BASIC JAZZ IMPROVISATION ‘BbG00K r~ Arranged by "10 TED GALLOWAY =BASIC JAZZ IMPROVISATION ‘TABLE OF CONTENTS Jaz Articulation Exercise 1 - Quarter and eighth notes. 3 Exercise 2 - Rest following eighth notes 4 Exercise 3 - Syncopated rhythm 4 Exercise 4 - Syncopated rhythm 8 Exercise 5 - Syncopated rhythm 6 Chord Scales Exercise 6-11 - C6 and Cmaj7 7 Exercise 12 - Improvise on Cmai?. 9 Exercise 13-15 - Gm7 .... : : 9 Exercise 16 - Improvise on Cm7 : 10 Exercise 17-19-C7 10 Exercise 20 - Improvise on C7 "1 Exercise 21-23 - G8 and Gmai7 é u Exercise 24 - Improvise on Gmaj7 ree ‘i 12 Exercise 25-27 - Gm7 12 Exercise 28 - Improvise on Gm7 : 13 Exercise 29-31 - G7 i 13 Exercise 32 - G7 14 Exercise 33-35 - D6 and Dmal7 14 Exercise 36 - Improvise on Dmaj7...........ccscisiseees nei 15 Exercise 37-39 - Dm7 15 Exercise 40 = Improvise on Om? 16 Exercise 41-43 - D7 waned 16 Exercise 44 - Improvise on D7 7 Exercise 45-47 - A6 and Amaj7 0.2... i 7 Exercise 48 - Improvise on Amaj7. 18 Exercise 49-51 - Am7..... ; 18 Exercise 52 - Improvise on Am7 Sonne es 19 Exercise 53-55 - A7 19 Exercise 56 - Improvise on A7 5 20 Exercise 57-59 - F6 and Fmaj7 2s. o00 22s. 7 20 Exercise 60 - improvise on Fmaj7. 24 Exercise 61-63 - Fm7, 21 Exercise 64 - Improvise on Fm7_ 22 Exercise 65-67 - F7 22 Exercise 68 - Improvise on F7 23 Exercise 69-71 - Bb6 and Bomai7. 23 Exercise 72 - Improvise on Bomaj7 24 Exercise 73-75 - Bom7 24 Exercise 76 - Improvise on Bbm7 25 Exercise 77-79 - Bo7 25 Exercise 80 - Improvise on Bb7 26 Exercise 81-92 - Major chord scales 26 Exercise 93-104 - Minor 7th chord scales 28 Exercise 105-116 - Dominant 7th chord scales 298 Exercise 117-128 - Major chords/arpeggios. 3 Exercise 129-140 - Minor chords/arpeggios. 32 Exercise 141-152 - Dominant 7th chords/arpeggios 33 Chord Progressions ‘The Blues Progression. 34 Exercise 153 - Melody in C 34 Exercise 154 - Improvise C Blues. 35 Exercise 155 - Melody and improvise F Blues 35 Exercise 158 - Melody and improvise Bb Blues. 36 Exercise 187 - Transpose melody and improvise 37 Exercise 158 - Melody and improvise D Blues. 38 Blues notes 39 Blues scale 39 Exercise 159-170 - Blues scales. 40 Variation of the blues progression. 4 The llm7-v7-| progression 42 Exercise 171-173 - iim7-~v74 in’C 42 Exercise 174-185 - The llm7-v7-v7-i, cycle of fifths 43 Exercise 186 - Melody and improvisation in © 45 Exercise 187 - Melody and improvisation in F 46 Exercise 188 - Melody and improvisation in Bb 46 Exercise 189 - Melody and improvisation in G a Exercise 190 - Transpose and improvise in D 47 Exercise 191 - Melody and improvisation in A - 43 Exercise 192 - Melody and improvisation in & EB, Editor: Nelle Morphy / Production: Frank J. Hackinson / Printer: Central Litho (Miami) Copyright * 1964 by STUDIO 224, 16533 NW. 54th Avenue, Hialeah, Fla, 90014 tlc aieiade coer ‘Medel A. nA Pichia ReservedJazz misic must be interpreted correctly through articulation for the music to sound charac teristic of the style. Jazz articulation is different from classical music. The most noticeable difference is in the way quarter notes and eighth notes are played. Example 1 In classical music quarter notes are played long or full value, P! plays Written Played in the classical style Example 2 In the Jazz style quarter notes are played short, usually as 2/3 of a triplet. Written Play in the SESS jazz. style | Bedileed ha SoeExample 3. A series of eighth notes should be played“long short” as tr cighths