Cover Photo is Jamey Aebersold

CONTENTS
GENERAL INFORMATION ........................................2
Valuable Jazz Information........................................3
SOLOING by Jamey Aebersold ...............................4
Jazz: The Natural Music ...........................................5
Suggested ListeningJazz Artists ..........................7
+LVWRULFDOO\6LJQLFDQW5HFRUGLQJV ........................8
Tips For Learning A New Tune ................................9
Practice Procedures For Memorizing Scales
and Chords To Any Song ....................................9
Practice ProceduresMusical Examples ..............10
SONG LIST for Beginners ......................................11
SCALES ...................................................................12
Introduction to the SCALE SYLLABUS ................13
SCALE SYLLABUS .................................................14
NOMENCLATURE ...................................................15
The Dominant 7th Tree of Scale Choices .............16
Ten Basic ExercisesTREBLE CLEF ....................17
Ten Basic ExercisesBASS CLEF.........................18
TREBLE CLEF SCALES .........................................19
BASS CLEF SCALES..............................................20
Ear Training .............................................................21
Interval Chart ..........................................................22
Basic Keyboard and the Chromatic Scale ...........23
The Circle of Cycle of Fourths ..............................24
Scales/Modes Based on the Major Scale .............24
HOW TO PRACTICE by Jerry Coker .....................25
HOW TO PRACTICE by David Liebman................25

Things That Create Interest When Soloing ..........26

Starting A Phrase or Melody..................................26
Jazz ARTICULATIONS ............................................27
Jazz RHYTHMS .......................................................29
The BLUES SCALE and Its Use.............................30
F BLUES & Bb BLUES PROGRESSIONS:
For TREBLE CLEF C Instruments ....................31
For Bb Instruments ............................................31
For Eb Instruments ............................................32
For BASS CLEF C Instruments .........................32
PLAYING THE BLUES ............................................33
What Does To Hear Really Mean? .....................34
VARIATIONS ON BLUES ........................................35
ValuesPlato QuoteBill Evans Quote .................36
BEBOP CHARACTERISTICS by David Baker ......37
Short List of Bebop Players ..................................38
BEBOP SCALES .....................................................38
Transposition Chart................................................39
Two Interesting Short Stories................................39
Jameys JAZZ THEORY ASSIGNMENTS ..............41
II/V7/I Progression With Emphasis On The
7th Resolving To The 3rd ..................................46
PIANO VOICINGS:
Blues Voicings....................................................47
Major and Dominant 7th Voicings ....................48
II/V7/I Voicings ....................................................49
Jameys POINTS TO REMEMBER .........................52

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Published by

JAMEY AEBERSOLD JAZZ

P.O. Box 1244
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Copyright 2000, 2010 by Jamey Aebersold Jazz. All Rights Reserved. Printed in U.S.A.
International Copyright secured. All copyrights used by permission
No portion of this book may be reproduced in any way w/o express written permission.

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TIPS FOR LEARNING A NEW TUNE















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DQGPHDQLQJIXO-- tenor saxophonist Joe Henderson
(Taken from Jameys volume 1 book: How to Play and Improvise)

PRACTICE PROCEDURES FOR MEMORIZING

SCALES AND CHORDS TO ANY SONG













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10

PRACTICE PROCEDURE FOR MEMORIZING SCALES AND CHORDS TO ANY SONG

Think of the blues progression as being three four-bar sections. It has a beginning (4-bars), a
middle section (4-bars), and an ending (4-bars). After you become familiar with various scales
and chords, you wont need to go through ths practice procedure when working on a new tune.
Youll already have the needed scales and chords memorized. This is what the professional jazz
musician has done. Commit to memory and enjoy making music. Remember, the purpose of
any exercise is to help you truly MAKE MUSIC. Your OWN music.

As you play, memorize the chord/scale progression as well as the chord and scale tones. After
playing through these eight choruses, I think youll be surprised how easy it is to memorize.
Concentrate on the SOUND of each note.

The eight exercises listed below represent the typical jazz approach to learning the basic harmony for the blues in Bb. Youll want to vary the rhythms to add variety and make them sound
more improvised. You can use this approach for learning ANY scale or chord to ANY song. The
Bb blues progression is taken from the Volume 42 Blues In All Keys.

SONG LIST FOR BEGINNERS

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Intermediate Songs

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Memorize the melody

Memorize the chord progression
Memorize the various scales/chords

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11

SCALES
= = 1 2 3 4 5 6 7 8
= 7 = 1 2 3 4 5 6 7 8
= = 1 2 3 4 5 6 7 8

Major
Dom. 7th
Minor
(Dorian)

These are the three most-used scales and chords.

Half-dim. = = 1 2 3 4 5 6 7 8
B = C = B C D E F G A B
Half-diminished scales are the same as a major scale 1/2 step above.

B2 = B C D E F G A B
Blues scale
= 1 3 4 4 5 7 8
2 =Half-dim.2, like:

Major pentatonic = 1 2 3
3
Minor pentatonic = 1
Minor pent. (J. Coltrane) = 1 2 3

5 6
8
7 8
4 5
5 6
8

Scales are your best friendsget to know them inside out.

Theyll do whatever you ask them to do. Make sure you know them well.
CHORDS
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1) = Major 7th, it can mean a major scale (C)

or it can mean a major 7th note (C)
2) 7 = Lowered 7th
3) = Minor (usually Dorian Minor)
4) O = Diminished scale or chord
5) = Half-diminished scale or chord
6) + or = Raise the note 1/2 step
7)  or = Lower the note 1/2 step
8) 3 = Minor third interval (= 3 half-steps)
9) 9 after a letter (dom.7th chord) means there
are 3 altered tones:
b 9, 9 & 4
10) 9 after a letter (dom.7th chord) means there
are 4 altered tones: 9, 9, 4 & 5

