Q

COPYRIGHT

B Y

J R Y PUBLISHINC

COVANY

T A B L E OF

CONTENTS

i
I JAZZ IMPROVISATION .............. 1

II

TWELVE J A Z Z E T U D E S

. ... .........

44

III

T H I R T Y IMPROVISED

SOLOS . . . . . . . . . ....

....

68

( B A S E D ON WELL KNOWN STANDARDS) .

IV

SEVEN JAZZ DUTS (WITH IMPROVISATION)

,110

EXPLANATION OF CHORD SYMBOLS (UP TO SEVENTHS)

" " C Major Chord:

Root

Major T h i r d - P e r f e c t C

Fifth...C-E-G.

CP Cm

/. V-

C Minor Chord: Root - Minor T h i r d - P e r f e c t (The s m a l l [m] a p p l i e s t o t h e T h i r d ) . O. tro ck

Fifth.

,C-Eb-G.

5 > o rri*e

C Diminished-, C h o r d :

R o o t - M i n o r T h i r d - D i m i n i s h e d F i f t h . .. C-Eb-Gb. C

1
C Augniented*Chord: R o o t - M a j o r T h i r d - Augmented F i f t h (The [+]''applies .'to t h e F i f t h ) . C-E-G#.

C7

C Majr C h o r d w i t h M i n o r S e v e n t h : Root - Major T h i r d - P e r f e c t F i f t h - Minor S e v e n t h . . . C - E - G - B b . (The S e v e n t h i s a l w a y s a Minor Seventh except i n the Diminished Seventh Chord).

r ?

io*J :

f :

Cm7

C Minor Chord w i t h Minor S e v e n t h : Root - Minor T h i r d - P e r f e c t F i f t h - Minor S e v e n t h C-Eb-G-Bb. ( A s was s t a t e d a b o v e , t h e s m a l l [m] a p p l i e s t o t h e t h i r d [ E b ] , n o t t h e S e v e n t h , b e c a u s e the S e v e n t h i s a u t o m a t i c a l l y a Minor S e v e n t h ) .

C7

T h i s i s a c h o r d w h i c h i s b a s e d on f o u r n o t e s w h i c h a r e one and a h a l f tones apart: Root - Minor T h i r d - D i m i n i s h e d F i f t h D o u b l e F l a t t e d S e v e n t h ( o r M a j o r S i x t h ) .. . C-Eb-Gb-Bbb ( o r A * } ) .

v-/ < s v o >

hiT f A o

"
1

^ ji i-a

mayo y- *)

C 7
+

C Augmented C h o r d w i t h S e v e n t h : R o o t - M a j o r T h i r d - Augmented F i f t h - M i n o r Seventh...C-EG#-Bb.

CMaj7

S i n c e t h e l e t t e r [ C ] d e n o t e s Major Chord, t h e l e t t e r s . (Maj ] a p p l y t o t h e S e v e n t h : Root - Major T h i r d - P e r f e c t F i f t h - Major Seventh...C-E-G-B. * Cono l*> v c L j cA>** C Ma j 7 Uro * . r-rio / r ' ' , n < o
c

CmMaj 7

C Minor Chord w i t h a Major S e v e n t h . (The s m a l l [mj, a p p l i e s t o t h e T h i r d , t h e l e t t e r s [ M a j ] a p p l y t o t h e Sevenh}': R o o t - Minor T h i r d - P e r f e c t F i f t h - Major Seventh C-Eb-G-B. op
f

,.