as in classical music. Written Played in the jazz style e354 35 34 bso es fs Exercise using quarter notes and eighth notes in the jazz style. Example 4 When a rest follows an eighth note, the note is played short with the tongue, Written O35 034Exercise with rest following the eighth note. Tongue the last note. 2 A A Example 5 A very common figure found in the swing style is the syncopated figure, eighth note followed by a quarter note, ‘The eighth should be played long and the quarter note should be played short. Avoid rushing this figure. Written Played Cg tgs wy Exercise using the syncopated eighth and quarter.Example 6 Another common figure found in the swing style is the eighth note at the end of the bar. Sometimes it is notated as tied over the bar followed by a quarter and eighth, Sometimes it is notated as an eighth note on the up beat of count four with an eighth rest on count one of the following measure followed by a quarter note and an eighth note. es Example 7 Sometimes the same figure is noteated as follows. Written Play in jazz styleExample 8 Still another common figure in swing style is the eighth notes tied over the middle of the bar. It should be played like Example 7. Written Played in the jazz styleChord scales are scales built on the notes of the chord given and the passing notes in between, Example 9 When the C6 or C maj7 chord is called for, you not only have the option of using the four chord tones, but you also have available the notes in-between. You are not limited to one octave. Play the following: C6 Cmajz For the C6 and the C maj7 chords, use the major scale starting on the root. The only note in the major scale that should not be emphasized is the 4th step. It is next to the 3rd and the two can clash, ro Exercise on the Chord Seale: Play in Swing style Jad Written Played Example 10Patterns on the major scale for improvising ‘These are but a few of the many patterns that can be used on any scale to aid in improvis: ing. : i ee eyImprovise on the C major chord and scale. 2 Cmaj7 1 2 3 4 When the minor 7th chord is called for (Dorian Mode) use the major scale with a flat 3rd and flat 7th, 13 Cm7(iim7 in BD) ba bz bs Chord scale built on Cm7. 4 bs br bz ba Example 11 Play in Swing style Tiel) Written Played10 Improvise on the minor 7th chord and scale. 16 1 m7 in Bb) When the Dominant 7th chord (Mixolydian Mode) is called for, use the major scale with a flat 7th. 7 7 (V7 in F) Chord seale built on C7 chord. 18. bz br cal Example 12 Play in Swing style dey ald Written Playedn Improvise on the C7 chord and seale, C7 (Vin F) 1 3 4 20 Exercises in G ‘The Iand I maj? in G Gmaj7 spf pe gp othe — ae Chord scale built on G6 and Gmaj7. rs Example 13 Play in Swing style iM-J d Written Played 37 53512 Improvise on G maj chord and scale. 7 Gmaj7 24 The minor 7th chord built on G. 25 Gm? (ii m7 in F) b3 br bs Chord scale built on Gm7. b3 bz bz bs 34 Example 14 Play in Swing style da al) Written Played a313 Improvise on the Gm7 chord and scale. Gm7 (ii m7 in F) al 2 3 4 28 ‘The Dominant 7th built on G 29° G7 (V7 in ©) Chord scale bailt on G7 30 bz br 35 Example 15. Play in Swing style W =, d Written Played eee14 Improvise on the G7 chord and scale. 92 G7 (V7 inc) ‘The 16 and I maj7 in D. 7 D6 Dimaj7 Chord seale on D6 and Dmaj7 34 35 Example 16 Play in Swing style ee =J d Written Played ran 35 === FE 515 Improvise on the Dmaj7 chord and scale. 