Martan Mann - Jazz Improvisation For The Classical Pianist - Text

Jazz
hipiwisation
jbr the Classical
Pianist
by Martan Mam
Musicmann Publications
Cupertino, California
'Dedication
Ibis bookjs lovingly dedicated as a tribute

to my father
Joseph Zimmerman
who was always my greatest

source of encouragement.
My special thankyou is to my beautiful
wife, Elizabeth, for her constant encouragement and
help. Also, an extra special mention should be given to
Linda Dean, of Artsortium Productions, for her tre-
mendous assistance in helping me to bring this book to
print, and to distribute it.
I also want to thank many family and

friends who were invaluable support to me. Thank you
to Candiya and Bhroam Mann, Ken Silverman, Ray-
mond A. Clark, John Brennan, Paul Tumason, all the
wonderful members of the Music Teacher's Associa-
tion of California, all of my piano students and piano
teachers.
Thank you to my wonderful Editors,

Elizabeth Mann, Susan Shipley, Marilyn Theurer,
Cecile Wood, and Kim Venaas. Also, thank you to
Andy Nunez of Newberry Advertising for his invalu-
able expertise in the final printing of this book and video.
A very special thank you to Apple Com-

puter for creating the Macintosh SE Computer and the
wonderful LaserWriter Printer. All the music graphics
were created with Professional Composer by Mark of
the Unicorn. The book is prepared using PageMaker
Software by Aldus Corp. The information is stored on
a Direct Drive 80 hard disk by Jasmine Technolo-
gies, Inc.
Table of Contents
Dedication
Acknowledgements
Table of Contents
Confessions of a Grateful Guinea-Pig
Prologue - A Personal Note 1
Introduction 11
Study Guide 20
Chapter One Foundations of Improvisation 21
1. Key Signatures 22
2. Spelling Scales 23
3. The Cycle of Keys 26
4. Five Finger Exercise 29
> 5. Major Scales 29
6. Thirds 31
7. Major Triad and Inversions 31
8. All Triads and Inversions 32
9- I - V7 - Progression
1
33
10. I - IV- 1 Progression 36
11 . I - IV - 1 - V7 - 1 and I - IV - V7 - 1 Progressions 38
12. Open Voicings 40
13. Advanced Open Voicings 40
14. Open Voicings - IV - - V J 1, 1 - 1, and I - IV - V - 1 41
15.. Seventh Chords 48
1 6. Major Scale Sevenths 54
Foundations of Improvisation - Review 55
Chapter Two Beginning Improvisation 61
17. Question and Answer 61
18. Thirds and Sixths 70
19. Major Scale Improvisation 71
20. The Major Scale Modes 75
21. Open Voicing Exercise 84
22. Pacheibel's Canon Exercise 86
Beginning Improvisation - Review 89
Chapter Three Technique for Improvisation 93

23. General Techniques for Improvisation 95
24. Legato Playing and Phrasing 99
25. The Piano as a Gong 102
26. Rotation Exercise 103
27. Recommended Piano Technique Method Books 105
28. Jazz Techniques 107
Technique for Improvisation - Review 112
Chapter Four Foundations of Jazz Improvisation 115

29. The Blues 115
30. The Boogie Woogie Blues 118
31. Groove Tunes 118
32. Boogie Woogie Exercise 122
33. Tritone Blues 132
34. Chord Extensions 137
35. Extension Exercise 138
36. II-V- Progression
1 143
37. Modal Soloing 149
38. Exercise - V - Soloing with the Right Hand
II 1 149
Foundations of Jazz Improvisation - Review 151
1
Chapter Five Foundations of a Tune 155

39. Learning a Tune 155
40. Exercise in Learning a Tune 157
41. Ballad Style 161
Foundations of a Tune - Review 174
Chapter Six Advanced Theory 177

42. Chord Substitutions and Alterations 177
43. Tritone Substitution 177
44. The Turnaround 179
45. Diminished Scale and Color Chords 183
46. Color Chord Exercise 1 84
47. Advanced Chord Voicings and Scales 189

48. Voicings 191
49. Chord Structures 194
50. Melodic Chords 195
51. Scale Construction 199
52. Tetrachords 199
53. Pentatonic Scales 199
54. Whole Tone Scales 200
55. Melodic Minor Scale 200
56. Harmonic Minor Scale 200
57. Scale Exercises 201
58. Chord Alterations and Tonalities 206
59. Scales from Chords 207
Advanced Theory - Review 21
FinalThoughts 215
Further Study 217
Confessions of a grateful
guinea-pig.
I
am a classically trained pianist who loves
jazz and wants improvise. For years the only way I
to
could play jazz was to play transcriptions
of jazz per-
formances. But couldn't play what
I
heard in my I
mind
without writing it out first (hardly a spontaneous, creative
experience).
Method books were the first way attacked I
theproblem. The methodsthey covered

rangedfrom"do
what sounds good" to "practice the following
300 exer-
cises for the next 4 years THEN maybe we'll talk about
creative expression".
Private lessons with several

teachers of
improvisation were equally disappointing
and showed
that the study of improvisation
is still a very widely
misunderstood and chaotic process.
Enter, Martan Mann.
Judge a performer by how he plays.

Judge a teacher by how his students play.
got to know Martan first

I
as an
extraordinary performer, both classical
and jazz. Then at
a gathering at his home had the
opportunity
f
to hear
some of his They were wonderful and found
students. I
that most had only been studying

a relatively short time
They weren-t just playing technically correct
"licks", they
were conversing using music. This was the
key.
immediately started working with Marian
I
and found his techniques ideally suited to the classically

trainedmusician. He distills the essence of improvisa-
tion and makes it understandable. He teaches improvi-
sation as if he were teaching you to speak a
language
builds upon
that, up until now, you could only read. He
the
a classical pianist's background and incorporates
years of experienceyou already have withthe new skills,
techniques and mental set you need to grow from an
i
nterpreter into an improviser
This book is the result o! MartarVsmany

years of performing and teachi ng and will show you how
to start improvising, how to build your
musical vocabu-
lary and how to build that impo rtant
subconscious mind-
to-hand link (to augment the eye-to-hand link you al-
ready have).
you like jazz and if you want to improvise,

If
this method is the most natural, effective way to learn. It

works.
Kim Venaas
Prologue - A Personal Note
This book, Jazz improvisation for th?

Classical Pianist has existed inside of me as a living
memento to my many years and teaching of taking
piano, flute, and theory lessons, and practicing and per-
forming on the piano and fJute. This goes back, think, I
to one of my first piano lessons when, at age four, my

piano teacher smacked me on the back of my hand with
a pencil (as remember it, think it was a ruler, or a
f
I
swagger stick) for placing the wrong finger on the right

note (or was it the right finger on the wrong note?) . My
rather opinionated, protective and
physically strong
mother excitedly showed herthe door. Thus proceeded
along history of battles with my classical piano teachers,
regarding the penchant that had with changing notes, I
phrasing, entire endings to Mozart piano sonatas, etc. it

seems that from day one on the piano, had this urge, I
this passion, this obsession with playing music my . . .
own way. (I know, can hear the gasps wafting through

I
all ol the music teachers in this world.) could never I
figure out why would she, the piano teacher, get SO

upset because added a new accompaniment to my
I
Chopin Waftz.
Oh well, after many rocky first years as a

classical piano student, I think was finally decided by
it
my classical piano leacherthat should be banished. So I
she sent me to my first jazz teacher, a very understand-

ing and very inspiring teacher, Wilbert Baranco. (You
will notice that i the name of my first classicaf
left off
teacher(s).) I'm not sure if they would want to claim me
as a student.) However, with Wiibert, now knewthat I I
was home. Even though Wilbert was an accomplished

classical pianist and excellent classical teacher, he let
Prologue 1
me, in (act encouraged me to improvise. was a 1 pre-
teenagerthen, and for me this was more fun than being

turned loose in a candy store.
me large doses of music

Wilbert gave
theory and started teaching me some standard
tunes.
He taught me how to harmonize and how to

play piano
in different keys. Most of all. he helped me analyze

classical pieces and showed me how
the theories ap-
was also learning. should
plied to the jazz pieces that
I
I
point out, that due to my then "advanced maturity", I was

now playing my classical pieces precisely as written. I
Wilbert by
culminated my wonderful experience with
beautiful
performing my first solo piano recital at his
home in El Cerrito, California. would like to mention as
I
an aside, that many years after not seeing Wilbert,

I
dropped in on him where he was performing in Concord,

California, and played some jazz for him,
I
and felt his
pride, as a surrogate father, in my
more matured abili-
ties. passed away shortly after our
Wilbert Baranco
inspired
meeting, and will always be grateful for his
I
direction. This book is dedicated, in large part, to

Wilbert.
He suggested that begin lessons with a I
Frederic
man who was a legend in San Francisco . . .
Saatman. Freddy, as he was called by his close

students, was perhaps my main influence because he
introduced me to the works of Chopin,
more difficult
Bach, and Debussy as well as the more refined elements

of jazz. We did extensive work on
piano technique and
many hours of deep analysis of music theory. Freddy

had many of the top classical and jazz pianists studying
with him. spoke with one of his star students, Dave
I
Brubeck, who Fred was actually his only

told me that
piano teacher (he said that he studied primarily

music
composition with Darius Milhaud.)
Freddy taught what he called the French
2 Jazz improvisation for the Classical Pianist

method of piano technique, largely made up of relaxa-
tion exercises. learned about arm rotation and most of
I
all learned to appreciate good tone and good phrasing.
He had many novel ideas on music theory and showed

me. for example, how to analyze Debussy's music to
use in jazz. In fact, Debussy, Chopin and Bach all
contribute to my were playing

jazz playing today. We
primarily Chopin Etudes, Debussy Preludes and
Etudes, and Bach's Well -Tempered Clavier. During this
time, while also studying at San Francisco State Univer-
sityas a music major under Vladimir Brenner, was I
gigging around San Francisco. This book and my

musical life is in iarge part also dedicated to Fred
Saatman, who passed away several years ago.
We now segue, in this saga of unfolding

piano-hood to Hawaii, where after years of performing
as a dub pianist, I decided, in 1971 , to return to college
and complete a B A. and M A. in music. The B.A. was
achieved Hawaii while studying with two fine piano
in
teachers, Harry Wilhelm and Peter Coraggio. I
studyed with Harry privately and with Peter at the Univer-

sity of Hawaii. Peter, at that time, had a sideline of
owning a recording studio called Synergy. He was one
of the first proponents of synthesizers. He was a
representee for early Moog synthesizers and, as such,
gave classes in his monster synthesizers. However, I
was followed
studied only classical piano with him. This
by expert classicaltraining with AikoOnlshl at San Jose
State University, where I received a Masters Degree in
Music.
Following, my playing a Masters Recital at
San Jose State University, (I played Chopin and De-

bussy) Idecidedto study jazz. Sincethen, have studied I
Don Haas, Jonny Parsons, Art

with jazz pianists,
Lande, and Mark Levine. My playing has grown in
different directions with each jazz instructor. I think that
the main difference with studying classical and jazz is
Prologue 3
that, in classical you learn to perform the music in the
manner that the composer intended.
In jazz, you explore yourself, and in so

doing, discover what you intend. I feel that by studying
classical have .earned to play music in a precise
I
manner, and this has helped my jazz so that can I
perform jazz in the style that wish. Jazz and improvi-

i
sation have, in turn, helped me to see classical pieces

freshly.
Now we come to the reason that I wrote

this book/music course. 1 know that many classical
pianists, who have spent much their lives studying
piano, and who are well-trained as a result, cannot
improvise. I and unneces-
feel this is very unfortunate
sary. We learn to walk and then walk where we want. We
learn to drive and drive the car where we want. We play
tennis, we ski, we spontaneously act and react our way
through each day. would seem then that if we can
It
move our fingers well enough to ptay Mozart, Chopin,

Beethoven. Bach, etc., should we not be able to move
them in response to our heart and our emotions?
can hear you all say, "it is easy