12

INTRODUCTION TO THE SCALE SYLLABUS

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FHVVIXOLQFRPPXQLFDWLQJWRWKHOLVWHQHURemember\RXWKHSOD\HUDUHalso a listener5HDGVolume 1 JAZZ:
How To Play And Improvise IRUDPRUHGHWDLOHGH[SODQDWLRQRIWHQVLRQDQGUHOHDVHLQPHORGLFGHYHORSPHQW
$Q\RIWKHYDULRXVSUDFWLFHSURFHGXUHVDQGSDWWHUQVOLVWHGLQVolumes 1, 2, 3, 21, 24 or 84FDQEHDSSOLHGWRDQ\RI
WKHVFDOHFKRLFHVOLVWHGLQWKLV6FDOH6\OODEXV1HHGOHVVWRVD\DQ\VFDOH\RXZDQWWROHDUQVKRXOGEHWUDQVSRVHG
DQGSUDFWLFHGLQDOOWZHOYHNH\V7KHFROXPQRQZKROHDQGKDOIVWHSFRQVWUXFWLRQ,KDYHOLVWHGIRUHDFKVFDOHRQ
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ERRNVDUHDYDLODEOHIURP\RXUIDYRULWHPXVLFVRXUFHRUYLVLWZZZMD]]ERRNVFRPIRUPRUHLQIRUPDWLRQ
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Cycles & II/V7s.<RXPLJKWDOVRFKHFNRXWWKH3OD\$/RQJVZKLFKKDYHWXQHVLQDOONH\VVol. 42 Blues In All
Keys; Vol. 47 Rhythm In All Keys; Vol. 57 Minor Blues In All Keys;DQGWZRPRUHYROXPHVVol. 67 Tune Up
DQGVol. 68 Giant StepsHDFKKDVVHYHUDOFODVVLFWXQHVLQDOOWZHOYHNH\V
6FDOHVDQGFKRUGVDUHWKHEDFNERQHRIRXUPXVLFDQGWKHEHWWHU\RXHTXLS\RXUVHOIWKHPRUHIXQ\RXZLOOKDYH
SOD\LQJPXVLF

13

THE SCALE SYLLABUS

LEGEND:+ +DOI6WHS: :KROH6WHS 0DMRUWKRU UDLVH+RU ORZHU+ +DOIGLPLQLVKHG +0LQRU7KLUG
CHORD/SCALE SYMBOL

SCALE NAME

C
C7
FIVE BASIC
C
CATEGORIES
C
C
1. MAJOR SCALE
CHOICES
C (Can be written C)
C
C+4
C
C6
C+5, +4
C
C
C
C
2. DOMINANT 7th
SCALE CHOICES
C7
C7
C7
C79
C7+4
C76
C7+ (has 4 & 5)
C79 (also has 9 & 4)
C7+9 (also has 9, 4, 5)
C7
DOMINANT 7th
SUSPENDED 4th
MAY BE
C7 sus 4
WRITTEN
C7 sus 4
G-/C
C7 sus 4
3. MINOR SCALE
CHOICES*
C or C7
C or C7
C or C7
C (maj. 7th)
C or C6 or C
C or C7
C (6 & maj. 7th)
C or C7
C or C96
C or C6
4. HALF DIMINISHED
SCALE CHOICES
C
C2 (C9)
C (with or without 2)
5. DIMINISHED SCALE
CHOICES
C

Major
Dominant 7th (Mixolydian)
Minor (Dorian)
Half Diminished (Locrian)
Diminished (8 tone scale)
SCALE NAME

WHOLE & HALF STEP

CONSTRUCTION
WWHWWWH
WWHWWHW
WHWWWHW
HWWHWWW
WHWHWHWH
W & H CONSTRUCTION

CDEFGABC
C D E F G A B C
C D E F G A B C
C D E F G A B C
C D E F G A A B C
SCALE IN KEY OF C

Major (dont emphasize the 4th)

Major Pentatonic
Lydian (major scale with +4)
Bebop (Major)
Harmonic Major
Lydian Augmented
Augmented
6th Mode of Harmonic Minor
Diminished (begin with H step)
Blues Scale
SCALE NAME

WWHWWWH
W W 3 W 3
WWWHWWH
WWHWHHWH
W W H W H 3 H
WWWWHWH
3 H 3 H 3 H
3 H W H W W H
HWHWHWHW
3 W H H 3 W
W & H CONSTRUCTION

CDEFGABC
CDEGAC
C D E F G A B C
C D E F G G A B C
C D E F G A B C
C D E F G A B C
C D E G A B C
C D E F G A B C
C D D E F G A B C
C E F F G B C
SCALE IN KEY OF C

Dominant 7th
Major Pentatonic
Bebop (Dominant)
Spanish or Jewish scale
Lydian Dominant
Hindu
Whole Tone (6 tone scale)
Diminished (begin with H step)
Diminished Whole Tone
Blues Scale

WWHWWHW
W W 3 W 3
WWHWWHHH
H 3 H W H W W
WWWHWHW
WWHWHWW
WWWWWW
HWHWHWHW
HWHWWWW
3 W H H 3 W

C D E F G A B C
CDEGAC
C D E F G A B B C
C D E F G A B C
C D E F G A B C
C D E F G A B C
C D E F G B C
C D D E F G A B C
C D D E F G B C
C E F F G B C

Dom. 7th scale but dont emphasize the third

Major Pentatonic built on 7
Bebop Scale
SCALE NAME

WWHWWHW
W W 3 W 3
WWHWWHHH
W & H CONSTRUCTION

C D E F G A B C
B C D F G B
C D E F G A B B C
SCALE IN KEY OF C

Minor (Dorian)
Pentatonic (Minor Pentatonic)
Bebop (Minor)
Melodic Minor (ascending)
Bebop Minor No. 2
Blues Scale
Harmonic Minor
Diminished (begin with W step)
Phrygian
Pure or Natural Minor, Aeolian
SCALE NAME

WHWWWHW

WHHHWWHW
WHWWWWH
WHWWHHWH
3 W H H 3 W
W H W W H 3 H
WHWHWHWH
HWWWHWW
WHWWHWW
W & H CONSTRUCTION

Half Diminished (Locrian)

Half Diminished #2 (Locrian #2)
Bebop Scale
SCALE NAME

HWWHWWW
WHWHWWW
HWWHHHWW
W & H CONSTRUCTION

Diminished (8 tone scale)

WHWHWHWH

3 W W 3 W

SCALE IN KEY OF C

BASIC CHORD
IN KEY OF C
CEGBD
C E G B D
C E G B D
C E G B
C E G A (B)
BASIC CHORD
IN KEY OF C
CEGBD
CEGB
CEGBD
CEGBD
CEGBD
C E G B D
CEGBD
CEGBD
CEGBD
CEGBD
BASIC CHORD
IN KEY OF C
C E G B D
C E G B D
C E G B D
C E G B (D)
C E G B D
C E G B D
C E G B D
C E G B D (D)
C E G B D (D)
C E G B D (D)

C F G B D
C F G B D
C F G B D
BASIC CHORD
IN KEY Of C
C D E F G A B C
C E G B D
C E F G B C
C E G B D
C D E E F G A B C
C E G B D
C D E F G A B C
C E G B D
C D E F G G A B C
C E G B D
C E F F G B C
C E G B D
C D E F G A B C
C E G B D
C D E F F G A B C
C E G B D
C D E F G A B C
C E G B
C D E F G A B C
C E G B D
SCALE IN KEY OF C BASIC CHORD
IN KEY OF C
C D E F G A B C C E G B
C D E F G A B C
C E G B D
C D E F G G A B C C E G B
SCALE IN KEY OF C BASIC CHORD
IN KEY OF C
C D E F G A A B C C E G A