^ > jy
: :

< " * *> f ( 31 j

:' a

y-

. i-/

C Ma j 7

C D i m i n i s h e d Chord w i t h a Major S e v e n t h : Root - Minor T h i r d Diminished F i f t h - Major S e v e n t h . C - E b - G b - B . C Maj 7 id. 7

Maj 7

/vi.) / f C Augmented C h o r d w i t h a M a j o r S e v e n t h : Root - Major Augmented F i f t h - M a j o r S e v e n t h . C - E - G # - B . C Maj 7 4 fu . >, i S" O

Third

< > * M /o. ayC

Cm7 [-5]

C Minor S e v e n t h w i t h a F l a t t e d F i f t h : Root - Minor T h i r d Flatted Fifth. ( S m a l l [ - ] -means n o t e i s fat) a n d M i n o r S e v e n t h . . .'C-Eb-Gb-Bb. Cm 7 [ - 5 ]

< . Wcj

m r- f jai

>

SEVENTH CHORDS (C MAJOR) C Maj 7 Dm7 Em7

Bm7[-5]

C Maj 7

-4b

-0-

Memorize t h e f o l l o w i n g s e v e n t h c h o r a s and t h e i r The s c a l e s a r e a l l i n t h e k e y o f [ C ] M a j o r . C Maj 7 Dm7

scales. ^ _

3*:
Em7

F Maj 7

G7

32:

|jjj' rrfrrrrr ^jii ^

Am7

|jJrrfrfrrfff gg
f

Bm 7 [ - 5 ]

i,nirrffrrji^
J5.

CMaj 7

rrffffrr^

5 EXAMPLES OF IMPROVISATION ON I N D I V I D U A L CHORDS I N THE K E Y OF C MAJOR USING THE CORRECT SCALES OF EACH CHORD. [ C ] C MAJOR CHORD...C-E-G, BUT AL SO NOTES MAY B E ADDED SUCH AS THE 6TH - [ A ] AND THE MAJOR SEVENTH - [ B ] . b ^ ^ tpo^.c) ,
n 7

^ W c ^

" Y V ^ - '*

'

r f 11 r

Em7 . E-G-B-D'

..t r

f=fcsr?

[ F ] F MAJOR CHORD, F-A-C, BUT ALSO THE 6TH - [ D ] AND THE MAJOR SEVENTH - T E ] MAY B E ADDED. [9th]

ir

[*] N o t i c e t h e u s e o f B^, n o t Bb, b e c a u s e G7 G-B-D-F

i t i s i n t h e k e y o f [ C ] . . ^'-' ^''
c

dJ~

<*?

[9th]

3^
-t^ Am7 A-C-E-G C-E-G /*~* . #, ^ ^ _

E S E

f r_r r
Bm7 B-D-^F-A f r

7^

EXAMPLES OF IMPROVISATION ON D I F F E R E N T CHORD COMBINATIONS. ,\ .'i < " iO ' re ^ O c' it> > 1 * > y c r , ( K E Y OF C MAJOR) G7

Dm7

G7

CMaj 7 fe

CHORD AND SCALE STUDY (C MAJOR) C Maj 7

10 SEVENTH CHORDS (G MAJOR) G Maj 7 Am7

Em7

a_ e a.
m

F#m7[-5] ^
-wa
n v

G Maj 7 r ^
v

Memorize G Maj 7

t h e f o l l o w i n g s e v e n t h c h o r d s and t h e i r (Key o f G M a j o r )

scales

Am7

2
9

fiL

"
Bm7

"

m rrrrffrrrD7 ^.
o & & O

- ^ ^

CMaj 7

^ ^ ^ ^ ^ ^ ^
67 I

Em7

G Ma j 7

11 EXAMPLES OF IMPROVISATION USING CHORDS WITH NOTES, NOT I N THE S C A L E OF THE KEY.

rw

^ |

veto*fe

rp?^ > > - p1o ^

c=!

AV"^^^ ;

3 'y
l

^'" c r ^ " ' / ' ' ' * "

t/'a fian

In

t h e e x a m p l e a b o v e , t h e A7 i n b a r s t h r e e a n d f o u r

. . . ^

^c-^a.-^o

I n th example a b o v , b a r two [ E 7 ] c a l i s b a r s t h r e e and f o u r [7] c a l i s f o r C#.

f o r G# and

...

13 SOLO # 2 (G MAJOR) Modrate S w i n g Tempo G Am7

_ Bm7

ff

v Am7

f ff urT i T? f r
^ - Em7 *
E m 7

r t r r i?
A

Am7

?;iff?rifn 'rrrv*ri
r

r
Am7 ni/ ^

>

? f ^ .