36 Dmaj7 1 2 3 4 ‘The minor 7th built on D. 37 Dm7 (iim7 in C) bs bz bs Chord scale built on Dm7. bs bz bv b3 35 Example 17 Play in Swing style ad =] d Written Played 5 37 516 Improvise on Dm7 chord and scale. Dm? (ii m7 in C) eet 2 3 4 i i ‘The Dominant 7th built on D. 41 D7 (V7 inG) Chord seale built on D7. 35 Example 18 Play in Swing style Id =J d Written Played7 Improvise on the D7 chord and seale. ‘The [and I maj? in A. 45 AG Amaj7 Chord seale on A6 and A maj. 3 Example 19 Play in Swing style Td-s) Written Played cs Uyst3t O3518 Improvise on A maj7 chord and seale. Amaj7 1 2 a 4 48 ‘The minor 7th chord on A 49 Am? (ii m7 in G) bs be b7 Chord scale on Am7. b3 bz bz b3 a5 Example 20 Play in Swing style vd =J d Written Played 5739 Improvise on Am7 chord and scale, Am? (ii m7 in G) ‘The Dominant 7th chord on A 53 A7 (V7 in Dy Chord scale built on A7. b7 Example 21 Play in Swing style Id =] d Written Played 739 35 34 3Improvise on A7 chord and scale. AT(V7 in D) The 16 and I maj? in F on F6 Fmaj7 Chord scale built on F6 or Fmaj7. 34 Example 22 Play in Swing style ay =4 > Written Played 35035 ar)21 Improvise on Fmaj7 chord and scale. Fmaj7 60 ‘The minor 7th chord on F, 61 Fm7 (ii m7 in BD) ae bs br ba Chord scale built on Fm7. 62 b3 bz bz bs Example 23. Play in Swing style Written Played22 Improvise on Fm7 chord and scale. Fm? (ji m7 in ED) ‘The Dominant 7th chord on F. 65 F7(V7 in BD) Chord scale built on F7. bz bz 35 Example 24 Play in Swing style I a d d written playedImprovise on F7 chord and seale. 68 F7 (V7 in BP ) 1 2 3 4 ‘The 1 and I maj7 in Bb. 69 Bb6 BDmajz Chord Scale built on BD6 and BP maj7. 35 Example 25 Play in Swing style ty 7 J d Written Played a P35 34 35 524 Improvise on Bbmaj? chord and scale, ‘The minor 7th chord built on BD. 3 BDm7 (ji m7 in AD ) abs b2 bs Chord scale built on B_m7. bs b7 br bs 35 Example 26 Play in Swing style of = d Written Played—— seem 76 78 Improvise on BJm7 chord and seale. BDm7 (ii m7 in Ab) 1 2 ‘The Dominant 7th chord built on BD. x Bb? (V" in ED) Chord seale built on Bb7. bz Example 27 Play in swing style Je oe Written26 Improvise on the Bb7 chord and scale Bb7 (V7 in ED) 80 1 2 3 4 Major Scales: Use with Major 6th or Major 7th chords. 81 co Cmaj7 82 F6 Fmaj7 83, Bb Bpmaj?,87 Gb6 BO 89 AG 91 6 92 66 Abmaj7 Domaj7 Gbmaj7 Bmaj7 Emaj7 Amaj7 Dmaj? Gmaj7Minor 7th Chord Selaes (Dorian Mode) use with minor 7th chords, Fm? 99 Gom7Minor 7th Chord Scales. 100 102 Am7, 103 104 Gm7 Dominant 7th Chord Seales (Mixolydian Mode) use with Dominant 7th chords. 105, 106 107 Bor30 Dominant 7th Chord Scales. 108 1b7 109 ADT 110 Dbz um cbr uz 113 116aoa on Major Chords in Arpeggio forms uz 6 Cmaj7 18 F6 Fimaj7 119 Bb6 BPmaj7 125 6 Emaj7 126 46 Amaj7 127° D6 Dmaj7 128 gg Gmajz32 Minor Chords in Arpeggio form. 129° C7 qo0ee tae 131 182g Bom7 Ebm7 133 134 Abm7 Dbm7 135, 136 Gbmz Bm7 137 138 Em? Am7 139 140 Dm? Gm?Dominant 7th Chords in Arpeggio form. 145, 146 Ab7 DbzChord Progressions A chord progression is a series of chords each leading to the next, therefore, completing a sequence. Every music composition has its own succession of chords that underlie or support the melody. ‘The Blues Progression The blues is one of the simplest progressions in jazz, It usually is 12 measures long and can have many variations on the basic structure. A simple blues progression contains four measures of the I7 chord, (in blues the I chord usually contains @ flat.7th instead of a major 6th oF major 7th) two measures of the TV a two meaaures of the 1”, one measure of the V“, one measure of the IV? and two measrues of the I”, Example 28 The Blues cz Fv cr G7 FT c7 ‘The exercises that follow has a melody that contains the flat 7th of the chord. Key of © 153 C7. 