NOTES: 1) The above chord symbol guide is my system of notation. I feel it best represents the sounds I hear in jazz.
3OD\HUVVKRXOGEHDZDUHWKDWHDFKFKRUGV\PEROUHSUHVHQWVDVHULHVRIWRQHVFDOOHGDVFDOH2)(YHQWKRXJKD&ZRXOGDSSHDU
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'()*%&0\FKRUGV\PERO&LVWKHUHIRUHDQDEEUHYLDWLRQZKLOHWKHFRPSOHWHQDPHRIWKLVVFDOHLV'LPLQLVKHG
:KROH7RQHVRPHWLPHVFDOOHG6XSHU/RFULDQRU$OWHUHG6FDOH6LPLODUO\&DOVRDSSHDUVWRKDYHRQO\RQHDOWHUHGWRQHEXW
LWDFWXDOO\KDVWKUHHDQG7KHHQWLUHVFDOHORRNVOLNH5RRWUGWKWK URRW&''()*$%
&7KLVLVFDOOHGD'LPLQLVKHGVFDOHDQGP\FKRUGV\PERODEEUHYLDWLRQLV&3) $OOVFDOHVXQGHUWKH'RPLQDQWWKFDWHJRU\DUH
VFDOHVWKDWHPEHOOLVKWKHEDVLF'RPLQDQWWKVRXQG6RPHVFDOHVSURYLGHPXFKPRUHWHQVLRQWKDQWKHEDVLFGRPLQDQWWKVRXQG
DQGUHTXLUHSUDFWLFHDQGSDWLHQFHWRJUDVSWKHHVVHQFHRIWKHLUPHDQLQJ,HQFRXUDJH\RXWRZRUNZLWKVolume 3 The 11-V7-1
ProgressionVLQFHLWHPSKDVL]HV'LPLQLVKHGDQG'LPLQLVKHG:KROH7RQHVFDOHVDQGFKRUGV4) ,QFDWHJRU\0,1256&$/(
&+2,&(6WKH385(0,125VFDOHFKRLFHLVQRWXVHGYHU\RIWHQ,KDYHIRXQGWKHRUGHURISUHIHUHQFHWREH'RULDQ%HERS0HORGLF
%OXHV3HQWDWRQLFDQGWKHQDQ\RIWKHUHPDLQLQJ0LQRUVFDOHFKRLFHV

14

NOMENCLATURE
LEGEND: " or = raise 1/2 step; or = lower 1/2 step; H = Half Step; W = Whole Step
%HFDXVHMD]]SOD\HUVFRPSRVHUVHGXFDWRUVDQGDXWKRUVKDYHQWDJUHHGRQDFRPPRQQRPHQFODWXUHIRUZULWLQJFKRUGDQGVFDOH
V\PEROVWKHQRYLFHZLOOKDYHWREHFRPHIDPLOLDUZLWKVHYHUDOGLIIHUHQWZD\VRIZULWLQJWKHVDPHVFDOHVRXQG
/LVWHGEHORZDUHWKHPRVWFRPPRQV\PEROVLQRUGHURIXVDJHPRVWXVHGWROHDVWXVHG7KHV\PEROWKDWLVEROGIDFHLVWKHRQH
,XVHPRVWRIWHQ1RWLFHWKDWWKURXJKRXWWKLVERRN\RXZLOOVHH&DQG&WRGHVLJQDWHDPDMRUFKRUGVFDOHVRXQG,DPGRLQJ
WKLVVR\RXFDQEHJLQWRJHWEHWWHUDFTXDLQWHGZLWKYDULRXVQRPHQFODWXUH
 0DMRUVFDOHFKRUGRUPDMRUVHYHQWK&$DIWHUDOHWWHUPHDQVWRORZHUWKHWKQRWHRIWKHVFDOHPDNLQJLWD'RPLQDQW
WKTXDOLW\&$GDVKZKHQORFDWHGEHVLGHDOHWWHUPHDQVWRORZHUWKHWKLUGDQGVHYHQWKRIWKHVFDOHVWHSWKXVPDNLQJ
LWDPLQRUWRQDOLW\'RULDQPLQRU&PHDQVKDOIGLPLQLVKHG&&PHDQVDPLQRUVFDOHFKRUGZLWKDPDMRUWK 
PHDQVKDOIVWHSVDPLQRUUG$ EHVLGHDOHWWHUPHDQVGLPLQLVKHG&  GLPLQLVKHGVFDOHFKRUG

CHORD/SCALE TYPE

*
*
*
*

0$-25,RQLDQ::+:::+&'()*$%&

'20,1$176(9(17+0L[RO\GLDQ::+::+:
WK0RGHRI0DMRU&'()*$% C
0,1256(9(17+'RULDQ:+:::+:
QG0RGHRI0DMRU&'()*$% C

C C&PDM&PD&PD&PDM&0&0&PDM&PDM
C7&&&
C

C&PL&PL&P&PLQ&PLQ&P&P&P

/<',$10DMRU6FDOHZLWK:::+::+

WK0RGHRI0DMRU&'()*$%&
+$/)',0,1,6+('/RFULDQ+::+:::
WK0RGHRI0DMRU&'( F G A% C
+$/)',0,1,6+('/RFULDQ:+:+:::
WK0RGHRI0HORGLF0LQRU&'( F G A% C

C&PL&

',0,1,6+(':+:+:+:+&'( F G A$%&

C &GLP&&GLP&

/<',$1'20,1$17'RPWKZLWK:::+:+:

WK0RGHRI0HORGLF0LQRU&'()*$% C

ABBREVIATED CHORD/SCALE SYMBOL

C"4&PDM"&0"&"&&PDM

C2

C"&

C7"4&"&&"&"11

:+2/(721(:::::::&'()*%E&

"
C7"&DXJ&"&"

'20,1$176(9(17+8VLQJD'LP6FDOH+:+:+:+:

&'(()*$% C

""
C79&"&"11

',0,1,6+(':+2/(721($OWHUHG6FDOH+:+::::

WK0RGHRI0HORGLF0LQRU&'(() G% C

"""
C7"9&DOW&"&"11

/<',$1$8*0(17('0DMRUZLWK ::::+:+

UG0RGHRI0HORGLF0LQRU&'() G$%&
0(/2',&0,125$VFHQGLQJ2QO\:+::::+
&'()*$%&

"5
C"4

+$5021,&0,125:+::++&'( F G A%&

6863(1'('WK:::+:RU::+::+:

&')*$%&RU&'()*$% C
%/8(66&$/(8VHDWSOD\HUVGLVFUHWLRQ
:++:&( F F*% C

G G&VXV&VXV&&
C
C
7KHUHLVQRFKRUGV\PEROIRUWKH%OXHV6FDOH
8VHGPRVWO\ZLWKGRPLQDQWDQGPLQRUFKRUGV

C"