Oh, yes. I
toryouto say, beause you are a natural improviser. But

what about us non-improvisers - aren't we destined to
only readmusic?" To answer this. admit that all people I
have talent in one area or another, but this does not

negate the fact that everyone improvises his way
through life every day. We don't have a script.
The most important idea to comprehend

is that music is a language. believe that the same
I
center of the brain that allows us to communicate in

English and other languages, also allows us to speak
and understand music. Try to remember when, as an
adult, you were watching two children converse in a
language that you did not understand. You would think
4 Jazz Improvisation tor the Classical Pianist

that,as the adult, you should be the one who under-
stands. However, without this language center in the
brain understanding their symbols, we do not under-
stand what the children are saying. Language gives us
the way to share ideas using the symbols of words. In
music, we share musical ideas through "speaking-
music symbols. In jazz, musicians often play with other
musicians that they have just met, and then play simply
by listening. They improvise and share ideas back and
forth. If you want to learn to improvise, you have to study
as if you were learning a new language. It takes effort,
but it is definitely not impossible.
The secret can remem-

is in the thinking. I
ber, as a chiid. listening to Oscar Peterson (my

idol),
Ahmad Jamal. and Art Tatum, and wondering how

anyone coukj play like they played. All those notes
seemed to be coming from nowhere. It was as if they

were speaking a language that didn't understand. Then
I
as began to understand and hear their harmonic

I
structures, became easier and easier to understand

it
theirmusic. Then after listening to Bill Evans. wentinto I
harmonic ignorance again, and again, after listening to

Chick Corea. With each jazz player, you have to
understand how he thinks and what language he
speaks. Then, you can speakand understand his music,
and eventually play in his or her style.
There is a basic foundation for this lan-

guage which must be learned first. Also, since music is
performed physically as well as mentally, the subcon-
scious must be trained to read instantly. This means
that exercises in this book should be learned very well.
At first, the learning curve is very slow and possibly
frustrating, but as the subconscious learns to work
quickly, the natural ability of the mind allows the pianist
to improvise.
The jazz performer actually thinks differ-
Proktgue 5
ently than the classical performer. His musical per-
spective is totally different The classical performer's
main attention toward performing the music with a
is
specific interpretation. The jazz improviser is creating

the music as he ptays and therefore is musically con-
versing freely with himself, with the other musicians in
the band and emotionally with the audience. As he
plays, the music pours out of him and he has little time
to think. Just as in a conversation, he acts and reacts
instantly.
Thai is why this book will be easier for the

pianist who already plays well. If you do not, I suggest
that you study with a good classical teacher for a year or
two (or more) up your technique and abilities of
to build
music interpretation to the level where you can perform
reasonably well. However, truly feel that if children
I
were taught to improvise as they studied their first
lessons, then they would quickly become natural impro-

vises. Children love to experiment and love to explore
and should quickly learn to improvise with the right
approach. The problem is that in most classical lessons,
the teacher is not an improviser, and wasn't encouraged
tobe one as a student, and therefore does not encour-
age or know how to teach improvisation. Improvisation
can only be effectively taught by an improviser because
improvisation by its very nature is not specific and not
easily definedand must be taught as a mental/physical
exercise by someone who can do it.
I everyone can improvise if they

feel that
apply themselves, not be too critical, and not be too hung

up on obtaining specific results. The road to being an
improviser is not usually a straight line. The subcon-
scious receives information from many sources, and
then synthesizes own way and its
this information in its
own time. Keepthinkinghowlongit would take for a new

language to "kick in" before you were actually thinking,
emoting and conversing in it. This will give you a
6 Jazz Improvisation tor the Classical Pianist

yardstick to understand how long it will take to become
a good musical improviser.
This book is dedicated specifically to the

classical pianist who simply wants to utilize his skills on
the piano, for his own enjoyment, in his own way. My
heartgoes out to the classical pianists who have pur-
chased many books on jazz improvisation only to be
Hooded with chord progressions, chord voicings, and
other information that they do not know how to place in
their subconscious. Let's face it, most classical players
do not have a background or understanding of the world
of jazz. It is a foreign world to them because they have
not lived with the music and have not, perhaps, even
listened to the musk: to any great extent. Therefore,
when they are presented with mountains of theory, they
do not know where to start or how to prioritize their study.
This bookattempt to address you, the

will
classical player, from the perspective in which you are

now comfortable. The beginning of the book will start
with elements that you do understand, such as piano
technique and basic theory, which will center around the
major triad and the major scale. We will start with a
general approach to improvisation and work into more
specific styles. Thisa book which sincerely hope will
is I
help you achieve yourgoals and as such, hope that you

will leave
on the piano
it to work on, along with Bach,
Beethoven and Brahms.
The exercisesare developed in an entirely

different way than your usual visit to a piano teacher.
These are lessons subconscious mind The
for the
subconscious must develop the language of music to
the extent that you can play spontaneously and effort-
lessly. This means that you must continue practicing
these exercises, even though you do not see any imme-
diate results.
Prologue 7
In fact this a major problem
brings us to
that you will assuredly run into, and that is, haw do you
maintain interest during the period when you are simply
playing exercises and not particularly sounding the way
you would wish. have an easy solution far this
I don't
except to offer the advise that you try to find a situation
where you can improvise in front of others and/or with
others. For instance if you are a church organist, you
might try quietly and unobtrusively improvising during
the offering. If you are accompanying a dance class,
again you might try shorl periods of improv. Another
possibility exists while accompanying a vocalist or in-
strumentalist (let's hope they are understanding). Per-
haps, the best is to form a combo and start rehearsing
together with the hope that you can perform gigs. Also,
Ihightly recommend the A New Approach to Jazz im-
provisation series of records by Jamey Aobersold
This is a wonderful way to "sit in" with good musicians.
Itis also a good way to team standards and jazz tunes.
There are also records which help you to master chord

progressions and other Theories. you can learn a few
If
jazz tunes very well, then when you march into a local
jam session, you can suggest that everyone play the
tunes that you know. will be making specific recom-
I
mendations regarding these records later on in the

book.
The point here is that i realize that it is
painful practicing exercises without seeing the results.

Most of you are already accomplished musicians, and it
is uncomfortable foryou to be, in a sense, starting over.
You want immediate and you want to be playing
results
well. However, can only suggest that you give this
I
study time. The subconscious has its own way of

learning, and am sure that you will wake up one
1
morning and find that you are improvising beautifully

and effortlessly- Don't judge your initial progress too
harshly. Give the study time to mature.
8 Jazz Improvisation for the Classical Pianist

The instructional video, which can be pur-
chased with this book, will provide a great deal of insight
into the specifics of developing the exercises presented
Inthis book. In the video, spend a considerable amount
I
of time demonstrating my methods and ideas. It is an

invaluable aid in bringing this book to life-
There are plans currently being made for

future books and recordings and would like to encour-
i
age you to write to me personally and offer suggestions

of what you would like to learn. am available for private
I
lessons, special clinics, lectures, and performances.
This book is dedicated to having tun with

music.
Prologue 9
compose several contemporary compositions over the
course semester: one piano solo; a solo instru-
of the
ment accompanied by piano; a instrumental quartet; a
short choir piece; etc. The composition book for the
course discussed Twentieth Century compositional
techniques, with each chapter devoted to a different
technique. In reality, we were on our own, and expected
to compose using Twentieth Century techniques by
reading about them in a book. We really hadn't com-
pletelyexperienced each Twentieth Century theory.
The problem again is in not gaining the familiarity to be
able to draw upon contemporary harmonic devises. If
these contemporary harmonies sound strange to you,

then you have to nd a way to nternalize them to be able
f i i
to improvise. (I do and improvi-

realize that jazz theory
sation is being taught in many of today's colleges. How-
ever, for some reason, the jazz and classical theory
courses are always kept apart and not intermingled.)
MUSIC IS A LANGUAGE
This brings me to the major difference in

theoryusedlorthepurposesof improvisation: itmustbe
part of your music vocabulary. In my private teaching, I
stress over and over the similarity of music to a lan-

guage. Obviously just learning about a language does
not give you a complete command of that language.
Passing tests on vocabulary or grammar would not
necessarily teach you to think, converse and emote
using that language. Probably, you would have to live in
the country where that language was spoken and have
the opportunity to speak often, before you would be
it
able to speak and think in freely. Similarly, if you have

it
not developed these abilities with your /nus/ca/ vocabu-

lary, you will not be able to improvise. The subcon-
scious mind has the ability to use symbols to speak,
write, think, andcreate using language, I'm not sure how
it puts this all together, but everyone utilizesthe subcon-
scious forthis purpose. thinkthat this is the most basic

I
1 2 Jazz Improvisation for the Classiest Pianist

element of improvising music and the best overall con-
cept to hold onto while studying improvisation.
We must constantly use this analogy of

language while learning to improvise. Therefore, in
learning an element of music theory, you must practice
that theory from every angle imaginable. Everything
must be learned in a// keys and al/voicings. You must
improvise with that particular technique, compose
songs using that technique,
be able to recognize it
played by another musician and, most of all be able to
think creatively. We should
the easiest levels
start with
of theory and fearn them completely, then build from
there.
Once process has taken hold in your

this
subconscious, you should be able to "converse" through
the medium of your music. Many jaz2 students encoun-
ter the same problem by purchasing all the jazz study
books that they can find and then cramming
minds their
with jazz harmonies, such as chord progressions and
chord voicings. This often creates confusion and, be-
cause the student isn't mastering each step in a logical
order, he never learnsto improvise. In studying, improvi-
sation, you must take your time. The subconscious
needs time to assimilate information so that the
its
intelligence of the player can be manifested. Once this

happens, improvisation actually takes place without
much thought. is a natural expression of the feelings
It
of the performer.
There is a basic harmonic foundation

upon which the more advanced jazz theories are based.
It doesn't work to speed ahead to learn advanced and
what is sometimes termed, "outside" harmonies if you

haven't thoroughly internalized the basics. Thefirst part
of this book deals with this basic foundation of theory.
The term "big ears" pertains to a musician who has an
ability to hear and experience many harmonic ideas in
introduction 13
his head. This givesthis musician the advantage of pre-
hearing many possibilities in his head before he plays
them. He also "hears" the harmonic ideas that the other
musicians are playing. He also has the ability to hear
ideas in all keys. am emphasizing this because so many
I
classical players study improvisation, and

will try to
quickly assume that they are not natural improvisers.

Then they give up the study. This is regrettable, be-
cause if they can slow down and begin to assimilate
information progressive layers, chances are very
in
good that they will easily be able to improvise.
Another reason desig ned this book espe-

I
cially for classical players is that there are dozens of

excellent methods to teach jazz to jazz players, who
already have some experience playing jazz. However if
a classical player unsuspectingly picks up several of
these methods, he doesn'toften knowthe progression of
development within the subconscious mind so that the
layers of information can build effectively within his "data
base". (You can tell that I'm from Silicon Valley.) It is
hard to know what to internalize first, and what later on.

emphasize different elementsof
Also, these books often
jazz, some more difficult and advanced than others.
Sometimes the terminology changes from book to book.
You can bogged down spending days

get
practicing a certain chord progression without having a
specific style or tune to place in context. There are
it
many styles in jazz and accordingly the harmonies used

for one style will not always work in another. Classical
players are used to studying musical styles from a
theoritical, technical and interpretive point of view. Jazz
books usually assume that all the student wants to play

is today's jazz. believe that classical players have a
I
wide range of improvisational interests, everything from

George Winston to Chick Corea to Boogie Woogie
and it is important to discuss different approaches-
1 4 Jaz2 improvisation for the Classical Pianist

WHAT ARE THE GOALS OF THIS BOOK?
This book is meant to be a bridge between
your world as aclassical pianist and the world of the jazz
improviser. designed to give you a "leg up" into this
It is
world so that you will be able to begin to understand how

a jazz player thinks. You should be more readily able to
pick up a jazz method book or two and really delve into
the material. This book is designed to present you with
specific exercises to give you an encouragement to
start improvising. Improvising is like bike riding, you
must be moving to appreciate what ittakes to ride. Also,
this book is not designed to supplant the many fine jazz
method books which are designed to deal with more
specific and detailed information.
This book does not give you a lot of spe-

cific things to play. There are not many written examples
foryou to learn. There are books which will coverthis If

you want to learn in this way. However, this is not the
way that I teach. I believe that if I present you with
specifics, you have the tendency to play only those
will
ideas. This is not what improvisation is all about.

