascending and descending)

Dominant(Mixolydian Mode) - 7,9,11,13

&

22

Scales 2

Minor Pentatonic - min7,9,13, dom7,9,13

b n

&

b
#

27

b n

Whole-Half Diminished - Diminshed 7, dom7, alt7

&

24

Half-Whole Diminished - Diminshed 7, dom7, alt7

b n b n

& b n b n # b n b n b n

Chromatic

30

*Learn In All Keys

**Learn All Arpeggio's as well - 1,3,5,7,9

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

5th String Root Jazz Guitar Voicings

[Major

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

6th String Root jazz Guitar Voicings

[Major

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.

Example Walking Bass Line

[Over the changes to Freddie The Freeloader]

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

4 concepts to help you create a good walking bass line:

1) i - V. Most basic and effective method of walking
2) Linear - Play up or down the scale appropriate to the chord
3) Arpeggio - Outlining the chords arpeggio
4) 1/2 Step/Whole step approach - Approach cadences and chord tones in this manner

MTD

Jazz Tunes To Know

Tunes

Style

Key

500 Miles High

A Child Is Born
A Foggy Day
A Night In Tunisia
Afro Blue
Alice In Wonderland
All Blues
All In Love Is Fair
All Of Me
All Of You
All The Things You Are
Alone Together
Angel Eyes
Anthropology
April In Paris
As Time Goes By
Au Privave
Autumn In New York
Autumn Leaves
Beautiful Love
Black Orpheus
Blue Bossa
Blue In Green
Blue Monk
Blue Trane
Blues For Alice
Body And Soul
Bright Sized Life
Cantaloupe Island
Captain Marvel
Chameleon
Cherokee
Confirmation
Corcovado
Cottontail
Countdown
Daahoud
Darn That Dream
Days Of Wine and Roses
Dolphin Dance
Donna Lee
Easy To Love
Equinox
Fee-Fi-Fo-Fum
Footprints
Four
Four On Six
Freddie The Freeloader

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

Jazz Tunes To Know

Gentle Rain
Georgia
Giant Steps
Girl From Ipanema
Goodbye Pork Pie Hat
Green Dolphin Street
Groovin' High
Have You Met Miss Jones
How High The Moon
How Insensitive
I Could Write A Book
I Let A Song
I Love You
Impressions
In A Mellow Tone
In A Sentimental Mood
In Your Own Sweet Way
Invitation
Isn't It Romantic
Isotope
It Don't Mean A Thing
Jody Grind
Joy Spring
Just Friends
Lady Bird
Lullaby Of Birdland
Lush Life
Maiden Voyage
Mister P.C.
Misty
My Favorite Things
My Foolish Heart
My Funny Valentine
My One And Only Love
My Romance
Night and Day
Nostalgia In Time Square
Oleo
One Note Samba
Orinthology
Out Of Nowhere
Passion Dance
Prelude To A Kiss
Raod Song
Recordame
Satin Doll
Scrapple From the Apple
Shadow Of Your Smile
So What

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

Jazz Tunes To Know

Solar
Solitude
Someday My Prince Will Come
Song For My Father
Spain
Stella By Starlight
Stolen Moments
Straight, No Chaser
Take The "A" Train
There Is No Greater Love
There Will Never Be Another You
They Can't Take That Away from Me
Tough Talk
Tune-Up
Watermelon Man
Wave
What Are You Doing The Rest Of Your Life
What Is This Thing Called Love
Yesterday
You Are The Sunshine Of My Life

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