C&PLQPDM&PL&0HORGLF&P

Cmi&+DU&

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

,EHOLHYHLQDUHGXFHGFKRUGVFDOHQRWDWLRQWKDWDOORZVRXUFUHDWLYHVLGHRXUQDWXUDOVLGHULJKWEUDLQIXQFWLRQWRKDYHGLUHFWLRQ

DQGJXLGDQFHZLWKRXWIHHOLQJLQKLELWHGRUOLPLWHG When we speak of quality we mean whether it is Major, Minor, Dim., or
whatever. ,KDYHWULHGWRVWDQGDUGL]HWKHFKRUGVFDOHV\PEROQRWDWLRQLQP\ERRNV6LQFHVRPHKDYHEHHQRXWPDQ\\HDUVWKHUH
DUHLQVWDQFHVZKHUH,PD\KDYHXVHGDGLIIHUHQWFKRUGV\PEROLQRQHERRNWKDQ,XVHGLQWKLVRQH
,IHHOWKHLPSURYLVRUQHHGVDVOLWWOHQRWDWLRQDVSRVVLEOHLQRUGHUWRWUDQVFHQGWKHDFWXDOQRPHQFODWXUHRQWKHSDJH7KHPRUH
QXPEHUVOHWWHUVDQGDOWHUDWLRQVWKDWDSSHDURQWKHSDJHWKHOHVVFKDQFHWKH\ZLOOKDYHWRUHPRYHWKHLUWKRXJKWVIURPWKH
ZULWWHQSDJHDQGH[SUHVVZKDWLVEHLQJKHDUGLQWKHLUPLQG7KDWLVZK\,SUHIHUC, C7, C, C, C7"9, C79.5HPHPEHUZHDUH
SOD\LQJDPXVLFFDOOHGMD]]DQGLWFRQWDLQVPDQ\DOWHUHGWRQHV2QFHZHOHDUQWKHYDULRXVDOWHUDWLRQVDQGWKHLUFRUUHVSRQGLQJ
DEEUHYLDWHGFKRUGV\PEROZK\NHHSZULWLQJDOOWKHDOWHUDWLRQVEHVLGHWKHFKRUGV\PERO"&KHFNRXWFDUHIXOO\WKH6FDOH6\OODEXV
/LVWHQWR9ROXPH7KH6FDOH6\OODEXV
5HPHPEHUQGVDUHWKHVDPHDVWKVWKVDUHWKHVDPHDVWKVWKVDUHWKHVDPHDVWKV([DPSOH.H\RI&WKH
QG'LVWKHVDPHDVWKHWK'2IWHQDFRPSRVHUZLOOVLPSO\ZULWHWKHLUSUHIHUUHGQDPHRIWKHVFDOHEHVLGHWKHFKRUGV\PERO
VXFKDV(PHORGLFPLQRU)SKU\JLDQ)SKU\

15

THE DOMINANT 7th TREE of SCALE CHOICES

7KHWZRPRVWLPSRUWDQWQRWHVLQDQ\VFDOHDUHWKHUGDQGWK7KH\WHOOWKHOLVWHQHUZKDWWKHTXDOLW\LVDQGLQGLFDWH
WKHKDUPRQLFPRWLRQ7KH3rdWHOOVXVLILWVPDMRURUPLQRU7KH7thWHOOVZKHWKHUWKHVRXQGLVVWDEOHGRHVQWZDQW
WRPRYHWRDQRWKHUFKRUGRULILWZDQWVWRPRYHRQWRDFKRUGRIUHVROXWLRQ'RPLQDQWVW\SLFDOO\ZDQWWRUHVROYHWR
DFKRUGXSDSHUIHFWWK&ZDQWVWRUHVROYHWR)))HWF7KHrootRUWRQLFLVWDNHQIRUJUDQWHG,ILWZDVQW
WKHUHZHZRXOGQWEHDEOHWRLGHQWLI\WKHVRXQG
$Q\RIWKHVHVFDOHVTXDOLWLHVVRXQGVVRQRULWLHVPD\EHSOD\HGZKHQDGRPLQDQWWKFKRUGVFDOH5(62/9(6WR
DFKRUGVFDOHZKRVH5227OLHVDSHUIHFWWKKDOIVWHSVDERYHWKHURRWRIWKHGRPLQDQWWKFKRUG


EXAMPLE: ||&|&| F | F |$E|$E|'E|'E||

(PEHOOLVKWKHPHDVXUHVZLWKWKHVHFKRUGV&DQG$E

The altered tones are in bold type7KRVHWRQHVXVXDOO\UHVROYHE\half-stepWRDVFDOHRUFKRUGWRQH7KLVDPRXQWV

to tension then release,WVDQDWXUDORFFXUUHQFHLQPXVLF7KHUGVDQGWKVDUHXQGHUOLQHG
SCALES
1. DOM.7th & &'( F G A %E&

7KLV LV WKH EDVLF GRPLQDQW WK VRXQG %H

FDUHIXOKRZ\RXWUHDWWKHWKWRQH8VHLWDV
DSDVVLQJWRQH

2. BEBOP & &'( F G A %E B&

3OD\ % QDWXUDO DV D SDVVLQJ WRQH ,W VKRXOG

DOZD\V DSSHDU RQ DQ XSEHDW never on the
GRZQEHDW

3. LYDIAN DOM. & &'( F# G A %E&

7KHZDVLVDIDYRULWHQRWH,WXVHGWREH
FDOOHGDE

4. WHOLE-TONE & &'( F# G# %E&

7KLVVFDOHRQO\KDVWRQHV,WLVDV\PPHWULFDO
scale used often in cartoon music and by
'H%XVV\DQG5DYHO[Has a #4 and #5]

5. DIMINISHED = &E &Db D# ( F# G A %E&

7KLVVFDOHKDVGLIIHUHQWWRQHV,WLVV\PPHWULFDO
DQG LV DOVR XVHG LQ FDUWRRQ PXVLF 0LFKDHO
%UHFNHULVDPDVWHURIWKLVVFDOHVRXQG[Has
a b9, #9 and #4]

6. DIM. WHOLE-TONE & &Db D# ( F# G# %E&

7KLVVFDOHKDVIRXUDOWHUHGWRQHVZKLFKKHOS
FUHDWHWHQVLRQ [Has a b9, #9, #4 and #5]