Improvisation is di scove ry and experime ntation. do not I
intend to steer you into one area or another. Depend-

ing on your personal interests, you can learn by listening
and, hopefully, having an opportunity to play with a
group.
After studying this book, you should be

able to find music in a fakebook or on a recording and
have the tools be able to understand what they are
to
playing. You should have the knowledge to help you
create your own stylings and arrangements. Also you
should have the means to start improvising, even if only
on a C Major Scale. In other words, this book is a start,
a practical guide to get you going in the right direction.
mm
Introduction 15
JAZZ TECHNIQUE
This book also will discuss the technical

aspect of how to play jazz so that it sounds great This
is a major mystery to most classical players. They
can
often read an arrangement by Oscar Peterson, but for
reasons that they can not understand do not sound
anything like Oscar. Also there are different technical
approaches to playing in different jaz2 styles. liken this I
to the different dialects within a language. It would be

very difficult for an average American to speak English
in a Spanish dialect the way that let's say a South Ameri-
,
can would. is equally difficult forthe American to play

It
latin music with the same flair that he would. In order

for
him to do
he would have to have the subconscious
so,
react in the same way. This is similar to Elisa's training
in "My Fair Lady" because she had to change the way
she talked as well as the way she did everything. This

takes a good deal of study and practice. Included here,
of course, are considerations of phrasing, dynamics,
and touch etc.
PLAYING BY THE NUMBERS
Now, this is the tough one. In order to hear

twelve keys, it is
in all vitally important that you learn
music by the numbers. You must develop good relative
pitch. This a major difference between jazz and
is
classical players. Classical players read notes and think

in terms of fetter names ie. B flat, F sharp.
,
Ja2z players .
think in numbers. The intervals are univer-

intervals or
sal, they exist in all keys. If you, as a classical player, had
learned to think in intervals when first you
starting out,
would most likely be a good improviser today, and would
easily be able to transpose into all keys. If these
numbers and intervals are not whizzing around in your
brain, you have to start the process now of thinking in
this manner.
1 6 Jazz tmpro visatbn tor the Classical Pianist

I recommend constantly stopping and re-
minding ycurself (out loud) what intervals you are play-
ing. If over a period of time, pretty soon you
you do this
will automatically think of your music as numbers and not
letters. It will help you also if you will incorporate this

thinking into your technical practice as well so that you
are practicing many exercises in all twelve keys. A very
good example is to practice Hanon Exercises in all keys.
(Please refer to the chapter on technique.)
A word
about computers. It is
extraordinarily easy for a computer to transpose (since

it thinks in numbers). In my computer, can instantly I
change the pitches of any composition that record, and I
if choose to print out in notation, can again change

I it I
keys or pitches. There are many keyboards out today

which enable the player to dial a new key. However, if
the player relies on these devises, he misses the oppor-
tunity to train himself to hear music in numbers. Once
the player has the abililty to hear in all keys, hisimprovi-
sational ability goes way up. Without it, the player
probably will resort to habitual "licks" or musical ideas.
Let's face it, computers are wonderful helpers, but a
musician carries his abili I1y within himself, irrespective of
the gadgets that he is playing.
the following theory exercises,

In I defi-
nitely recommend that you stick with one lesson until it
isthoroughly learned. Even if we are discussing the

most basic ofchords.the majortriad, stick w/tf) //until you
can thoroughly play all the exercises. Also, this will
easily lead into the other triads. Once the triads are
learned, the sevenths should not be too difficult, etc.
What we are looking changes in our thinking. This

for is
is not like your standard classical lesson, where each
weekyou are expected to practice yourcurrent piece. In
improvisation study, the first months of study may not
concern playing any pieces, as we are laying a thinking
Introduction 17
foundation lor the future. Just remember, that usually
when you you are unfamiliar with the "num-
start out,
bers". Then, slowly and surely, you will familiarize
yourself with the study and it will become easy. Only
then, should you move onl
It is not necessary that you master the

entire chapter on theFoundation of Improvisation before
you move into other chapters. To helpyou in this regard,
Ihave prepared a generalized Study Guide to give you
an idea how present my private lessons. Some of the
I
exercises take months to learn and there are other

elements of this book which can be practiced while you
are mastering a particular exercise. However some of
the exercises definitely should not be attempted until
others have been assimiltated into your subconscious.
This is a loose guideline and can be adapted to your
specific needs.
While you are learning exercises, you can

be playing written jazz arrangements. These arrange-
ments can give you the experience of playing jazz
stylings and chord voicings. Some of my favorite ar-
rangements have been written by Oscar Peterson,
George Shearing, Chick Corea and Bill Evans. Of
course it is always fun to ptay Scott Joplln.
Also want I To make a distinction between

learning general improvisation skills, and learning spe-
cifically-jazz" skills. As we begin, we are looking for the
subconscious mind to become familiar with pre-hearing
notes or ideas and with being comfortable with thinking
while in motion. After all, music is always in motion or in
a time frame. One
most difficult aspects to
of the
improvisation is just becoming used to this "motion".
This is similiar to skiing, bike riding and even, walking.
After we are comfortable just making sounds and music
while in motion, then we can tackle the specific problems
of jazz improvisation.
1 8 Jazz improvisation for the Classical Pianist

Jazz is a style, or more specifically, many
book we will discuss many of those
styles. Later in this
styles and give methods to develop them. Please
remember, though, that as a classical pianist, you can
not expect to suddenly learn how to play jazz. Jazz
represents more than ju st a style of music, is a lifestyle it
and a perspective of thinking and feeling. You must

listen to a wide gamut of jazz pianists and, I feel, actually
develop an appreciation. Certainly you will not like all
styles of jazz, but it is still helpful to listen even to the

pianists whom you do not like. recommend using your
I
car tape player. Record your records and CD's onto

tapes at home and listen while you drive. Then think
critically of what you are hearing. The more you listen,
the easier it will be for you to adapt your classical styles

of playing to the quite different styles of jazz.
KEEP A NOTEBOOK
I recommend keeping a notebook with

your reactions to various pianists and jazz styles and
why you like or do not like them. In fact this notebook
should have several partitions to It. There should be a
section of tunes that you are working on. Also you might
want to start a section of favorite "licks", orjazz ideas that
you learn from records. You might want to have a
section of harmonic ideas that you discover from various
sources. This notebook can grow with you through the
years and, of course, will expand into areas in which you
become interested. Remember the purpose of this
book, Jazz Improvisation for the Classical Pianist, is not
to have you sounding like any particular pianist. You

must sound like you. Certainly, you as a classical
pianist, will bring your own special feel to the jazz areas.
Make your own stamp. Be yourself!
Introduction 19
Study Guide
Some thoughts on Studying:
1) While practicing the harmonic theories in Chapter

One, go through the improv exercises in Chapter Two
simultaneously.
2) Chapter Three on Technique may be studied along

with Chapters One and Two.
3) Wait you have developed some familiarity with

until
Chapters One and Two before you begin Chapter Four.
4) Work diligently on Chapter Four before your begin

Chapter Five on development of a tune.
5) Even though you are working on Chapter Five,

continue your mastery of the earlier chapters.
6) Do not begin Chapter Six until Chapters Four and

Five are well under way and you (eel comfortable with
Autumn Leaves.
7) Chapter Six on Advanced Theory will demand per-

sistance. Continue studying the earlier chapters while
you are working on the advanced exercises. Apply
Chapter Six principles to the tunes you are working on.
8) Do not forget the listening exercises given through-

out the book. Also do not forget to continue your
Notebook.
Good luck!

Foundations of
Improvisation
LET'S BEGIN!
1. KEY SIGNATURES
never guess where we are starting

You'll
. Key Signatures. know you probably know them,
. . I
but forthose of you who have let some of the information

slip away, here they are again. This information must be
an active pan of your memory because the structure of

Keys is a basic framework for the subconscious to refer
to when improvising. You should be able to quickly say
how many sharps or flats belong to a particular key and
then say what the sharps or flats are, and in what order.
Irecommend that you practice saying the row of sharps
and flats (say from left to right) often until it is automatic.
Also it is recommended that you write the key signatures
being careful to place the sharps or flats on the correct
lines or spaces
A Key Signature can refer to either a major

key or a minor key. The relative minor is found
relative
by counting six notes up the scale from the root of the
major. For example, the relative minor of C major is A
minor and the re lative mi nor of F major is D minor. (See
Example 1-1)
Practice saying the order of Flats and

Sharps quickly, so that you can instantly know which
flats or sharps are
a particular key, and in which order
in
as you write them in the key signature. Simply count

down ("across" in the example) the row of flatsor sharps
intheorderthatthey are presented. For instance, since
Chapter One - Foundations ot improvisation 21

1-1 - KEY SIGNATURES
C Major F Major Major Major

a Minor d Minor g Minor c Minor
a\> Major DP Major Major Major

f Minor b b Minor Minor a* Minor
k
Sharp Keys
C Major G Major D Major A. Major
a Minor e Minor 0 Minor f# Minor
E Major B Major F# Major Major

c# Minor g# Minor d# Minor a? Minor

the key "G" has one sharp, stop on the F#, but the key "8"
would require thai you count down (across) the row five
sharps, including; F#,C#,G#,D#,A#. Please note that
the sharp and flat rows are
the reverse order of each
in
other. It is also recommended that you write the Key
Signatures, taking care to place the flats and sharps on
the correct lines and spaces. (See Example 1-2)
EXAMPLE 1-2 • ORDER OF FLATS

Memorize the Row of Fiats
so that you can quickly say them.
BEADGCF
Memorize the Row of Sharps
so that you can quickly say them.
F C G D A E B
To repeat: It is of primary importance to

completely learn the major and minor key signatures.
You should instantly know:
1 . ) how many flats or sharps are in a major

or minor key signature;
2. ) which flats or sharps they are;
3. ) what order they are written; and
4. ) how to write them on the staff.
2. SPELLING SCALES
ft is recommended that you are able to

quickly spell your Major Scales (major for now,
minor
scales later). This hefps you a basis of har-
in giving
monic anafyzation. The following is a method that I
learned from Frederic Saatman years ago. is easy and It
logical. To understand this method of spelling scales

you should understand that all major scales have a
first
half step between steps 3 & 4 and 7 & 8. (See

Example
1-3)
Chapter One • Foundations of improvisation 23

EXAMPLE 1-3 -MAJOR SCALE
if i
i j i J m i
i
i
i
12 3 4 5 6 7 6
important to note that this formula or

It is
template allows you to start on any note and play a major

scale. You must, however, follow the exact relation of
hall steps to whole steps. Now we are learning to think
in numbers instead of letters, which is an essential
aspect ofimprovisation. If we addasharpin frontofeac/)
note we have
7 sharps {there are 7 different notes),
Therefore it is logical that we spell the scale of C#:
C#,D#,E#,F#,G#,A# B#, and C#. We simply spell the
(
scale ofCMajorandinserta Sharp after each letter. The

scale of CP is spelled in the same manner. Therefore we
could diagram scales starting with the letter "C" in the fol-
lowing way:.
f C<- 7*1
C - 0
Now. this method of thinking can be ap-

plied to the most ptherscales. For instance, the scale of
F has one flat, bp. Since, when reading in the key ot F,
we always look for B p s, why can this not also work for the
key of F#, since all of the notes are raised or sharped
except the B, which in the key of F was lowered or flatted.
So in the key of F#, you sharp every note except for B,
which is played as a natural Also, this is another way of
knowing that F# has 6 sharps, because if there are seven

notes the Major Scale and one of them is flatted (in the
in
key of F), then it follows that the key of F# would have 6

sharps (since 1 from 7 is six). In terms of the F and
b
F#,and GandG^we are thinking of 1 and 6. DandD and
B andBP,wearethinkingof2and5. In other words, if
we have 5 sharps, we are thinking of the 2 which are not
sharped. However, when thinking of the 3's and
4's,
terms of
since it is almost even, we should only think in
the flats or sharps that the keys have. This method
helps
when reading music. This is the way it looks as a chart:

(See Example 1-4}
EXAMPLE 1-4 -SPELLING SCALES
7i
c - 0
7>
\
F - 1
k
- B b
D - 2*- F*& C*
F & C
k
F<- 6<- B D^- 5 -
b
G - 1* - F* B 1,
- 2b - B & E
1,
G^- 6 b - F B - 5*- B & E

"
A " 3*- F* C* & G9
I
A k -
3t - B^E & A
k - k 1,
E
#
E - 4 - F*C*Q**D*
Chapter One - Foundations ot improvisation 25

3. THE CYCLE OF KEYS
The Cycle of Keys, also known as the

Circle of Fifths, or Cycle of Fourths, etc., is absolutely
essential inthe study of jazz improvisation.The aspiring
jazz student should endeavor to literally know this Cycle
backwards and forwards, inside and out. Jazz players
constantly relate to this cycle and use to memorize it
tunes, create chord substitutions, and relate other jazz

theories to As we continue on in this study you should
it.
usethe Cycle to practice technical and theory exercises.