Am7

D7

_ ^"
E 7

D7 u i

D7

14 SEVENTH CHORDS ( F MAJOR) F Maj 7 Am7

E
Bb Maj 7 C7 _2 2

i
Dm7
C 2 ^-

h?

& *
Em7[-5]
j o

> *

F Ma j 7

i
F Maj 7 32: Am7
C

Mernorize t h e f o l l o w i n g s e v e n t h c h o r d s a n d t h e i r (Key o f F M a j o r ) Gm7

scales.

iJrr rrrrrYrrr r ^i
J

Bb Ma j 7

Dm7

^ ^ -fr

rrrfffffffrrr

Em7[- 5]
= SL

F Maj 7
3 y
t

15 WHEN OCCASIONAL TEMPORARY MODULATIONS OCCUR, THE SCALES SHOULD B E I N THE NEW K E Y S . THE FOLLOWING I S TEMPORARY MODULATIONS TO [ C ] AND [ G ] . , . _ ,,.
A

. . > y

1 t> -

F *

Jf .1
G M 7

Dm7
+ ^ ^

(Key o f C) G7 ^ C ^ ^ Dm7 ^ G7[13]

( K e y o f G) Am7 D7

!( l i i u " r r

i^n r ?.;T< f i' r

(Key o f P ) Gm7 C7

BLUE NOTES ARE THE MINOR THIRD, FLATTED F I F T H AND THE MINOR SEVENTH OF A CHORD. HERE ARE SOME EXAMPLES OF TWELVE BAR BLUES PROGRESSION FOR DEMONSTRATION PURPOSES. ( [ * ] means BLUE NOTE) c

G C7
_= 0L

f f T

rf

G7 C7

f T H ' l j T ,i

S-

_J

^ :

18 CHORD AND SCALE STUDY ( F MAJOR)

19 SOLO # 3 ( F MAJOR) Modrate S w i n g Tempo F f

,
- T ^ , .
A

Am7
^ ^

20 SEVENTH CHORDS (D MAJOR) D Ma j 7

F #in7
0 0

SE

1
Al

Bm7

2a:

m
D Ma i 7 g ^ g-

C*n7[-5] _jL = _ _ = e .
0

3E

i
seventh choras ana t h e i r Em7 scales. (Key o f D M a i o r )

Memorize t h e f o l l o w i n g D Maj 7

F#m7
e

c uz:

G Maj 7

A7

3r
Bm7

C#m7[-5]
-O.

fff r r t t f f f f f r r f n
r

D Maj 7

**

21 THE CHORD COMBINATION MOST COMMONLY FOUND I N MOST TUNES I S THE JLTZ-jg?-!. T H I S I S THE MINOR SEVENTH CHORD BASED ON THE SECOND DEGREE OF THE SCALE TO THE SEVENTH CHORD BASED ON THE F I F T H DEGREE OF THE SCALE TO THE TONIC WHICH I S THE CHORD BASED ON THE F I R S T DEGREE OF THE S C A L E . THE FOLLOWING ARE EXAMPLES OF THE U S E OF 1 1 7 - 1 7 - 1 . (KEY OF C MAJOR)

Dm7

! d i I el / O / * ' t7 u W .

22 (KEY OF G MAJOR) lano j.. i^ o s Am7 D7 noy"s [b9]

5
Am7

i
r

'

D7[+5] t T E G Maj 7

i
Am7

D7 * f

(Blue

Notes)

mG i l
D

' L \t lS %
7 (Blue Notes

[9th]

( K E Y OF F MAJOR)

(KEY OF D MAJOR)

25 CHORD AND SCALE STUDY

(D MAJOR)

D Maj 7

G Maj 7

G Maj 7

F#m7

D Maj 7

C#m7[-5]

Bm7

G Maj 7

27 SEVENTH CHORDS (Bb MAJOR)

Bb Ma j 7

Cm7

Dm7

5 E
Eb Maj 7

i
Gm7

F7

i
Bb Maj 7 J2 (SL 32:

Am7[-5]

i
seventh chords and t h e i r scales. % ( K e y o f Bb M a j o r )

Memorize t h e f o l l o w i n g Bb Maj 7

7 Cm7

"2?"