7. SPANISH or JEWISH SCALE &E &Db ( F G Ab %E& 7KLV VFDOH LV XVHG RIWHQ ZKHQ SOD\LQJ LQ D
PLQRUNH\,WVWKHVDPHDV)KDUPRQLFPLQRU
[Has a b9 and b6]
8. CHROMATIC SCALE & &C#'D# ( F F# G G# A A#%&
WKH0XVLFDO$OSKDEHW
&Db'Eb ( F Gb G Ab A Bb%&
$Q\WLPHWKHUHLVDGRPLQDQWWK\RXPD\ZDQWWRH[SHULPHQWZLWKWKHVHVFDOHV7KHSURSHUXVHRIWKHVHYDULRXV
VFDOHVLVSDUWRIZKDWPDNHVMD]]VRDSSHDOLQJ(QGOHVVYDULHW\LQWKHKDQGVRIDPDVWHUPDNHVEHDXWLIXOPXVLF
'RQWEHDIUDLGWRWU\WKHVHVRXQGV,WPD\WDNHVRPHWLPHIRU\RXUHDUVWREHFRPHDFFXVWRPHGWRWKHVRXQGDQG
WKHQJHULQJV7KHERRNFDOOHGPatterns For Jazz$HEHUVROGSURGXFWFRGHP-TIRUWUHEOHFOHILQVWUXPHQWVP-B
IRUEDVVFOHIOLVWVMD]]SKUDVHVEDVHGRQPDQ\RIWKHVFDOHVDERYH
16

PREPARATORY EXERCISES - TREBLE CLEF

TEN BASIC EXERCISES

TREBLE CLEF

17

$GXOWVRIWHQKDYHWRJKWWKHLUZD\EDFNWRLQWXLWLRQ*HRUJH%RXFKDUG
Author of Intermediate Jazz Improvisation

Below are several exercises every musician should memorize and be able to play in all MAJOR, MINOR (Dorian Minor),
and DOMINANT 7th keys. These are basic exercises which will help you gain speed and dexterity. Begin by practicing
slowly, then gradually increase speed. Strive for smoothness and slur each exercise. Keyboard and string players should
play legato. After you get the feel of several, consult the ARTICULATIONS chapter. These exercises are great for warming
up each day. You can apply these to ANY scale or chord, regardless of quality. Due to space considerations, I have only
listed three qualities.

PREPARATORY EXERCISES - BASS CLEF

TEN BASIC EXERCISES

BASS CLEF

18

Jazz is creative. Creation involves change. How much are you willing to change?

Below are several exercises every musician should memorize and be able to play in all MAJOR, MINOR (Dorian Minor), and
DOMINANT 7th keys. These are basic exercises which will help you gain speed and dexterity. Begin by practicing slowly,
then gradually increase speed. Strive for smoothness and slur each exercise. Keyboard and string players should play legato. After you get the feel of several, consult the ARTICULATIONS chapter. These exercises are great for warming up each
day. You can apply these to ANY scale or chord, regardless of quality. Due to space considerations, I have only listed three
qualities.

TREBLE CLEF

TREBLE CLEF SCALES

Your voice has been with you much longer than your instrument.
Use it to sing with; then transfer the music to your instrument.
19

BASS CLEF

BASS CLEF SCALES

It doesnt hurt to think or to use your mind. Of course, your ego will tell you otherwise.
20

EAR TRAINING
:KHQDSHUVRQWULHVWRGHYHORSKLVFDSDFLW\WREHWWHUKHDUWKHVRXQGVJRLQJRQDURXQGKLPKH,VIDFHGZLWKVHYHUDO
SUREOHPVZKLFKDUHQWQHFHVVDULO\SUHVHQWZKHQUHDGLQJPXVLFRUFKRUGV\PEROVIURPWKHZULWWHQSDJH
+DYLQJJRRGHDUVPHDQVKDYLQJWKHDELOLW\WRKHDUWKHURRWVWRWKHYDULRXVFKRUGVRUVFDOHVWKDWDUHEHLQJSOD\HG
KDYLQJWKHDELOLW\WRKHDUWKHTXDOLW\RIWKHFKRUGRUVFDOHPDMRUPLQRUZKDWNLQGRIPLQRU"SHQWDWRQLFGLPZKROH
WRQHHWFLWPHDQVKDYLQJWKHDELOLW\WRWHOOZKDWWRQHRIWKHVFDOHRUFKRUGLVEHLQJSOD\HGDWDQ\SRLQWLQWKHVROR
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27

28

29

THE BLUES SCALE AND ITS USE

The blues scale consists of the following: Root, b3rd, 4th, #4th, 5th and b7th.
EXAMPLE: F blues Scale = F, Ab, Bb, B, C, Eb, F
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30

Blues Progressions
from Volume 21 Gettin It Together of the Aebersold Play-a-long Series

31

Blues Progressions
from Volume 21 Gettin It Together of the Aebersold Play-a-long Series

32

IMPROVISATION: PLAYING THE BLUES

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33

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WHAT DOES TO HEAR REALLY MEAN?

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34

Improvisation / by Jamey Aebersold

ariations on Blues

My last article dealt with the Blues (12 bar blues), so I would like to follow up with variations on the blues progressions that have been in
common use in the jazz idiom. The term three chord songs are usually referring to the simplest of blues progressions. If you are in the
key of F, the three chords which form the basis of the blues in that key are F7, Bb7, and C7. F7 is called a roman numeral I (one) chord.
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and V chords.
As blues evolved in the hands of the jazz musicians across the country by way of the radio and home stereos, more and more musicians
played blues and naturally some would take liberties with the chord structure and alter the chords to match what they were hearing in their
minds ear. As the various alterations were passed from musician to musician, they became part of the blues structure.
I have listed 17 different blues progressions found in Dan Haerles book Jazz/Rock Voicings for the Contemporary Keyboard Player, published by Studio P/R, Inc. The progressions read from left to right! The ones at the top are the easier, simpler progressions. As you move
down the page they become more altered and present more of a challenge to the up anc coming jazz player. It is best to practice with one
complete progression until you feel comfortable with it, then move on to the next one. You may also want to substitute a measure in one
blues with the same measure in another blues below or above. Number 14 is one that Charlie Parker used on a blues called Blues For Alice
and another called Laird Bird. Number 16 uses a steady stream of minor chords (ii) moving to dominant 7th chords (V7) usually called ii/
V7s or a series of ii/Vs. Experiment with the various progressions.
Begin slowly so you can hear the root progression clearly. In time, your mind will remember it and you can move more rapidly. Try to
memorize each progression as you are working on it. Memory is a key process in improvising! Listen to jazz players on records and see
if you can hear when they are substituting chords or scales or licks or patterns over the basic three chord progression. The masters do
it all the time and with such ease that often our ears dont even realize they have deviated from the basic progression being played by the
rhythm section. You may want to check out Volume 2 Nothin But Blues in my play-a-long book/cd series. It contains eleven different
blues progressions played by the rhythm section and you can play and practice along with them. Bass players and piano players can even
turn off one channel of their stereo and substitute themselves for the player on the recording. It is a great way to practice with a professional rhythm section.
,QRUGHUWRSOD\EOXHV\RXKDYHWROLVWHQWRSHRSOHZKRSOD\EOXHV/LVWHQWRWKHQHVWSOD\HUVDOZD\V

Read from left to right!