And as mentioned before, when we start learning tunes,
you will find this cycle invaluable. (See Example 1-5)
You can travel either direction around the

Cycle. If you move the direction of the flats, you are
moving up four notes in the major scale. For instance,
if your starting note is a "C", then you wil] count up four
notes, ie: C, D, E, F. "F" starts the next key. Then

continue around the Cycle until you end back at "C". You
will notice that at the bottom of the page, there are
alternative routes, depending
you aretraveting around
if
thef lats orsharps. These are called "Enharmonic Key?.

The enharmonic keys represent two spellings of the
sajjie scales played on the piano. For instance, C# and
are the same note, but their scales have different
spellings. You choose oneorthe other depending on the
direction that you are moving around the cycle.
Cycle of Keys Exercise
1 ) Start at the lowest "C" on the piano and

start moving up the keyboard playing up four diatonic
(scale) notes around the Cycle of Fourths (Flat direc-
tion). Remember you count up four notes, counting the
first and last note, of the majorscale. Therefore you will
be playing C, F, B° .E^ .A^ etc. Keep going until you

,

EXAMPLE 1-5- CYCLE OF KEYS
c Major
F Major a Minor g Major
d Minor 4 $ : .
;i e Minor
b'
3
Major u D Major
g Minor Jb Minor
§ Flats (up 4) Sharps (up 5)
El>Major fl-Major
c Minor f^Minnr
Cycle of Keys
R^Major E Major
f Minor c^Minor
EnharmonicKeys
C^Maj.
F Ma J- JClnor
a*Min. J
d^Min.
1
D^Major
Minor CfMaj.
C|>Maj.
a b Mln.
Min.
SB
Chapter One Foundations

• of Improvisation 27
return to "C.
2) Again start at the lowest "C" on the

piano and start moving five notes up the keyboard play-
ing around the Cycle of Fifths (Sharp direction). This
time you are moving up the keyboard counting five notes
upthe majorscale. Forinstance, you bottom note is "C",
then count upC, D, E, F, G. Then begin on M G"and count
up five notes of the G Major scale to "D" etc. Continue
all the way around until you return to "C".
3) Now you will note that if you start on a

"C" and move up four notes to "F", you could have also
moved five notes down to "F". Similarly, if you move five
r
notes up from "C" to "G you can also move four notes
,
down to a "G". So you can now practice arbitrarilly

changing directions as you move your way around the
Cycle. Forinstance, you might move up four notes from
"Cto "F\ and then down five notes to "EP ", and continue
around the Cycle changing directions on the keyboard
when you decide. (See Example 1-6)
Incidentally, many of the exercises in this

book wilf stress random or spontaneous playing, where
you wilt be making decisions as you play. The idea of this
exercise is to familiarize you with the Cycle from either
direction, so that you know it automatically.
EXAMPLE 1-6- UP 4, DOWN 5 (UP 5, DOWN 4)
iSub
Jazz Improvisation for the Classical Pianist

4. FIVE FINGER EXERCISE
a simple exercise, but it is designed

This is
to familiarize you with thinking in numbers. In fact, this

exercise was also used in the Cycle of Keys exercise.
The main point about this study is to make sure that you
visualize the keyboard in numbers and not letters. As
you play think of Whole Step, Whole Step, Half Step,
Whole Step. Then you can easily play it starting on any
note. Play the five finger exercise up and down chro-
matically, and around the Cycle of Fourths and Fifths.
(See Example 1-7)
EXAMPLE 1-7 -FIVE FINGER EXERCISE
1 1/2 1
5. MAJOR SCALES
This a good place to suggest that you completelylearn

is
all your Major Scales. The best way to think about them
is in half and whole steps. The half steps are between
3 & 4 and 7 & 8. Practice the scales until you are

completely fluent with them. It might also help to practice
the scales in contrary motion. More suggestions will be
given in the chapter on technique. (See Example 1-8)
EXAMPLE 1-8 - MAJOR SCALES

C Major F Major
Chapter One - Foundations of Improvisation 29

J- Major Major
i 'i
2
mi'12
1 2 3 3 4 2
j
1
J
2
J
3
r
4 1 2 3
r r r r r r f
r r
3 2 3 4 3 2 1 3
3 2 1 4 1 3 2 1
i Major \f Major
E Major B Major

1
6. THIRDS
Let's start studyingchords with the sim-

plest of all, the thirds. There are only two kinds of thirds,
the Minor Third and the Major Third. The Minor Third
consists of four half steps and the Major Third, of five half
steps. It is important to conceive of them in this way
rather than by letter names such as "P or "B Flat" etc.
Play these all over the piano taking care to "see" them
in intervals. Play them until you can quickly "see" them.
Also you want to be able to hear the difference between
major and minor. (See Example 1-9)
EXAMPLE 1-9 -THIRDS

Minor Major
7. MAJOR TRIAD AND INVERSIONS
The Major Triad a chord which consists

is
of the root, third and fifth of the Major Scale. If we play

it in its root position, the notes, from bottom to top read
root, third, and fifth. However if we move the root to the

top of the chord, the chord now is in its first inversion.
This reads 3rd, 5th, and Root. Again, if we move the 3rd
to the top, now the chord is in its second inversion.
Practice playing these major inversions until they are
automatic. As before practice up and down chromati-
cally and around the Cycle of Fourths and Fifths. (See
Example 1-10
EXAMPLE 1-10- MAJOR TRIAD INVERSIONS
Root 1st 2nd Root

8. ALL TRIADS AND INVERSIONS
Now that we have mastered the inver-
sions in major, it is a good idea to practice them using

the minor, augmented and diminished triads. Inciden-
tally, want to emphasize first practicing the triad exer-
I
cizes only using Major Triads. The Major Triad seems

to have a special place in music theory and should be
thoroughly mastered before going on to the othertriads.
In addition to the Major Triad, there are Minor, Aug-
mented and Diminished Triads. (Actually the Dimin-
ished Triad functions more realistically as a seventh
chord.)
The triads may be conceived as stacking
two sets of thirds on top of each other. Notice that the

Major and Minor are opposites. The MajorTriad has the
major third on the bottom and the minor third on the top,
and the Minor Triad has the minor third on the bottom
andthe major third on thetop. TheDiminishedTriadhas
a minor third on the bottom and top and the Augmented
Triad has a major third on bottom and top. Play these
triads in all positions and in all keys until they come
easily. Try to learn these chords using the numerical
half-step system rather than naming the letters. (See
Example 1-11)
EXAMPLE 1-11 - ALL TRIADS AND INVERSIONS
Maj. Min. Aug. Dim.
32 Jazz Improvisation lor the Classical Pianist

9. I-V 7 -I PROGRESSION
The main purpose of studying progres-

sions is to develop good habits of voice-leading. This is
important because as you are spontaneously improvis-
ing, you do not have time to think about voice-leading, it
should be automatic. It is important to practice these
progressions in all keys and in all inversions. If you
practice them in all inversions you will be able to place
any note of the chord on top, thus facilitating more
choices in creating a good melody. Please note the way
the voices lead to the next chord. For instance when the ,
Ichord is in the root position, the 5th degree stays the

same from the chord to the V chord, and the 3rd moves
I
up 1/2 step and the root moves down 1/2 step. Note how
the voices moveeach inversion. For the primary
in
purposes of this book, have given examples of only

I
major and minor. However it is encouraged that you

practice progressions using augmented and diminished
also. (See Example 1-11)
This might be a good place to interject that

I realize that the process of assimilation of information
takes time. It also takes dilligence because of the natural
tendency to become frustrated. Also, I realize that you
want something to do which will demonstrate the infor-
mation. recommend that you consult the
Therefore, I
Study Guide on Page 20 for ideas on studying this book.

However, do not give up the process of assimilating this
basic material because as you delve into the later
chapters on jazz improv, you will need this information
readily available.

EXAMPLE 1-11 - I V7 I PROGRESSION
Major Triad - Root Position
Major Triad - First inversion
I
ft
pins*
I I
"'j ' L I
JE Oj B
f fc
r
T r J 'T J C2
I i 1
i
Major Triad - Second Inversion

10. i - IV - 1 PROGRESSION
chord moves you one ahead to-

The IV
ward the flat direction of the Cycle of Keys. Practice this

progression also in all keys as shown and in all
inversions. Only the root position is shown in the
example. Please note that two options have been given
regarding the Minor Triad using the l-IV-l Progression.
You can either use the IV chord as minor or major. Of
course you are encouraged to try intermixing the
augmented and/or diminished triads into your own
experimental progressions. (See Example 1-13)
EXAMPLE 1-13-1 IV I PROGRESSION
Major Triad - Root Position
I IV I

I Minor - IV Minor - 1 Minor
I
m
Minor - IV Major - 1 Minor
i

11. I
- IV - I - V7 - 1 AND I- 1V-V7 -1
PROGRESSIONS
The I
- IV - 1 - V7
easier to learn.
- 1 progression is a little
Practice both progressions in all keys, Major and Minor,

and all inversions. (See Examples 1-14 and 1-15)
EXAMPLE 1-14- I IV I V7 I PROGRESSION
I IV I v7 I
EXAMPLE 1-15 - I- IV- V- 1 PROGRESSION
I IV Y7 I

I Minor - IV Minor - 1 Minor - V7 - Minor1
I Minor - IV Major - UKfcetetf - V7 - 1 Minor

12. OPENVOICINGS
In this exercise we
are taking the major
triad and moving the third of the chord up one octave.
Then we are adding another root note one octave up.