J
Dm7. E b Ma j 7
9

= 5 =

jtl'

uJJrfffffffJj-.j
Gm7 Am7[-5] o g

3S
Bb Ma j 7

28 CHORD AND SCALE STUDY (Bb MAJOR)

29 SOLO # 5 (Bb MAJOR) Modrate S w i n g Bb

Tempo Cm7

Dm7

frfu
fi'
G7

Cm7

,ni\< irrfrt ttrrttgj

Dm7

mi
V

i"i ^T"

'

inV
7 D m 7

tfiiTy/
Bb

tiglVO jit
D m . F7
F 7

Triis
O O

Cm7 ^"T-s Cm7 y^ZT^

BbMaj7 BbMa] 7

30 THE FOLLOWING I S AN E X E R C I S E DEMONSTRATING THE S I X T H CHORD I N A L L TWELVE K E Y S . PLAY I T SLOWLY AT F I R S T AND GRADUALLY DEVELOP SPEED.

The f o l l o w i n g i s a n e x e r c i s e d e m o n s t r a t i n g t h e M a j o r 7 t h Chord i n a l l twelve keys. P l a y i t s l o w l y a t f i r s t and g r a d u a l l y develop speed. G Maj 7 . - _ CMaj 7 DMaj7^ J Bb Xa j 7
-

AbMaj7

______

Db Maj 7
p

4h.r->f"
BMaj 7 E Maj 7

f r
A Maj

"MU

31 THE FOLLOWING I S AN E X E R C I S E DEMONSTRATING THE [7TH] CHORD I N A L L TWELVE K E Y S . PLAY I T SLOWLY AT F I R S T AND GRADUALLY DEVELOP SPEED.

D7

G7

C7

Bb7

Eb7

32 SEVENTH CHORDS (A MAJOR) A Ma i Bit, 7 C#ir,

0 D Ma j 7 _ 3 G#m7[-5]. -aE7 e .o. -

|| u E
F #m7 22:

A Ma j 7

3X
Memcrize A Ma i 7 the fcllowing seventh choras Major) and t h e i r scales,

22Z

(Kev c f A

3X
Bm7

I j Jr rf
o-j

r f r

f i f

f f r r J Jl.

1 u D Ma j 7 -fr * -f

C#ir7

I
F#m7

E7 ja 4

s
O g

ff

fTtffWfTfr

G#ir.7 [ - 5 ]

A Ma - 7

j,^jji rfffffff^
f

jjfffrrTfffffjj

33 MANY TUNES U S E [7] CHORDS GOING UP A FOURTH OR DOWN A F I F T H TO ANOTHER [ 2 7 ] CHORD, E S P E C I A L L Y ON BRIDGES (THE MIDDLE PART OF A TUNE). THE FOLLOWING I S AN E X E R C I S E USING [ 2 7 ] CHORDS GOING THROUGH A L L TWELVE K E Y S . THESE ARE FOUR BAR PHRASES, BUT N O T I C E THE USE OF THE [ 1 1 7 ] CHORDS I N CONJUNCTION WITH THE [ Y 7 ] CHORDS.

34

Ab7

fe
D

Er/.yrt,f
k7 Abm7

/:

Abm[Ma~ 7 1

Em7

A7

D7

Am7

f , r 1?
Am7 ^ D7
?