Measure
1
No.

EXAMPLES OF BLUES PROGRESSIONS

(In the Key of F)
3

by Dan Haerle

10

11

12

1.

F7

F7

F7

F7

Bb7

Bb7

F7

F7

C7

C7

F7

F7

2.

F7

F7

F7

F7

Bb7

Bb7

F7

F7

C7

Bb7

F7

C7

3.

F7

Bb7

F7

F7

Bb7

Bb7

F7

F7

G7

C7

F7

C7

4.

F7

Bb7

F7

F7

Bb7

Bb7

F7

D7

G7

C7

F7

C7

5.

F7

Bb7

F7

F7

Bb7

Bb7

F7

D7

Gmi7

C7

F7

Gmi7

C7

6.

F7

Bb7

F7

F7

Bb7

Eb7

F7

D7

Db7

C7

F7

Db7

C7

7.

F7

Bb7

F7

Cmi7 F7

Bb7

Eb7

F7 Ami7
_
A 7

D7

Gmi7

C7

Ami7

D7

Gmi7

C7

Gmi7

C7

Ami7

D7

Gmi7

C7

Ami7

D7

Gmi7

C7

F7

C7

8.

F7

Bb7

F7

Cmi7 F7

Bb7

Eb7

9.

F7

Bb7

F7

Cmi7 F7

Bb7

10.

FM7

Emi7 A7

11.

FM7

12.

FM7

13.

FM7

Dmi7 G7 Cmi7
_
_
Emi7 Eb 7 Dmi7 Db 7 Cmi7
_
_
_
BbM7
A 7 G 7 Gb 7
_
_
_
BbM7
A 7 G 7 Gb 7

Bmi7 E7 F7 E7
_
Bo7
A 7 D7

14.

FM7

Emi7 A7

15.

FM7
Emi7 A7 Dmi7 G7 Gbmi7 Cb7 BbM7
#
F mi7 B7 Emi7 A7 Dmi7 G7 Cmi7 F7 BbM7
FM7
F#mi7 B7 EM7 EbM7 DbM7 BM7 BbM7

16.
17.

Dmi7 G7

F7

Bb7

Cb7 BbM7

Bbmi7

Ami7

Cb7 BbM7

Bbmi7

Ami7

Cb7 BbM7

Bbmi7 Eb7 AbM7

Cmi7 F7

BbM7

Bbmi7 Eb7 Ami7

Bmi7

E7 Ami7

Bbmi7 Eb7 AbM7

Bmi7

E7 AM7

D7
Eb7
_
Ab 7
_
Ab 7
_
Ab 7
_
Ab 7
_
Ab 7
_
Ab 7
_
Ab 7

D7

Gmi7

Db7 Gmi7

C7
Bb7
_
C7 Db 7 Gb7
Gb7

FM7

D7 Gmi7
_
Ao 7 Gmi7
_
Ab 7 Gmi7

Gmi7 C7

Ami7

D7

Dbmi7 Gb

Db7 Gmi7

C7

Ami7

D7

Gmi7 C7

Db7 Gmi7

C7

Bb7 Ami7

D7

Gmi7 C7

Gmi7

C7

Ami7

D7

Gmi7 C7

FM7

AbM7 GM7 Gb

Gmi7
Gmi7
Db7 GbM7

Db7 GbM7

Ami7 D7

GM7

C7

GbM7

Ami7

Gb
Gb

NOTE: Portions of these progression could be combined with each other to create hundreds of slight variations of the above. Notice that
SUDFWLFDOO\DOOEOXHVSURJUHVVLRQVIROORZDVLPLODUEDVLFIRUPZKLFKLVDVIROORZV)LQDOPHDVXUHV9YHFKRUGRULL9VXEVWLWXWH
returning to a I (one) chord.

35

5HSULQWHGIURP-,03,(5&(6%LJ*ROGHQ7UXPSHW(QF\FORSHGLD
3XEOLVKHGE\&KDUOHV+DQVHQ0XVLF %RRNV

VALUES
THE GREATEST HANDICAP --- FEAR
THE BEST DAY --- TODAY
EASIEST THING TO DO --- FIND FAULT
MOST USELESS ASSET --- PRIDE
THE GREATEST MISTAKE --- GIVING UP
THE GREATEST STUMBLING BLOCK --- EGOTISM
THE GREATEST COMFORT --- WORK WELL DONE
MOST DISAGREEABLE PERSON --- THE COMPLAINER
WORST BANKRUPTCY --- LOSS OF ENTHUSIASM
BEST TEACHER --- ONE WHO MAKES YOU WANT TO LEARN
GREATEST NEED --- COMMON SENSE
MEANEST FEELING --- REGRET AT ANOTHERS SUCCESS
BEST GIFT --- FORGIVENESS
GREATEST KNOWLEDGE --- GOD
GREATEST THING IN THE WORLD --- LOVE
SUGGESTION: Put these values as a pin-up in your practice room.

Musical Training
is a more potent instrument than any other,
because rhythm and harmony
QGWKHLUZD\
into the inner places of the soul.
-- Plato
BILL EVANS - piano player
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0XVLFVKRXOGHQULFKWKHVRXOLWVKRXOGWHDFKVSLULWXDOLW\E\VKRZLQJDSHUVRQDSRUWLRQRIKLPVHOI
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VRPHWKLQJZLWKLQKLPVHOIWKDWVXQLYHUVDODQGZKLFKKHFDQSXWLQWRWHUPVWKDWDUHFRPPXQLFDEOHWR
RWKHUSHRSOH7KHPDJLFRILWLVWKDWDUWFDQFRPPXQLFDWHWRDSHUVRQZLWKRXWKLVUHDOL]LQJLWHQULFK
PHQWWKDWVWKHIXQFWLRQRIPXVLF
36