(See Example 1 -1 5) It is recommended that you first
practice hands separately, then put the hands together.
As with most of these exercises, play in all keys until you
are totally fluent. Fluency is the key to being able to
improvise freely.
13. ADVANCED OPEN VOICINGS
you have thoroughly mastered the

After
Open Voicings exercise in major, you can move onto the
Advanced Open Voicings Exercise in major. Then
move on to the minor open voicings. In the Open Voic-
ings Exercise we are playing the open voicings in their
natural inversions, but in the Advanced Open Voicings,
the main consideration is that you do not double the third
(note the exception marked with an *. I have included
that only because was in the original set of Open
it
Voicings.) The only problem with the doubled third is

that has a slightly heavier or more complex sound. If
it
you like that sound, then please use it. Also note that I
have organized the voicings according to the intervals in

the left hand. These voicings are purely arbitrary, and
can be added you wish. Avoid spreading the
to if
voicings too far apart and be aware that placing a third

too low produces a muddy sound. Practice in all keys
to develop complete familiarity with these voicings. (See
Example 1-17)
EXAMPLE 1-17 - ADVANCED OPEN VOICINGS - MAJOR TRIADS
14. OPEN VOICINGS -

I -IV -I, I - V- I, AND I - IV - V- I
Once the Open Voicings have been mas-

tered, then you can begin to play progressions with
them. The most common progressions concern the - I
IV - and - V - and various combinations of the three

1
I
1
chords. important to develop an ability to smoothly

It is
move from chord to chord without disturbing the inner

voice leading. This takes a little practice, but is vitally
important in your quest to be a quality improviser. If you
develop this ability you can instantly arrange for choir,

string quartet, brass and woodwinds, etc. Again, the
secret is be familiar with these progressions in all
to
keys. As you develop your skill at this, you will begin to
think more in terms of harmonizing melodies and less in
terms of playing progressions as exercises.
The following examples are by no means

the only voicings or progressions available to you It is
important that you experiment with any voicing that you

can think of. Also do not fail to include the Augmented
and Diminished Triads into the progressions. The point
is that you should personalize the study. Have fun and
do not worry about the "rules". Be a child and experience

the sounds and emotions. (See Example 1-18)
In the upcoming chapteron Basic Improvi-

sation, I will present ideason using these Open Voicings
Progressions.
EXAMPLE 1-18 - OPEN VOICINGS PROGRESSIONS

I - IV - 1 OPEN VOICINGS PROGRESSION
MM mmmm
1 — —
I - V- 1 OPEN VOICINGS PROGRESSION
1
C
r i
\— 1
e
r
F
r
c
i
PEE 1
c
r
hi
r i
1
into
ry
1
w
J
p
J
p
I
p-f-f-f—
Bj r r r 1
I - IV - V• I OPEN VOICINGS PROGRESSION

I Minor - IV Minor - I Minor OPEN VOICINGS PROGRESSION
t z
I Minor - IV Major • I Minor OPEN VOICINGS PROGRESSION
10k Hit
bid
f
'I 1
1 1
[tr M
'
r r r 1
r r r

I Minor V Major - Minor OPEN VOICINGS PROGRESSION
1

I Minor - IV Minor V Major - Minor OPEN VOICINGS PROGRESSION
1

I Minor IV Major - V Major - Minor OPEN VOICINGS PROGRESSION
1

15. SEVENTH CHORDS
In learning the seventh chords, it is recom-

mended that you think in two layers. First think of the
triad, which is the foundation of the chord, then think of
the type of seventh, which colors the chord. This will
enable you to hear the underlying basis of the chord and

then to identify the type of seventh. (See Example 1-19)
EXAMPLE 1-19 -SEVENTH CHORDS
Major Dominant
Seventh Seventh Sixth
Major
Triad
CMa
Minor- Minor Minor

Mainr
M*;|nr £»vWh
fjp\)en Sixth
Minor
Triad >
i
CMi/Ma 7
nCMi 7 C Mi
g
Aug. Aug.
MajorlSeY. Fl
Aug.
Triad
Dim. Half Full
Dim. Y. Diml Spy Di

Triad
.(Ma 7 )
C Dim
In this example, I have included the sixth

chord because fits the pattern of playing the underlying
it
triad and then placing the major seventh, then the flatted
seventh, and finally the sixth. Notice that the sixth is
written as a double flatted seventh in the full diminished

chord. The diminished seventh chord is especially
interesting, and will develop this subject on the chapter
I

on the Diminished Scale. I recommend, for now, just
loosely familiarizing yourself with these sevenths. The
following exercise is a good method to learn the sev-
enths. Of course, it is recommended that you learn one
at atime, playing it in all open voicings.
inversions and in
Later in this book a good deal of discussion will be on the

de-emphasis of chords. However, it is important that you
are aware of their labels and sounds. (See Example
1-20)
EXAMPLE 1-20 - SEVENTH CHORDS EXERCISE

After playing the Major
Sevenths in differ-
ent inversions, play a//the sevenths that you have been
given in the same manner.
The sevenths can also be learned in open

voicings. (See Example 1-21)
The idea is to play all the sevenths chords

in both closed and open positions, until you can freely
play them starting at any point on the Cycle of Keys. If

you want, you can construct a sevenths exercise moving
aroundthe Sharp direction of the Cycle, oryou can move
up and down chromatically. The main object is to fully
know the seventh chords.
Visualization
A wonderful mental exercise to practice

often is to visualize the next chord in an exercise that you
are practicing. Let your hands rest on the the bottom of
the keys, then precisely visualize the next chord. Note:
do not move to the next chord until the visualization is
secure. Also do not "hover" overthe new chord until you
are sure. Simply move directly to the bottom of the keys
of the new chord and play it manner, you
securely. In this
will begin teach your subconscious mind to think ahead.
You will also learn your exercise more quickly this way.

1
EXAMPLE 1-21 - OPEN VOICING - SEVENTH CHORDS

Sevenths Exercise - Dominant Seventh
Etc.

16. MAJOR SCALE SEVENTHS
The following an example of the Major Scale

is
Sevenths. These are the natural seventh chords which

play upthe Major Scale. You should definitely play these
in all keys. (See Example 1-22)
EXAMPLE 1-22 MAJOR SCALE SEVENTHS
1 2 3
Open voicings
r r f f
f r
i
«i7»-7»»7
Ma 7 Don, 7
Ma7 Mi 7 Mi 7

Foundations of
Improvisation - Review
KEYS AND SCALES
1 ) Do you know the Flat and Sharp Key Signatures?

You should be able to quickly say how many sharps or
flatsare in a particular key signature and recite them in
the order in which they are written. (Example 1-1, Page
22) Memorize the Order of Sharps and Flats so that you
can say them quickly. (Example 1-2, Page 23) Know
the keys in Major and Minor. Completed: Date.
2) Can you spell the Major Scales without referring

to the piano? (Example 1-4, Page 25) Completed: Date.
3) Can you visualize the Cycle without looking at it?

(Example 5, Page 27) Can you quickly play the Cycle
of Keys exercises, "Up 5, Down 4" and "Up 4, Down 5"?
(Example 6, Page 28) Completed: Date
4) Can you play the "Five Finger Exercise" by think-

ing in numbers? (Example 1-7, Page 29) Completed: Date.
5) Can you comfortably play the Major Scales with

hand or two hands? This may take awhile.
with either
(Example 1-8, Page 29 & 30) Completed: Date.
CHORDS
6) Can you play and Minor Thirds

both the Major
throughout the piano? Can you write them? Can you
singthem? (Example 1-9, Page 3) Completed: Date

7) Can you play and Minor Triads
both the Major
throughout the piano? Can you write them? Can you
sing them? (Example 1-10, Page31) Completed: Date
8) Can you play Augmented and

the Major, Minor,
Diminished Triads throughout the piano? Can you write
them? Can you s/ngthem? (Example 1-11, Page32) Completed: Date
9) Can you quickly play the /, V7, 1 Progression in the

Root Position around the Cycle of Fourths (Example 1-
11,Page 34), First Inversion (Example 1-11, Page 34),
Second Inversion (Example 1-11, Page 35)? Completed: Date
1 0) Can you quickly play the Minor I, V7, Minor I Pro-

gression around the Cycle of Fourths in the Root Posi-
tion (Example 1-11, Page 35), First Inversion, Second
Inversion? Completed: Date
1 1 ) Can you quickly play the Major

/ Major, IV Major, I
Progression in the Root Position around the Cycle of

Fourths (Example 1-13, Page 36), First Inversion Sec- ,
ond Inversion? (Example 1-13, Page 37) Completed: Date
1 2) Can you quickly play the / Minor, IV Minor, I Minor

Fourths (Example 1-1 3, Page 37), First Inversion , Sec-
ond Inversion?
1 3) Can you quickly play the / Minor, IV Major, I Minor

Fourths (Example 1-13, Page 37), First Inversion Sec- ,
ond Inversion? Completed: Date
1 4) Can you quickly play the /, Progression

IV, I, V7, 1
in the Root Position around the Cycle of Fourths

(Example 1 -1 4, Page 37), First Inversion , Second Inver-
sion? Completed: Date

15) Can you Progression
quickly play the /, IV, V7, i
in the Root Position around the Cycle of Fourths (Ex-

ample 1-14, Page 38), First Inversion, Second Inver-
sion? Completed: Date.
1 6) Can you quickly play the I Minor, IV Minor, I Minor,

V7, Minor Progression in the Root Position around the
1
Cycle of Fourths (Example 1-14, Page 39), First Inver-

sion, Second Inversion? Completed: Date.
1 7) Can you quickly play the / Minor, IV Major, I Minor,

V7, Minor Progression in the Root Position around the
1
Cycle of Fourths (Example 1-14, Page 39), First Inver-

sion, Second Inversion? Completed: Date
18) Can you play the Open Voicings in all keys in
Major and Minor? (Example 1-16, Page 40) Completed: Date.
1 9) Can you Advanced Open Voicings in all

play the
keys in Major and Minor? (Example 1-17, Page 41) Completed: Date.
20) Can you play the Advanced Open Voicings

/, IV, I
in all keys in Major and Minor? (Example 1-18, Page 42) Completed: Date.
21 ) Can you play the Advanced Open Voicings

/, V, I
in all keys in Major and Minor? (Example 1 -1 8, Page 43) Completed: Date.
22) Can you play the /, Advanced Open Vo-

IV, V, I
icings in all keys in Major and Minor? (Example 1-18,

Page 43) Completed: Date.
23) Can you play the / Minor, IV Minor, Minor

I
Advanced Open Voicings'm all keys in Major and Minor?

(Example 1-18, Page 44) Completed: Date
24) Can you play the Minor, IV Major, Minor Ad-

/ i
vanced Open Voicings in all keys in Major and Minor?

(Example 1-18, Page 44) Completed: Date.

25) Can you play the / Minor, V Major, I Minor Ad-
vanced Open Vo icings in all keys in Major and Minor?
26) Can you play the / Minor, IV Minor, V Major, /f

Minor Advanced Open Voicings in all keys in Major and
Minor? (Example 1-18, Page 46) Completed: Date
27) Can you play the / Minor, IV Major, V Major, I

Minor Advanced Open Voicings in all keys in Major and
Minor? (Example 1-18, Page 47) Completed: Date
SEVENTH CHORDS
28) Study chart on Example 1 -1 9, Page 48. Do you

see the relationship of the type of triad with the type of
seventh? Completed: Date
29) Practice the Sevenths Chord Exercise (Ex-

ample 1-20, Page 49) in all keys and all inversions.
Practice in the following sevenths: Completed: Date
a) Major Seventh
b) Dominant Seventh
c) Major Sixth
d) Minor Triad with Major Seventh
e) Minor Seventh
f) Minor Sixth
g) Augmented with Major Seventh

h) Augmented with Flatted Seventh
i) Diminished with Major Seventh
J)
Diminished with Flatted Seventh (Also
known as a Half Diminished or Minor Seventh with Flat-
ted Fifth)
k) Diminished Seventh
Have you practiced the Seventh Chords Exercise in all

the types of sevenths and in all keys and inversions and
in open voicings? This w///take awhile. Completed: Date

30) Have you practiced the Visualization Exercise?
(Page 50) Completed: Date
31 ) Have you practiced the Major Scale Sevenths

Exercise. This should be practiced in all keys. (Ex-
ample 1-22, Page 54) Completed: Date
Note:
You
This chapter cannot be assimilated quickly.
have to have a plan. Please consult the Study Guide on
Page 20 to give you some ideas for study. The next
chapter, Beginning Improvisation is designed to be
practiced along with this chapter.
Chapter One • Foundations of Improvisation 59

Beginning Improvisation
17. QUESTION & ANSWER
Question and Answer solves the problem:

How do I begin to improvise? Improvising is a lot like
skiing. you stand at the top of the hill without pushing
If
off, you never know the experience of coming down the

hill. We an idea to
often stare at the piano, waiting for
strike us before we start improvising, and never get
started. More than any other factor, just learning where
and how to start is most important.
To begin with, the very nature of improvis-

ing demands you have basic elements. Then, the
that
challenge is to change those elements. For example,
you can improvise from a melodic idea, or a rhythmic
idea, or a chord pattern, or even a "sound effect". The
main issue is to set up some parameters that will serve
as the basis for the improvisation.
In jazz, improvisation usually means a set

chord progression. If we play a tune, like "Misty", the
chords are an integral part of the tune. All musicians will
rely on those chords, and will improvise their melodies
accordingly. It is also possible to construct a type of im-
provisationwhere the chords would change according to
the whims of the melody, but, in most cases, especially
when more than one musician is playing, the improv
feeds off the chord changes.
why Question & Answer is so

That is
important to this study, because makes you think along it
the "mental tracks" of a jazz musician. Of course, you
Chapter Two - Beginning Improvisation 61

must start simply, using, perhaps, children's melodies or
simple Mozart-like melodies. The idea is to keep your
melodies musical, simple and logical. Melodies have
tension and release. It is the precise handling of this
tension and release that creates a good melody.
Let's Begin!
Here are some chord patterns. (See Ex-

ample 2-1 Page^^BS)
,
First start playing the left hand
chord pattern s straight across, playing the Question and
then the Answer. Play one of these question and answer
chord patterns until you are thoroughly in command of it.
In learning in this manner, it is important to keep at It until
the pattern simply flows from the subconscious. Then
move on to the next step.
Start creating simple and logical melodies

overthe chord pattern. Listen to the tension and release
created by the chord pattern. The Chord has a "static"
I
feel and the V chord has a "restless" feel. Your melody

should reflect the tensions of the chord changes. Play
the chord patterns over and over, each time seeking for
new melodic patternsand fresh ideas. This will be the
toughest part, because, you as a classical musician will
have trouble dealing with the simplicity of the ideas that
will be coming. You will possibly be frustrated, thinking
that the ideas should be more profound and more varied.

However, the advice that give to my private students is
I
to not be judgemental. The main idea in this exercise Is

to develop familiarity with playing over chord changes
and to come to terms with the difficulty of creating many
simple melodies. If you play on and on, the subcon-
scious will eventually become comfortable with this ac-
Remember, the study of improvisation is a mental
tivity.
game. We have to make changes in our subconscious

mind so that we can freely speakihe language of music.
Then, after you are totally comfortable

using the chord progressions as given, you can mix and
match any chord pattern question with any chord pattern
answer. For instance, you might play Question #1 and
Answer #4. Notice how this completely changes your
melody. The examples are given in 4/4, but any time sig-
nature can be substituted. For now, it is probably better
to stick with 4/4 and 3/4. Later, try 2/4, 6/8, 5/4, 7/4, etc.
Also, any accompaniment pattern can be substituted.
(See Example 2-2, Page 70 & 71) The idea is to play
one pattern over and over, continually trying to come up
with new ideas. Try to keep the accompaniment pat-
terns simple so that your main attention can be given to
the melody.
Usually melodies will come out of the

Major Scale of the key you are playing, but you can
explore other notes. Don't use too many rules. Be
musical, your ear and innate musicianship guide you
let
toward these melodies. If you get stuck in the middle of

a melody, or if the melody does not come out right, that's
OK. If that happens, perhaps you can break the rhythm
at that point, and slow down or even stop. Then com-
pose a melody which works. If you solve enough
melodic problems, pretty soon you will begin pre-hear-
ing these solutions before they derail you (Refer to
"mental tracks" on page 57).
Try the idea of repeatingihe first two bars

of the question in the first two bars of the answer. Be
logical and simple. You want your ideas to come out at
a proper resolution Begin soon to stretch out your
point.
ideas over a two octave range and more. The main
emphasis is to not panic, and do not become frustrated
if your ideas bore you. Remember, this is a simple
exercise. You will probably not play the world's most
profound melodies. The main point is to keep on doing
it The subconscious mind needs to experience that act
.
of improvising. You will grow, but only if you continue on.

Also, it is recommended not to improvise in front of

.
anyone else at this point (except your piano teacher).

Later on, after your confidence increases, it will be
recommended to play before and with others. It is
important to have communication with other musicians
and feedback from the audience.
Helpful Hints . .
1) Usually, when a student begins im-

provising on one of the patterns over and over, he has
the tendency to repeat the melodic rhythm habitually.
The melodic rhythm is the rhythm that the melody
makes. (You can hear this if you clap a melody.) Then
the melodies quickly become boring. Therefore, change
your melodic rhythms often. You can even practice
playing the left hand chord patterns and tapping out dif-
ferent melodic rhythms on your knee. Then make up
melodies to match the rhythms. (Note: Kneepadsare
recommended for this exercise.)
2)a good idea to expand

Also, it is
your range of notes. For instance, if you begin by

choosing notes for your melody from a one-octave
range, that is good but will quickly become boring.
Therefore enlarge the range to two octaves or more and

you will have new ideas.
3) Sing along with your melody. It's

amazing how this helps your sense of melodic construc-
tion.
4) Repeat the first two bars of the
melody in the first two bars of the answer. It is very

important to listen to the patterns that your melodies are
creating. By listening, you will think of many new ideas
which feed off of prior ideas. Of course, listen to the
will
pitches of the melody, but also the melodic rhythm, the

dynamics, the phrasing, meter and rhythm.

5. Remember, creating a good mel-
ody is like creating a good sentence. The melody will
usuallyend on an upswing with the V chord in the
Question and settle into the chord in the Answer.
I
4) Use
your musical skills to help
all
add interest, such as: dynamics, slurs, touches, phras-

ing, rubato, etc.
5) Double or time value of the

half the
patterns. Use triplets. Use all manner of rhythm.
Of course, play in all keys, with

6)
different time signatures, and vary your accompaniment
patterns.
7) Specifically vary melodic intervals.

Ifyou are playing primarily chord tones, then try scale
tones. If you are playing without skips, you might
specifically try large skips. Try changing registers from
middle, to high, to low.
Change the form of the patterns

8)
from Question and Answer to, let's say, "A B A" form.
In short anything goes, except for chang-

ing thechord pattern. Once chosen, stick with it. Once
the patterns using and V are mastered, then move on
I
to minor (using the same V7). Then begin experiment-

ing with I IVV I patterns. It is easy to expand into other
chord progressions from this beginning exercise. The
course of events is that you start with easy V progres- I I
sions using simple accompaniments. Then progress by

"opening up" your orchestration of these events. This
can be accomplished in steps, perhaps by elaborating
on your accompaniment patterns, such as using a
Chopin Waltz accompaniment and eventually to not
using any set accompaniment pattern at all, but using

EXAMPLE 2-1 - QUESTION AND ANSWER
Major QUESTION ANSWER
i i Y7 I I I
7
5= 5=
1
I
7 I I I
I Y7 I Y? Y? I Y? I
I
I I Y7 Y7
7 I I
i y7 V7 V7

Minor QUESTION ANSWER
<JIV
I 1 Y? I I I Y? I
I V7 V7 I I I
I Y7 I I I
AY
I I Y? Y? Y? Y? | |
3=
I Y? Y? Y? Y Y? Y? I
?

EXAMPLE 2-2 QUESTION AND ANSWER SAMPLE ACCOMPANIMENTS
Major

18. THIRDS AND SIXTHS
You can expand the "orchestration".

also
Try playing the melodies in thirds and sixths. A good way
to start using thirds and sixths is to take simple melodies
such as "Happy Birhday" and play in thirds and sixths.
Put the melody on top and add the third of sixth lower
than the melody. Let the ear tell you whether or not to
use either a third or a sixth. Sometimes they are inter-
changable, but often harmonic or melodic implications
will force you to make a choice. Soon you should be an
expert in "pre-hearing" these thirds and sixths. Then

play yourQ & A melodies first in single notes, then repeat
in thirds and sixths. When you do this, for simplicity, try
using only a single bass note in the left hand. (See
Example 2-3)
After this becomes easy you to do (in

for
all keys), then we can blend this exercise with the open
voicings exercise. (Please refer to the Open Voicings
Exercises later in this chapter.)
EXAMPLE 2-3 THIRDS AND SIXTHS

19. MAJOR SCALE IMPROVISATION
One of the first improvisation exercises

that we can practice is simply improvising using a Major
Scale. This is kind of like playing with silly putty or
fingerpainting with sound. The fun part of playing with
fingerpainting is that we do not need any lessons or rules
to paint our paintings. We simply experiment, and thus
have fun. If we use the Major Scale to improvise, we can
use any of the notes, in any order, with any rhythm, in any
density and in any style. We have no rules about which
hand plays the melody or, for that matter, whether or not
there is a melody. The main point is to play and to
experience music. Of course, we should play this
exercise in all Major Scales, no favoritism please.
Of course, just thinking about jumping in

and improvising will send shivers up and down some
student's backs. There are problems, to be sure, in
learning to improvise. However, the best way to solve
these problems is to first recognize that they are there.
Second we should try to list them, and thirdly, do our best
to so/vethem. So, before we begin improvising let's first
examine some of the obstacles.
1 ) We are generally not used to put-

tingmusic into motion and then interrelating with the
music "on the fly".
2) hand wants
Our left hand and right
to take on specific functions, such as: right hand plays

the melody and left hand plays a recurring accompani-
ment pattern. This usually bogs us down in playing the
same trite patterns over and over.
3) The left hand and right hand have

not achieved independence. This
very important is
because if the hands always work together we are

limited in the depth of our improvisational ideas.

4) We do not have a good control over
melody making. This includes understanding se-
quences. It also includes phrasing.
5) Our piano technique limits us to

what we can play. This Is important, because if, inter-
nally,we think that we can not play something, because
the fingers will not move fast enough then our conscious
,
mind will simply negate playing the idea.
6) Our fingering practices are not

automatic. This very important because, once again
is
if we subconsciously feel that we can not successfully

finger something, then we will not try to play it at all.
7) We
have not made a study of spe-
cific styles of playing. This is important because most
pieces that we will improvise will emulate one style or

another.
8) Our rhythmic sense isn't solid. We

are not used to establishing a "groove", which is a solid,
emotional, rhythmic feel.
9) We are not used to playing music

with a jazz technique, which ultimately would give the
music an overall jazz sound.
This book intends to offer solutions to

these problems by offering specific advice on improvisa-
tion,discussing solutions to technical problems and pre-
senting ideas on specific styles. In performing improvi-
sation using the modes, the problems of what to play
harmonically, are automatically solved. Therefore we
can concentrate on the areas of playing in motion, hand
independence, establishing rhythm, technical solutions,
and stylistic directions.

