Jazz Theory 101

For Beginners
 Why am I here?

1. I never played in a jazz band and want to learn more.

2. I never learned about chord changes and progressions in a jazz or commercial setting
in undergraduate theory. How does it relate.
3. I want to help my students understand chord symbols and progressions in
improvisation.
4. I needed somewhere to go and this was the closest session.
How many of you still suffer trauma from Music Theory?

Depending on what you have been

doing since your undergraduate theory
class, it may not be as daunting as you
may think.

Graphic: Gemma Correll

Jazz Theory is NOT
Rocket Surgery
What are issues surrounding this topic?

1. Jazz Education is often overlooked in the traditional Music Education curriculum due
to the blend of education and music classes.
2. Opportunities may be lacking in your high school background or interest.
3. Your primary instrument.
4. Jazz notation and pedagogy has changed dramatically over the last fifty years.
Objectives: What is in it for me (or my students)?

1. Practical approach to present material.

2. Assist in making successful music selections for students.

3. Present concepts you can easily integrate into the jazz ensemble rehearsal,
especially warm-ups!

4. Provide resources, tools, and strategies interpreting jazz music and for
teaching improvisation.

5. Meet all students where they are regardless of experience

 Form
1. Think of Form as a Square
2. Think of the Song as a Cube
3. Commercial Song Form
4. Sonata Form
a. Think of the Principal Subject as
the verse of an American
Songbook Standard.
b. Think of the Second Subject as the
Chorus
c. Many Jazz Standards only contain
the Chorus
i. 8 measure phrases
ii. AABA form
d. Development is improvisation
5. 12 Bar Blues Form
 Here WE Go! 4 Components of the Chord Symbol
1. Root of the Triad, Tendency within the Chord Progression
2. Quality of the Triad
a. Major
b. Minor
c. Diminished
d. Augmented
3. Extensions / Alterations
a. * 7 and numbers above = the seventh is always a minor 7th from the
root.
b. Maj 7 needs to be notated
c. 6 is most common scale degree used below 7
d. 9, 13 is most common dominant extension
e. Altered Notes may follow chord progression alluding to an
overarching scale.
f. Alterations center around the triad notes, 1-9, b3-3, 5 (b/#)
4. Bass Note
a. The note is in the bass, like an inversion Graphic: Megan Lavengood
b. A more modern interpretation, may imply the Eb triad included in the
chord. In this case, all the notes are present in the chord, Eb, G, and
Bb.
Root of the Triad, what does this tell us?
1.The chord is constructed from root.
2.How does root relate to the tonic and chords immediately before/after it.
3.What is the tendency or propensity of this root in relation to the tonic
a.Don’t overthink this!
b.Songs have more in common than you think.
4.Quick Overview
a.3 Chords and the Truth
i.I - Tonic
ii.IV - Subdominant
iii.
V - Dominant
b.Chord Substitutions
i.I / vi - Deceptive Cadence/Phrase Extension
ii.IV / ii - Subdominant
iii.
V / vii - Combined
5.Remember, each scale degree is numbered and each chord is numbered starting with the root. Using the tonality (Key Sign) with chord
symbol create a partner scale.

6. ye
 Quality of the
Triad
Extend to the 7th

Chord Symbol Type of Triad Type of 7th:

CMaj7 Major Maj7: C E G B (Tonal Center)

Cm7, C-7 Minor M7: C Eb G Bb (subdominant relationship)

Cø7 Diminished M7: C, Eb, Gb, Bb

C+7 Augmented M7: C, E, G#, Bb (*altered dominant, not in diatonic scale)

C7 Major M7: C E G Bb (dominant function

Extensions and Alterations

1. When a 7 is present, it is always

minor unless marked otherwise.
2. The chord has a dominant function
3. Altered notes focus around the
notes of the triad
4. Each altered chord has a partner
scale
 It’s all About the Bass / Note

1. The note the note in the bass, like an

inversion
2. A more modern interpretation, may imply
the Eb triad included in the chord. In this
case, all the notes are present in the
chord, Eb, G, and Bb.
 “3 Chords and the Truth.”
“Wherever Two or more are Gathered

Gravity - Sara Bareilles

1. Reharmonize with “3 Chords and the Truth”
2. Reharmonize with Chord Substitution
3. Add Chord Extensions.
How it all works!
Let’s Make this a Jazz Ensemble Warm-up
 Overarching Scale

1. One scale may be

used over a series
of chords in a
progression.
2. Scale is
determined by
key sign and
chord symbol
A Starting Point!

1. Bb Concert overarching
Scale may be used.
2. Explore by starting scale on
Different scale degrees or
Modes of Bb Concert.
3. Play Triads, Jazz Arpeggios, Alternate with Scales
4. Add leading tones or enclosures (play note above and below written note)
5. Utilize rhythms from the song or basic comping rhythms
6. Allow students to improvise while others are playing color notes
7. Input into Finale, add 4 measure lines of empty staves for students to write in
concepts listed above or something they like
8. If we consider Improvisation spontaneous composition, then use composition
A Few Minor Thoughts
1. How jazzers notated the minor ii (half
dim7) Vb9
2. Notice how the altered note follows from
the ii to the V providing opportunity to an
overarching scale
3. Resting chord often 69
4. Another cool option -Maj7
 How to Prepare for Success: I Don’t Know What
to Play!
Consider Jazz Theory during the music selection
process for your jazz ensemble. Start with the
following:

1. American Songbook
2. Original chart with well-known changes
3. Blues (major blues)
4. Blues (minor blues)
5. Funky Soul
a. Horace Silver
b. Cannonball Adderley
c. Herbie Hancock
 Anatomy of the
Blues
1. Chords utilized in basic form. I7 IV7 V7
​
2. The Blues in the Mixolydian Mode​

3. The Tonal Center takes on the Key Signature of the Ionian

Scale with the 7th degree lowered in the notation.​

4. The Blues Scale built from the tonal center or key becomes
the over-arching scale​

5. It is derived from the minor pentatonic scale: 1 b3 4 5 b7. F

Ab Bb C Eb​

6. The +4 (B) is added to the scale. +4 is the leading tone to

the dominant. 5 +4 4 is later identified as the top portion of
the bebop scale. ​

7. The b3 is often called a “Blue” note. Our Western European

“Ears” have accepted this sound.
 Overarching Scales: Blues Scale and Major Pentatonic
F Blues Scale

F Major Pentatonic Scale over measures 5-12

Take your Time
Apply your Jazz Theory
Thanks!
Available for consultation, clinics and
performances

Contact:

Dr. Matthew Murdock

Sycamore School

1750 West 64th St.

Indianapolis, IN 46260

murdock.matt@sycamoreschool.org
Taps Across the Water: 2023 Memorial Day Events for Trumpet
Players
Chautauqua-Wawasee, American Legion Posts 223
and 253, Dixie Sternwheel are collaborating to
sponsor:

"Taps Across the Water Events"

Sunday, May 28, 2023 6:15 Memorial Service - Webster Lake

This event honors and mourns military personnel

who have died in the performance of their duties
while serving in the United States Armed Forces.

Students receive commemorative patches

9:08 Taps at Dusk - Lake Wawasee,
Sidewindersyndrome@gmail.com Syracuse Lake, Papkeechie Lake