35 CHORD AND SCALE STUDY (A MAJOR) A Maj 7

C#m7

j D Maj 7

E7

= 3 5 2

G#m7r-5

A Maj 7

] ] 1

D Maj 7

C#m7

Bm7

A Maj Mai 7

G#m7[-5] G#m7f-51

F#m7

E7

D Maj 7

tfrf g F v ^ r
E7

fTTy i f T r 7 ? n
A Maj 7 [9th]

rfr i

36 SOLO #6 (A MAJOR) r

5^

A -A

Em7 =_
A >

f J I
A7 D *

ll
D m 7

' J
G 7

^ 71
^

Em7

i iTi n
=5 ?

i i r , .

ffrn
Bm7

Bm7 . ti* ^

Cm7 ,1 . f< i

Bm7 ^ Bm7

^_

E7

t tfr*r rr

"i

37 SEVENTH CHORDS (Eb MAJOR)

Eb Ma j 7

Fm7

Gm7

I
Ab Ma j 7
l

I I
Cm7
0

"
-

Bb7

y
Dm7[-5]

"
A.

" . . i i
A. -

EbMaj7

ii
j

- i i
^

Memorize Eb Maj 7

t h e f o l l o w i n g s e v e n t h chords and t h e i r (Key o f Eb Major)

scales.

(A
Fm7

'

' *
11

'

IJJ "

r r " r r r

n j a

" " -

iJJJf f r f f f f r p . J j j l
__ Ab Maj 7

Gm7 =3=

fffnTff
Cm7

f r

jjir^*^*#

lffrff^ffrffrrr|

_ _^

EbMaj7

f l

&

&

38 CHORD': AND': SCALE STUDY (Eb "MAJOR)

39

j ] ] ] 1 3 3
Eb Maj 7 Dmvt-S] Cm7 / Eb Ma j 7
r

SOLO #7

( E b MAJOR) Dm7 [ - 5 ] Cm7 Bb7 <~T~' AbMaj7

Ab Ma j 7

i'
Gm7 Gm7 C7 C7 -

>

r t ri
t

_Pm7 _Fm7

Bb7 Bb7

Eb -

^^-Eb f , f i

Cm

AbMaj 7

3| 1 3 3 3 ] 1 i 1
G m 7 ^ C7 Fm7 Bb7

f j ^ f f

f r u

n ^ t r i

40 I N ORDER TO GIVE CONTINUITY TO ONES IMPROVISING, THE PLAYER SHOULD STRIVE TO PLAY L I T T L E IDEAS AND DEVELOP THEK. THE FOLLOWING EXAMPLES DEMONSTRATE A BASIC IDEA, AND SHOW HOW THEY ARE RE-USED AND DEVELOPED I N THE 12 BAR CHORUS. (C MAJOR)

Basic

Idea

Modrate S w i n q Tempo . C

F7

Em7[-5] A

Dm7

G7

I
JO '-

j* ' y
5

> io

(A / > < < '-f

' <

ft'.

y '7

A . > ' '

41

42 ;d m a j o r )

Basic

Idea i5=

(p c ; i r / f
D7

Modrate S w i n g

Tempo

^ it
G7 ai

,f j 1 _ t T r ? j L /
r

5
,tf.M

t w i ' U I i t 7 f tfe
B7 Em7
r

Tf,

: r t i f

i. i r

f f7 T
f
(Bb MAJOR) Basic Modrate S w i n g Bb Tempo
A

[Link] f f M
Idea fe
>

Bb

Eb7

44 TUNE TIME Modrate S w i n g Tempo C Drr.7 jk G7 ^> Grr.7 C7

^ ^ ^ ^ ^ ^ ^ ^ ^ ^
F

..

_ t f ^

t
~

\' Dir,7
>

G7 >

f - ^

f f *

f 7 - ~

Fm

Brr,7 [ - 5 ]

E7

Am7

D7

G7 -*t_

Dm7

Gm7

C7

^>

T f f
Dm7

nr
G7

i"'rr
Em7
A

Dm7

A.T;"

3 3 E7 Bm7[-5]

Dm7

46 .Modrate Swi r.g Tempo Am E7[-9] A THE MINOR AND THE MAJOR A ^ ^ B7 E7[ + 5 ] Arri i :
7

Le t i L f E H t f
Am E7[-9] A Am

>'

L-f7
Dm A B7 E7 [ + 5] > Am A7

Dm7 <A -

G/ ^

Am7

Dn-,7

G?

f~

Bm7[-5] A

E7

Am

F#m7[-5] t _ r *

B7

E7

E7[+5]
7 *

E7 [ + ' < ]

Am

E7[-9]

Am

Dm

B7

E7[ + 5].