Playing in Motion
This is an area that we perhaps do not

think about when we are playing our classical pieces.
Music, by its very nature, is in motion. It is constantly on
the move. However, this an issue which reaches
is
supreme importance while improvising because it takes

a certain type of thinking. Jazz musicians get a lot of
practice in this area by performing in clubs and playing
with other musicians. Certainly, the pressure is on,
when you sit in a jam session and have to perform well.
The best way to develop confidence in this

area is to practice "in motion". The more you try, the
more your subconscious will develop familiarity with this
skill and subsequently, the more you will develop confi-
dence. If you have an opportunity to practice with a

group, another musician, as an accompanist, as a
church organist, etc. this will greatly
, help you to achieve
this goal.
The following exercise is called the Motion

Exercise and is designed you practice in these
to give
areas. As said many times, please do not get frustrated,
and please keep trying! There will be many plateaus and
many breakthroughs just keep trying.
. . .
Motion Exercise
1 ) arms - just start playing

Alternating
a rhythmic pattern with your hands, on your lap. have I
talked to many students who have insisted that they do

not have good rhythm and have found that they have
never isolated pure rhythm as a study. For instance, if
you are playing a piece of music, rhythm is mixed in with
melody and harmony. Very often this creates confusion

and, as a result, the rhythm is the first thing which breaks
down. Rhythm is asubliminal activity in the musicinthat,
even though it is notated in the music, the actual rhyth-
mic activity is supplied by the performer. Therefore it is
important that the performer develop good rhythm inde-
pendently of melody and harmony.
Very often, the same student who states

thatthey do not have good rhythm, is super on the dance
floor and is easily capable of following the rhythm chant
at a football game. Drummers are usually the best at
rhythm because they give rhythm their full attention.
Actually, all I am
suggesting is that you
start by clapping out a recurring beat pattern while
alternating the hands (arms). Keep it going, see if you
can really become familiar with the beat pattern.
Now transfer this beat pattern to the key-

board by playing some clusters from the Major Scale.
Don't worry if the clusters make sense. We have to start
somewhere. One idea is to play a single bass note in the
left hand and alternate with a chord in the right hand. Try
changing registers on the keyboard and try using differ-

ent densities of textures. The main point is to keep the
rhythmic pattern that you have established. Here are a
few examples of rhythmic patterns. You can use them
or not, and certainly make up your own. (See Example
2-4)
You should practice this often until you

develop familiarity with the beat pattern rhythm, and the ,
sounds of the Major Scale. Definitely change keys, time

signatures, phrasing or articulation. Just have fun, and
do notexpecttoo much at this point. The reasonthatyou
are doing this is to establish the feeling of playing rhythm
with your arms. The notes are not too important at this
point.

EXAMPLE 2-4 ALTERNATING RIGHT AND LEFT HAND BEATS
Right Hand
2) one hand - This

Alternating within
exercise is very similar to the first except that you are
alternating your rhythmic pattern within one hand, usu-
ally between the thumb and the other fingers, and also
alternating with the other hand. Often the left hand will
play a single bass note while the right hand alternates
between the thumb and other fingers.
3) Continuous stream of notes - In

this exercise you will start a continuous stream of eighth
notes, carefully choosing your notes so that they resolve
at appropriate places. Let your ear tell you where the
appropriate places are. At first you will have to go very
slow, but as your skill increases, you can pick up steam.
Keep your rhythmic pattern going throughout the exer-
cise. Next try eighth note triplets, then sixteenth notes.
Finally play acombination of quarter notes, eighth notes,
eighth note triplets and sixteenth notes. At this point it is

suggested that you beat out patterns varying between
the time values without playing notes, then when you are
comfortable, play with notes. For simplicity, the left hand
can play a single bass note.
4. Combination Exercise - now start

combining all the exercises. Be sure to keep the rhythm
going and manner of combinations of alternating
try all
between and within the hands, and using continuous
single notes.
I want to emphasize that you not be too

your improvisations, at this point. The idea is
critical of
to get used to being in continuous movement, thinking

on your feet, so to speak. Once you have developed
confidence in this area, many doors toward improvisa-
tion will open to you.

20. THE MAJOR SCALE MODES
The Modes are really very simple to un-

derstand. Take any scale and begin the scale on a
degree of that scale other than 1-1. In the case of the
Major Scale, 1 - 1 also has a modal name, that of Ionian
Mode. If we start on the second degree and move from
2 - 2, we are playing the Dorian Mode, 3 - 3 is the
Phrygian, 4 - 4 is the Lydian, 5 - 5 is the Mixolydian, 6
- 6 is the Aeolian, and 7 - 7 is the Locrian. In the scale
of C Major, C - C is 1 - 1 D - D is 2 - 2, etc. Take a few
,
minutes and memorize the numbers and names of the

modes, right now! (See Examples 2-5 and 2-6)
EXAMPLE 2-5 MODES AND THEIR CHARACTERISTICS

Degrees Modal Name Characteristics
of the
Scale
1 - 1 IONIAN (Same as Major Scale.)
2-2 DORIAN Flat 3 and 7 (Sounds Minor)
3-3 PHRYGIAN Flat 2, 3, 6, 7 (Sounds Minor with Flatted 2nd)
4-4 LYDIAN Sharp 4 (Sounds Major with Sharped 4th)
5-5 MIXOLYDIAN Flat 7 (Works well with Dominant 7th)
6-6 AEOLIAN Flat 3, 6, & 7 (Same as Relative Minor Scale)
7-7 LOCRIAN Flat 2, 3, 5, 6, 7 (Works well with Half Diminished)

Now you would possibly think that all
these modes would sound like the parent Major Scale

since all the modes have the same notes as the Major.
However, this is not the case. In fact, this is why have I
not included the parent scale in the analysis. Each mode

has its own "mood" or personality due to the different po-
sitions of the half steps to whole steps. As you remem-
ber, theMajor Scale has a special feeling due to the half
steps between 3 & 4 and 7 & 8. The Dorian Mode, for
example, sounds completely different due to the half
steps shifting to 2 & 3 and 6 & 7. This mode sounds
minor-ish due to the minor third.
Modal Exercise
recommended that each mode be

It is
learned separately as its own scale. Each one retains its

own emotional feeling and will be used by the improviser
for a specific purpose. The following is a method to learn
the modes individually.
Begin by choosing a bottom note. That

note be the foundation note throughout the exercise.
will
First improvise freely using the C Major Scale using the
same instructions for the Motion Exercise. Then after

the C Major scale is thoroughly experienced, then sharp
the 4th degree and you will be improvising on the Lydian.
You could say in your mind that you are really playing a
G Major Scale, but not recommended. As said
this is
before, it is better to experience the mode as your
experiences it, as its own scale. Then, continue
listener
on through the modes by adding only one changed note
at a time. (See Example 2-6, Page 82)
Next play the Mixolydian, which has a

flatted seventh. Then add a flatted 3rd to the flatted 7th
to play the Dorian. Now add the flat 6th to the flat 3rd and
flat 7th to form the Aeolian Mode. Then add the flatted
2nd for the Phrygian and then the flatted 5th for the
Locrian. Each time you are changing the scale by just
one note. (See Example 2-6 & 2-7, Page 82)
Ideas for Modal Playing
1 ) Modes have a tendency not to lead

anywhere. When playing the mode, it is similarto finger-
painting, just revel in the fun of making different combi-
nations of sounds. Try different textures.
2) Do not think of chords, think of

textures. Actually, "chords" are really two or more notes
played at the same time. In modes, we are choosing
notes from a series of notes. Try to pre-hearthis series
of notes and then choose two or more to play at the same
time. Try to avoid naming them as specific chords or
inversions of chords. The idea is to just hearthe sounds
that they make.
3) Do not allow the hands to assume

specific musical functions. The most common example
is to have the left hand play chords or accompaniment
figures while the right hand exclusively plays the mel-
ody. Try to look down on the keyboard and "see" what
you want to play, regardless of which hand plays. This
is similarto an orchestrator who is writing for instruments
other than the piano. He is "hearing" the sounds in his
head, the position of the hands on the keyboard is not
important.
4) Have fun Try new

with rhythms.
rhythmic patterns. Also enjoy getting into a "groove" by
playing these patterns over and over. Experiment with
different tempi and rubato. Try 3 against 2 and other
polyrhythms. Also you can derive rhythmic impetus from
any note in either hand. This is important, so that you
don't always looktothe hand for rhythmic movement.
left
The movement, for example, can come from both hands

fingering a broken chord.
Always play musically. Use dy-

5)
namics, phrasing, touches, good timing and good tone.
6) A good idea is to have a specific

start to your improvisation. Then, by applying concen-
your ideato a final conclusion. Try to avoid
tration, follow
endless playing. Keep asking yourself for descriptive
words what you are playing. You might describe your
of
current improv as "mysterious", "loving", "bombastic",
'lender, "searching", etc. By putting a label on it you
have an idea where you are going and where you have
been.
7) Don't over-pedal . When you over-

pedal, you trivialize the melodies that you are creating
because they are not clear and well-defined.
8) Think conceptually. Modal has too

many notes which "work". You must limit parameters
and concepts. Think of movie scoring. Think of telling
a story or describing a painting.
9) Try four note phrases. Then string
two four-note phrases together.
10) More ideas for modal improv: col-

ors, shapes, textures, accompaniments, and ostinato.
you have developed the ability

After to
play modal improvisation on each of the modes, in all
keys, you can try other ideas.
Other Ideas
1 )
Play C Dorian for awhile and alter-
nate with another Dorian, perhaps F Dorian. Or you can

continue on to another Dorian. Of course, you can play
80 Jazz Improvisation lor the Classical Pianist

with any of the modes in this manner or mix the modes
if you wish. You can start with any key. What you are
doing here, is similar to what you will be doing when you
play through chord changes. Chords really are notes
from a scale or a mode. The word "Tonality" can
describe any series of notes, either scale or mode. If you
have been given the chords in a piece of music, then
each chord can be translated into the tonality from which
it is a part. Then, you can play from tonality to tonality
through the piece. This is the basis for improvisation in
jazz. So, practice playing modal improvisations so that
it be easy and natural
will for you to improvise over the
chord changes of a tune.
2) Try playing to records which are de-

signed for music study, such as Jamey Aebersold's Jazz
Improvisation Series. The first record, for example, has
some modal improvisations on it.

m
EXAMPLE 2-6* MAJOR SCALE MODES EXERCISE
Ionian Mode
1 - 1
Major Scale
Lydian Mode
4- 4
Sharp 4 XT m
Mixolydian Mode
5- 5
Flat 7
Dorian Mode
2- 2
Flat 3 & 7
Aeolian Mode
6-6
Natural Minor
Flat 3,6,7
Phrygian Mode
3- 3
Flat 2,3,6,7
Pp' i i>J
—
i
Locrian Mode
C
Flat 2,3,5,6,7 ^ j.

EXAMPLE 2-7 MODAL EXERCISE STEP BY STEP
-
Begin by choosing a bottom note. That note will

be the foundation note throughout the exercise. In this
example, we will start by improvising freely using the C
Major Scale. Then C will continue as our "bottom note".
Ionian Mode
1 - 1
Major Scale
C is the bottom note for each example.
Then C
Major scale is thoroughly
after the
experienced, then sharp the 4th degree and you will be
improvising on the Lydian. You could say in your mind
thatyou are really playing a G Major Scale, but this is not
recommended. As said before, it is betterto experience
the mode as your listener experiences it, as its own
scale.
Lydian Mode
4-4
Sharp 4
Then, continue on through the modes by add-

ing only one changed note at a time. Next play the
Mixolydian, which has a flatted seventh.
Mixolydian Mode
5-5
Flat 7
Then add a flatted 3rd to the flatted 7th to play

the Dorian.
Dorian Mode
2-2
Flat 3 & 7

Now add the flat 6th to the flat 3rd and flat 7th to
form the Aeolian Mode.
Aeolian Mode
6-6 $
Natural Minor fed
Flat 3,6,7
Then add the flatted 2nd for the Phryigian.
Phrygian Mode
3-3
Flat 2,3,6,7
And finally, the flatted 5th for the Locrian. Each

time you are changing the scale by just one note.
n Mode
Locrian *
7-7
Flat 2 ,3,5,6,7 l§=* m
21. OPEN VOICING EXERCISE
Now we are going to use the Advanced

Open Voicings that we learn in the Foundations chapter.
(Chapter 1, Section 12 & 13, Pages 40 - 47) You will
remember that you practiced - IV - I V - and IV
1, 1
- 1, I
-
-V - progressions.
I is recommended that you en-
It
deavor to put these progressions in a musical manner.