135 Ad Lib, Solos on the blues using as a guide the melody above plus the chord tones and the chord seales, 154 rs The following exercises are the same melody as the previous one written out in different keys. Improvise in the key listed using chords and chord scales. Use the melody as a guide. . Key of F 155 F? Br nF? 1236 Key of Bb. 156 Bb? Bb7‘Transpose by ear the melody in the key of G major and improvise, ‘The first notes arc given. 738 Key of D 158 D739 Blue Notes ‘The so called “Blue Notes” in jazz are the flat 3rd, flat 5th, and flat 7th of the chord. The blue notes give jazz its distinctive sound. The flat 3rd and flat 5th ean be used in addition to the regular 3rd and 5th. Example 29 _ oS o— ba bs ‘The Blues Seale ‘The Blues Scale consists of steps: 1, b3, 4,b5, 5,b7, 8 Example 30 ba 4 bs 5 br 8 When improvising the blues, itis possible to use the blues scale of the key being played for the entire 12 bars.a ‘The Blues Seales 169g 160 OF 161 gh 162 pb ny Ca by b 165 Gb 7 Og 168 A,a > a Blues Scales + Variation of The Blues Progression To add variety to the simple blues progression, it is possible to change the chords to the following. Example 31 3 ‘The example above is only one of the many variations available for the Blues Progression.42 ‘The Im7 — V7 — 1 Progression The Im7 —V? —1 progression is very common in many pop and jazz tunes. ‘The m7 (Dorian Mode) is built on the 2nd step of the major scale, ‘The steps are 1,b3, 5,b7 171 Dm? (Ilm7 in major) ‘The V7 (Mixolydian Mode) is built on the 5th step of the major scale. The steps are 1,3, 5,b7, 172 G7 (V7 it C major) ‘The I chord is built on the first step of the major scale, Use either the 1® or I maj?. C6 (Lin. major) Cmaj? (1 maj7 in C) 17343 ‘The Im7 — V7 — I maj? through the eyele of fifths. 174 Dm7 (ii m7) G7 (v7) Cmaj? (1 maj7) 175 Gm7 (ii m7) c7(v7) Fmaj7 (I maj?) 176 m7 (ii m7) F7(v7) BP? maj? ( Imaj7) 77 Fm7 (ii m7) Bb7 (V7) Ebmaj7 (1 maj7 178 Bom? (iim?) Eb? (V7) Abmaj? (I'maj7)The m7 — V7 —1 Ebm7 (ii m7) Ab7 (V7) Dbmaj7 (I maj?) 179 180 Abm7 (ii m7) Dbz (v7) Gbmaj7 (I maj7) 181 Cm? (i m7) F#7 (V7) Bmaj? (I maj7) Fem? (ii m7) BT (V7) 183 Bm? (ii m7) E7(V7) Amaj7 (I maj7)45 ‘The Im? — V7 —I maj7 Em? (ii m7) AT (V7) Dmaj? (I maj7) 184 185 Am? (ii m7) pz7(v7) Ginaj7 (I maj7) ‘The melodies that follow have a melody built on the IIm7 — V7 ~ I maj? chord progression. Play the melody then improvise on the progression, using the chord and chord scale. C major 186 Cmaj7 Dm? G7 majz 1 2 4 Dm7 G7 Dm? G7 Cmaj7 Cmaj7 Dm? G7 Cmaj7 Dm7 G7 Dm? G7 Cmaj7187 FPmaj7 Gm7 c7 Fmaj7 Fmaj7 Gm7 cz Fmaj7, Gm? c7 Gm7 c7 Fmaj7 ‘Transpose the melody to BD. The first notes are given. Bpmajor Bbmaj7 Cm? Fv B>maj7 eaten : 3 1, bea m7 F7 Cm? F7 Bbmaj7 Bomaj7 m7 F7 Bbmaj7 m7 F7 Cm7 F7 Bbmaj7 16 13 14 15, Ge=e= ee ee47 G major 189 Gmajz Am7 pz Gmajz 5 Am? pz Am? pr Gmaj7 Gmaj7 Am? D7 Gmaj7 Am7 D7 Am7 rd Gmaj7 ‘Transpose to D major D major 190, Dalz Em7 AT 4 Pmaiz Em7 Az Em7 AT Dmaj7 Dmaj7 Em7 id Dmaj7 Em? AT Em7 AZ Dmaj7L400 48 A major 191 Amaj7 Bm? Ev Amaj7 il 2 _3 4 Bm7 Ev Bm? Ev Amaj? Amajz Bm7 ET Amaj7 Bm? E? Bm? E7 Amaj7 E major 192 Emaj7 Fem? B? Emaj7 Fim7 BT Fem? BZ Emaj7 Emaj7 Femz BT Emaj7 FRm7 BT Fem? BZ Emaj7 13 u 15, 16