Am
A

- A

1^
Bm7[. ]
5

Am

f
E

^ll^
]

Bm7[-5] > E7

Am ' ^<

F Ma -

> *

<-

Am

Bm7[-5]

E7[+5]
. A

Am

Bm.7f-5 ! > ~ E
7

47

Am

..

t_jL
; r-T~-T-

A~

-_z

-f-f">

*A . T

*~

Ara

Arr

A,

4 - . f _ ' -P j Arr,

7-7-

-4=^
. A r r
A

5 ^

7 J_^

4^

BE

50 BREAKFAST FOR TIFFANY Modrate S w i n g Tempo Em Am7 F#m7[-5]

-t

1
Em

4Am

>
t-

Am7

F#m7[-5]
!

B7[_Q]

Em

E7

* # # 7:
3m7

i* f T f U ly i?. Am

>

E7[T5] i

E7

r'fr f f
Dm7

f'' f* J [ t 1 '
- 1 Brr.7 [ - 5 ]

>
l

-)

f kf~? t
Am7

/-

>

, . , _ 3 \ m-i_^0 ^

Em

F#m7[- 5 ]

B7 r+5 1

4
Em

ffCftfC.
Am7

z:
F#m7[-5]
-f"

B7[-S]

4-
Am7

f it
Em
A

* ' t r rAm7 F#m7 [-51

Em

Amt7

Fro7[-51

B7[+5T

Em

i r r ff

7 i 4 ^

51

Am"

Bm7[-5;

vecnfic
.Arr.
T

_ _ _ _ _ _ Dm7 3-7r-5' F#m7[-5] B"

Ara 7

y F#m7[-51 Am7 am

reteje

Am7

*7 f r

7T::

? TnT!T7^ ^C -
:

2
- - ~ >
Am7

F=m7 f - 51

Am

Am 37 i==

F#m/i -b 37 >

Em
>

A.

y I -

^ - - f - ^ - - ! - 4 - -j
1 1

C7

r^i

F4-

r
m / .A C"
A

' o l
A

C/

zssfcz.

3b
A ^ A

Am7
A

Gm" Dm7 ^ A
A

Gm"

F7 Gm/

3D

Am7
A _

.A

3=*

DI

>

fes

5=

A"

56 Modrate Swing Tempo D i > A DUTCK TREAT Em7

- r -

r fr
A

A7

7f ?

F#m7 Bm
A

5z= MF G#m7[-5]

^ A ,

u ir
E7 B7 Em7

Em7 A7 4.' :

F#m7

ir
c ?

Gm7 A7 D
^

Em7

A7

>_

Fm7

Bb7

Eb

Eb

Eb7 [-5?

G7

Cm7

Em7 F7 Bb A7
A > A

LAZY DAZE rete S w i n g Tempo Bm

*8; _ > B7

C7

3m

i
C7 Bm ^ C#rr7 [-51
/s

F #7

1" ; Crr7[-5]
! <v

F#7[+5] cm

Bm A

Em

nrTTTTT
Bm Em F#7 A Bm
A

F #7 A

Bm

C 7 A ~

' " N A ^

F #7
A

rfc* L' r ir fVlrr nr cJLrf

C7 A

F #7

Em

Bm

C7

Bm

C7 A ^

Bm A f _ y (

[i> i * Lr =s=ft

F#7

Bm

Em

3m

Em

Brr

C#m7[-5] F#7[+5] Bm

60 Modrate Swing Tempo Bb

CHEERFUL EARFUL
1
7

(#9)

ffr , f
Ebm

F9

rtffrtfr , f f f f f H
T
Bb * 7 o Db 7

Bb

Eb te

Bb

Cm7

F7

f
Bb7 A7 A ,"

t .
^

iffff S I

Ab7

G7

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