BEBOP CHARACTERISTICS
Compiled by David Baker
 &203/(;+$5021,&,'($6
  /21*(5 0(/2',& 3+5$6(6 86,1* 2'' ,17(59$/6 %8,/7 217+( (;7(16,21 2) &+25'6
WKVWKVWKVHWF
  +$5021<*$,1('(48$/)227,1*:,7+0(/2'<$1'5+<7+0:(67(51,1)/8(1&(
  $6281',167580(17$/7(&+1,48(:$60$1'$725<
 $*22'($5$1'$48,&.0,1':(5(,1',63(16$%/(
  (,*+7+127(6$1'6,;7((17+127(6%(&$0(7+(%$6,&81,762)7,0(
  +2516$,0(')25&/($13,$12/,.((;(&87,21
  3/$<(56)2//2:('7+(75(1'72:$5'7+(9,%5$72/(666281'5('8&,1*7+(/$7,78'(
$1')/(;,%,/,7<2)6281'352'8&7,21,6$127+(5:(67(51&21&(37$6$35$&7,&$/
&216,'(5$7,219,57826,7<'(0$1'6$181(1&80%(5('6281'
  7+((03+$6,6:$6025(21&217(177+$1216281'
 &203/(;&+25'63529,'('62/2,676:,7+$%52$'(5+$5021,&%$6(0$.,1*3266,%/(
$*5($7(59$5,(7<2)127(&+2,&(6$1'$+,*+(5,1&,'(1&(2)&+520$7,&,60
 &+25'66(59('$67+(,03529,6$7,21$/5()(5(17,$/5$7+(57+$17+(0(/2'<
 +27,03529,6$7,21)$67,17(16(,03$66,21(':$67+(58/(
 &2//(&7,9( ,03529,6$7,21 :$6 (;&/86,9(/< %(7:((1 7+( 62/2,67$1' 7+( 5+<7+0
6(&7,21
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%,*%$1'6
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9,'($%52$'(5+$5021,&%$6(
 7+(086,&029('(9(5&/26(572:(67(51(8523($1086,&%(&$86(2),76(03+$6,6
21+$5021<$1',167580(17$/)$&,/,7<$1',76,1&5($6,1*86(2)27+(5:(67(51
086,&$/'(9,&(6
 7+((17,5(/$1*8$*(2)-$==:$648(67,21('68%75$&7(')520$''('72385*('
$1'5($)),50('
 32/<5+<7+0%(&$0($1,03257$17)$&725$*$,1
 %(%237(1'('72 &2',)<$//7+$7 +$' *21( %()25( ,7 ,6 &216,'(5('7+( &20021
35$&7,&(3(5,2',1-$==
 81,6210(/2'<67$7(0(176:(5(7+(58/(2)7+80%%(&$86(7+(,1&5($6,1*+$5
021,&&203/(;,7,(60$'(&2817(532,17$1'6(&21'$5</,1(6/(66)($6,%/(
 7+(%5($.$6$6758&785$/'(9,&(5(*$,1('3238/$5,7<
 %(%23 3/$<(56 0$'( /,%(5$/ 86( 2) 4827(6 25 ,17(532/$7,216 )520 27+(5
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 0(/2',&/,1(6:(5(6&$/$55$7+(57+$1&+25'$/
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7+(',0,1,6+('6&$/(EEE
 7+(5(:$6025(())257720$.(7+(62/2/,1(6&2+(6,9(%</,1.,1*7+(072*(7+(5
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 3,$12%(&$0(7+(&(17(52)7+(1(:(;35(66,21
 $6<00(75,&$/62/2&216758&7,21%(&$0($)$&7
37

A SHORT LIST OF BEBOP PLAYERS

&KDUOLH3DUNHUDOWRVD[
'L]]\*LOOHVSLHWUXPSHW
%XG3RZHOOSLDQR
&KDUOLH0LQJXVEDVV
0D[5RDFKGUXPV
7KHORQLXV0RQNSLDQR
6RQQ\6WLWWDOWRWHQRUVD[
&OLIIRUG%URZQWUXPSHW
:DUGHOO*UD\WHQRUVD[
$O+DLJSLDQR
+RZDUG0F*KHHWUXPSHW
)DWV1DYDUURWUXPSHW
5HG5RGQH\WUXPSHW
---RKQVRQWURPERQH
6RQQ\5ROOLQVWHQRUVD[
-DFNLH0F/HDQDOWRVD[

'H[WHU*RUGRQWHQRUVD[
0LWW-DFNVRQYLEHV
:\QWRQ.HOO\SLDQR
+RUDFH6LOYHUSLDQR
$UW%ODNH\GUXPV
-LPP\5DQH\JXLWDU
:HV0RQWJRPHU\JXLWDU
&KDUOHV0F3KHUVRQDOWRVD[
-DPHV0RRG\WHQRUDOWRVD[XWH
3KLO:RRGVDOWRVD[
&DQQRQEDOO$GGHUOH\DOWRVD[
0LOHV'DYLVWUXPSHW
/HH.RQLW]DOWRVD[
*HUU\0XOOLJDQEDULVD[
5D\%URZQEDVV

BEBOP SCALES
7KH%(%23VFDOHFDQEHXVHGRYHUDQ\TXDOLW\PDMRUPLQRUGRPWKRUKDOIGLP,W
LVSUREDEO\XVHGPRVWRIWHQRYHU'RPWKDQG'RULDQPLQRUFKRUGVFDOHV
C7 Bebop scale = C D E F G A Bb B C -- (This is also called the 7th scale.)
'RQWDOORZWKH%WRIDOORQDGRZQEHDW,W0867IDOORQWKHXSEHDW%HDWVDQG
DUHGRZQEHDWV*RRGEHJLQQLQJVWDUWLQJQRWHVIRUDVFHQGLQJHLJKWQRWHVOLQHVDUH
E)RUGHVFHQGLQJHLJKWKQRWHOLQHVWKHVDPHDVDVFHQGLQJE7KHVHDUH
$//FKRUGWRQHV:KHQ\RXEHJLQDSKUDVHRQWKHQGWKRUWKQRWHRIWKHVFDOH\RX
PXVWXVHDSDVVLQJWRQHRUFKURPDWLFLVPVRPHZKHUHLQWKHSKUDVHLQRUGHUWRPDNHWKH
%IDOORQDQXSEHDW%HFDUHIXOWRXVHSURSHUMD]]DUWLFXODWLRQRU\RXPD\QHJDWHWKHHI
IHFWLYHQHVVRIWKH%HERSVFDOHVRXQG
Doing the above will make your phrases sound natural and more like what you hear
on records.
The circled note is the extra, added tone.

BEBOP SCALES: MAJOR = 1, 2, 3, 4, 5, 5, 6, 7, 1 -- C D E F G G A B C

DOM.7th = 1, 2, 3, 4, 5, 6, 7, 7, 1 -- C D E F G A B B C
MINOR = 1, 2, 3, 3, 4, 5, 6, 7, 1 -- C D E E F G A B C
HALF-DIM = 1, 2, 3, 4, 5, 5, 6, 7, 1 -- C D E F F G G BC
PROPER USE OF THE BEBOP SCALE WILL INSTANTLY MAKE YOUR MUSICAL LINES MORE MATURE AND ALIVE.

CHECK OUT JOE RIPOSO'S BOOKS ON BEBOP SCALES:




BEBOP SCALES AND PATTERNS - (Order Code: BEBOP (Treble) or BEBOP-BC (Bass Clef)
TARGET AND APPROACH TONES (Order Code: TAT)

$OORIWKHVHERRNVDUHDYDLODEOHIURP-DPH\$HEHUVROG-D]]YLVLWRXUZHEVLWHDWwww.jazzbooks.com

38

TRANSPOSITION CHART
C Concert Instruments: Trombone, Piano, Flute, Guitar, Oboe, Organ, Violin, Cello, Viola, Harp, C
Melody Sax, C Trumpet, Bass Guitar, Bass Violin,
Bb Instruments: Trumpet, Cornet, Clarinet, Tenor Sax, Soprano Sax
Eb Instruments: Alto and Baritone Sax, Eb Clarinet,
NOTE:&&RQFHUW,QVWUXPHQWVDUHQRQWUDQVSRVLQJ7KH\UHDGWKHLUPXVLFDVLV%ELQVWUXPHQWVPXVWSOD\
WKHLUQRWHV83D:+2/(67(37KLVLVFDOOHGWUDQVSRVLQJXSDVWHS(ELQVWUXPHQWVPXVWSOD\WKHLUQRWHV
'2:1WKUHHKDOIVWHSV0LQRUWKLUG7KLVLVFDOOHGWUDQVSRVLQJDPLQRUWKLUG
If we had a musical phrase comprised of these notes, here is how they would be transposed;
C Concert Instruments play: C E G

Bb A

G B

Bb Instruments play:

Ab

F B

Eb Instruments play:

F E

C F

TWO INTERESTING SHORT STORIES

7KHIROORZLQJWZRVWRULHVDUHWUXH7KH&KDUOLH3DUNHUVWRU\LVIURPDUHFRUGHGLQWHUYLHZ
ZLWK/HRQDUG)HDWKHU,WLVDYDLODEOHLQWZRYHUVLRQVDVKRUWPLQXWHYHUVLRQDQGDORQJHU
PLQXWHYHUVLRQ7KHORQJYHUVLRQLVIURPDUHFRUGWLWOHG5DSSLQZLWK%LUG7KHODEHOLV
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ERWKVWRULHV,PVXUH\RXOOVHH%LUGVORYHRIPDQNLQGDQGKLVZLOOLQJQHVVWREHRIKHOS
Charlie Parker:,NQHZKRZWRSOD\WZRWXQHVLQDFHUWDLQNH\WKHNH\RI'IRUVD[RSKRQH
DOWRVD[)FRQFHUW,OHDUQHGKRZWRSOD\WKHUVWHLJKWEDUVRI/D]\5LYHUDQG,NQHZWKH
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DURXQGZHUHDQGWKHUVWWKLQJWKH\VWDUWHGSOD\LQJZDV%RG\DQG6RXOORQJPHWHU\RX
NQRZ6R,JRWRSOD\LQJP\+RQH\VXFNOH5RVHDQGWKHUHDLQWQRIRUPRIFRQJORPHUD
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\RXNQRZ
Jamey Aebersold:,WLVREYLRXVIURPWKHDERYHVWDWHPHQWVWKDW&KDUOLH3DUNHUGLGQWNQRZ
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IRUPRUHLQIRRQ&KDUOLH3DUNHUVOLIHDOODUHDYDLODEOHIURPwww.jazzbooks.com
%LUG/LYHVE\5RVV5XVVHOO

39

John Welch:,ZDVHLJKWHHQ\HDUVROGDQGYHU\QDLYH,KDGVWXGLHGDUUDQJLQJZLWK%LOO5XVVR,ZHQW
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WKLVVWUXFNPHYHU\PXFK$VDPDWWHURIIDFWZKHQ,WKLQNRI&KDUOLH3DUNHU,ZRXOGKDYHWRVD\KH
affected me much more as a human being in my reaction to other human beings at that moment than
PXVLFDOO\
Jamey Aebersold:,IHHOWKDWWKHVHWZRVWRULHVJLYHXVDQH[FHOOHQWH[DPSOHRIVRPHRQHZKRVHHP
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UHWXUQ

...The music of Charlie Parker has certainly done this...

PLAY-A-LONGS FROM JAMEY AEBERSOLD FEATURING CHARLIE PARKER
VOL. 6 - CHARLIE PARKER - ALL BIRD

VOL. 69 - BIRD GOES LATIN

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40

USE PENCIL

THEORY ASSIGNMENTS

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FRQFHUQLQJEXLOGLQJVFDOHV

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\RXUHGRQHIHHOIUHHWRPDLOWKHPWRXVDQGZHZLOOFRUUHFWWKHPDQGPDLOWKHPEDFNWR\RX
Jamey Aebersold
H = Half Step, W = Whole Step, -3 = Minor Third (3 half steps)
0DMRU6FDOH ::+:::+


0LQRU6FDOH :+:::+:


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'LP:KROH7RQH6FDOHV +:+::::
_
_

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/\GLDQ'RPLQDQW :::+:+:
_

[ # and + means to raise 1/2 step. b or - means to lower 1/2 step. 3 means 3 half steps ]
For additional study, I highly recommend Dan Haerles book, The Jazz Language.
WRITE THE NOTES TO THE FOLLOWING SCALES
(use the above whole and half-step sequences as a guide)
1. B
2. A7
_
3. B 7
4. B
_
5. D
6. C7
_
7. F 7
8. E
_
9. F 7
10. D7
_
11. G
12. C7
13. F
14. A2
15. Bb Major 4
_

16. A

17. E7
18. E

19. B7
20. C74

41

USE PENCIL

THEORY ASSIGNMENTS

WRITE THE NOTES TO THE FOLLOWING CHORD SYMBOLS

WRITE THE NAME OF THE SCALE TO THE LEFT, ALSO
1. A74
_
2. B
3. C7+9
4. B4
5. D
6. A4
7. C2
8. F4, 5
_
9. B
10. E74
11. F7+5
12. E7 4, 5
13. A4
14. D79
15. B79
_
16. G
17. C79
18. G
_
19. D
20. A79

42

USE PENCIL

THEORY ASSIGNMENTS

7KHUGWRQHRIWKH(PDMRUVFDOHLV
_
7KHWKWRQHRIWKH$ scale is

________

7KHWKWRQHRIWKH%VFDOHLV
_
7KHWKWRQHRIWKH$ VFDOHLV
_
7KHUGWRQHRI( VFDOHLV

________
________

7KHWKWRQHRI$PDMRUVFDOHLV

________

7KHQGWRQHRI)VFDOHLV

________

7KHWKWRQHRI(VFDOHLV

________

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ANYONE CAN
IMPROVISE!
DVD Video

Jamey explains and demonstrates

fundamental techniques used by all
great jazz improvisers.
Product Code JAD - $19.95