You can use IV, & V in any order.
I, Let the melody
suggest the harmony. This should be especially easy
.
forchurch organists and pianists, since they have ample

*
opportunity to improvise during services. Once you

have perfected moving in a musical fashion using the I,
IV, and V chords, then start adding in other chords into
the mix. The next chord to add would probably be thein

sixth, which in its natural state in the Major Scale is a
minor or minor seventh. (See Example 2-8)
EXAMPLE 2-8 OPEN VOICINGS PROGRESSION I VI - IV - V I
r r r r r= r r r f r
1 " -^^^^^^^^^^^^^^^^^^^"^^^^^^^^^^^^^^^^—^MiiMi^^^^^^^^^^^wp

22. PACHELBEL'S CANON EXERCISE
Pachelbel's Canon can be used as a basis

for improvisation. Even though the composition was
originally written in D, I am writing the example in C for
simplicity's sake. Of course, you are invited to learn it in
all keys. This is fun to play, and you should have good
results very soon. (See Example 2-10)
Learn the melody, bass note, and

a)
chord progression. Memorize the numbers of the chord
progression: ie. I,V,VI,III,IV,I,IV,V. (See#1)
b) Play many open voicings on each

chord.
c) Improvise through the chord pro-
gression using open voicings.
Play melodies from the top voice

d)
while holding the open voicing. (Example 2-10, #4 ,
Page 86)
e) Play melodies from the second

from the top voice while holding the open voicing.
f) Play melodies from the third from

the top voice while holding the open voicing.
g) Play melodies from the bottom

voice while holding the open voicing.
h) Now practice moving the interval of

a tenth in parallel motion. You can also move thirds and
sixths.

EXAMPLE 2-10 PACHELBEL CANON EXERCISE

Beginning Improvisation
Review
QUESTION AND ANSWER
1 ) Have you been playing lots and lots of Question

and Answer? Don't forget, the challenge is to play one
pattern over and over, constantly coming up with new
melodies. Then, try a new pattern, and perhaps change
the rhythm or meter. Try new keys, etc. Challenge
yourself to come up with new melodies. Also, try, for
awhile to play a constant eighth note, eighth note triplet
or sixteenth note solo. Then, add in space and phrasing.
You should you are comfortable with
practice this until
soloing over the chord changes. (Example 2-1, Page
66) Completed: Date
2) Play Question and Answer'm Minor. Experiment

using different minor scales (Melodic, Harmonic and
Natural) and minor-sounding modes (Dorian, Phrygian,
and Aeolian) for soloing. these scales and modes are
If
new to you, they will be presented in future chapters.)

3) Did you try the Sample Accompaniments for

Question and Answer? Did you try to make up your own
accompaniment patterns? In Major? Im Minor? (Ex-
ample 2-2, Page 68 & 69) Completed: Date
4) Experiment with playing familiar melodies in

Thirds and Sixths. Also play Question and Answer in
thirds and sixths. (Example 2-3, Page 70) Completed: Date

MAJOR SCALE IMPROVISATION
5) Practice the Motion Exercise . This will take a!ot

of practice untilyou are completely comfortable with
improvising while in motion. If you have a problem with
rhythm, then pat on your knee until you are familiar with
rhythm, itself. Then transfer your rhythmic sense to the
improv. Don't give up on this one. You will improve over
time. Put a special emphasis on the "continuous stream
of notes" exercise. This exercise helps "hook you up"
from your brain to your hands. (Example 2-4, Page 75) Completed: Date
4) Have you memorized the Major Scale Modes.

(Example 2-5, Page 77) This may take awhile.
Completed: Date
5) Have you Modal Exercise? This
practiced the
exercise is an extension on the Major Scale Improv and
is extremely important! You are encouraged to keep
trying to come up with new improvisations and new
experimentations. Practice this until you feel totally
confident that you have the ability to come up with
musical ideas each time you begin playing. Don't forget
to experiment with different rhythms. (Example 2-6,
Page 82) (Example 2-7, Page 81 & 82)
Completed: Date
OPEN VOICINGS
6) Can you play the Open Voicings Exercise using

I, IV, V, any order, and create entire improvisations.
I in
First think of the melody, then harmonize the melody.
Perhaps it would help to think of a church organ improvi-

sation. Definitely, try this in all keys until you can flow on
and on. (Referto Chapter One, Section 14, Pages41
- 47) You can also add in other chords such as the VI
chord (Example 2-8, Page 85) You have to be able to

control this type of improvisation and the only way to
learn is to . . . practice.
Completed: Date

1
PACHELBEL'S CANON EXERCISE
8) Are you very familiar improvising on the chord

changes of "Pachelbel's Canon". Play this improv in all
keys. See how many different melodic ideas you can
create. This gives you a very musical way to handle the
openvoicings. Play all the steps of this exercise. (Page
86). This exercise should be practiced until you can play
on an on, without changing the chords or stumbling on
the melodic flow. (Example 2-10, Page 87 & 88) Completed: Date
Note: This Chapter presents a way to start improvising.

If you try the exercises and give up quickly, you will not
develop the skills necessary to become a good impro-

vises Even if you feel that you are "not getting it", it is
my hope that you will persevere. It takes a little time for
the subconscious to become used to the activity of im-
provising and the musical theory. Many of my students
have had breakthroughs, where, after a long period of
frustrations, began to easily improvise. Keep trying!

3 Technique for
Improvisation
Many classical pianists, I believe, feel that

classical piano technique is the best technique for all
kinds of piano music. This understandable consider-

is
ing that classical technique is the piano technique that
they have been taught. There are also many who feel
that jazz technique is just sloppy, incorrect technique
and that it should be avoided at all costs. There is also
the feeling that you can not learn to play jazz with a good
"feel" and that the good players are born with their style
and sound.
In my
a technique is simply a
opinion,
method of doing something which helps you to achieve
a desired end. Therefore, if it is effective, it is good.
Secondly, I don't believe that the standard classical
technique always work in other musical areas and
will
that there has to be some variation to give you the

required stylings. Thirdly, there are many different eras
and developments in the classical repertoire which
require specialized techniques and specific interpreta-
tion to play correctly. This is true in the pop and jazz
fields also. The technique used to play a funky blues
would be completely different from, a Bill Evans jazz
style, and different again from a George Winston im-
provisation. It is important to match the technique to the
style.
do believe that there are some technical

I
traits which can be discussed and learned which will give
the classical pianist a good jazz sound, but the classical

pianist must give up some possible longstanding biases
about good technique and be willing to try some new,
Chapter Three - Technique for Improvisation 93

and perhaps approaches to achieve certain jazz
radical
styles. Also, it will take some practice to develop these
different techniques. And you will have to spend many
hours listening to and studying jazz and pop pianists to
develop their sound.
It is recommended that you expand your

listening to hear pianists that you do not normally listen
to. Buy or borrow records or record tapes that can be
listened to inyourcar. Listen critically and try to discover
how the pianist achieves the sound. Listen for phrasing
and dynamics. Listen for pedaling. In short, listen as
critically tothe jazz pianist as you would a classical
pianist performing, let's say, Debussy. Try sitting at the
piano, and play while the pianist is playing. It doesn't
matter if you are playing the right notes, just try for the
right touch and phrasing. Try to put yourself in the
pianist's shoes. See youself doing what he does.
\
I a common miscon-
believe that there is
ception in many jazz methods that you can explain the
jazz sound or groove by saying that it is a "rolling three"
feel with the notes played on the first and third of the
three. feel that if you listen to different jazz players, you
I
will discover that this is greatly oversimplified and in

many cases, simply untrue. The best way to develop a
style is to listen to specific phrases, then play those
recorded phrases over and over, trying to sing them.
Then transfer that phrase, as well as you can, to the
piano tryi ng to copy your singing. Phrasing is the answer
to learning jazz styles. Sometimes you can find written
jazz solos by, let's say, Oscar Peterson or Bill Evans.
You can find the original recording and then listen,
phrase by phrase and try to copy his touch. It is as com-
plicated as trying to imitate or learna specific dialect
within a language. Actually, this is an area in which a
classical player should be at home, since he spends
much of his time trying to play classical pieces in their

"correct" interpretation.
It is interesting, though, that the way that
most classical methods teach technique do not help the
pianist to become an improviser. A great deal of empha-
sis is often given to playing scales and arpeggios always
in same way, usually from bottom to top, with the
the
same tempo, the same dynamic level, the same rhythm
and the same touch. Arpeggios are usually played in the
root position. Hanon, for instance is often only played in
the original key of "C" and in the original rhythmic
patterns. In other words, there isn't much emphasis on
creating variety. Also there isn't much room for sponta-
neity. This often leads to boredom and results in
mechanical playing.
1 believe that ultimately the way that you

practice yourtechnique will result in your "style". In other
words, the subconscious mind will learn these subtle-
ties, and then they will become part of the involuntary
actions of the subconscious. Once this happens, then

when you play a composition or perform an improvisa-
tion, this becomes your general way of playing. It
becomes your musical "personality". recommend

I
practicing yourtechnique in a similar manner to the way

you want to eventually perform.
23. GENERAL TECHNIQUES FOR IMPROVISATION
1) Variable Speed
When playing a scale, arpeggio or Hanon, try

playing as you were playing with a variable speed dial.
if
Smoothly turn the tempo up and down, move from very

slow to very fast. This helps to de-emphasize the rigidity
of the exercise and to develop a natural control. This is
helpful in playing rubato. It is also very helpful in the
development of the improviser as it gives a greater range
of expression from which to draw.

Evenness in music is not exact evenness. If it
was, then computers could "quantize" music into perfec-

tion. Quantizing is when a computer shifts all notes to a
specific note value, such as to the sixteenth note. In this

matter the music is perfectly even, but not very musical.
In one computer music program, they even have a
command called "humanize" to develop the correct
amount of imperfection.
Therefore, would seem that perfect evenness is

it
not the correct goal, but, rather, control. This control can
be developed by practicing variable speed.
2) Variable Dynamics
In the same manner, it is recommended that

you practice in variable dynamics, from soft to loud, in all
manner. This can be done while practicing scales and
arpeggios.
3) Root, third, fifth arpeggios
M
Choose a bottom root note, say "C". C"
let's
is the root of C Major Triad. It is also the major 3rd of "A
flat Major Triad, and the fifth of T Major Triad". (See

Example 3-1)
When an arpeggio, randomly se-

playing as
lect which triad you will be playing as you move up and
down. (See Example 3-2 ) Note the fingerings given for
right hand and left hand fingerings. In general, if playing
two handed arpeggios, try to have the thumb play at the
same time with both hands. Also, if starting on a black
note, put the thumb on the first available white key. Of
course, try not to put the thumb on a black key. When
playing a F Sharp or G Flat Major arpeggio, any order of
fingering goes. After learning the major triads, learn the

EXAMPLE 3-1 ROOT, THIRD, FIFTH TRIADS
C F
Root 3rd 5th
EXAMPLE 3-2 ROOT, THIRD, FIFTH ARPEGGIOS
minor, augmented and diminished triads.
4) Random Arpeggios
Now play the Major Arpeggios in a totally random

manner, moving from chord to chord. You may
at will
change directions, up and down, at any time and can
even change in the middle of a chord. Also feel free to
start arpeggios in inversions other than the root. You
can move from one major triad arpeggio either directly,
by diatonic (scale), or chromatic movement. Playing
with two hands is recommended. Try to let the thumbs

play at the same time.
Try playing in different rhythmical patterns, in differ-

ent dynamics, touches and phrases. You can also play
arpeggios, for instance, with the root in the left hand and
the third in the right you can play arpeggios
hand. In fact
with one arpeggio in the left hand and a different arpeg-

gio in the right hand. After learning the major triads, try
the minor, augmented and diminished triads. In other
words, experiment, experiment, experiment!
5) Random Scales
You can a randomized

also play scales in
manner. Forinstance,youcan practice Major Scales by

moving up the scale, let's say, in C Major and then
arbitrarily moving to E Major and then again moving up
or down using B Flat Major. This is fun to do, especially

when you are playing with two hands. Of course,
keeping track of fingering is the main problem to solve.
Fingering an act of the subconcious mind when

is
improvising. By practicing exercises which stress ran-

dom movement, the subconsious learns how to think
ahead so the the fingering is automatic. This skill is very
important because we will tend to organize our musical
ideas according to our ability to finger them. In other
words, if subconsciously that we can not
we know,
successfully finger a passage, we will quickly choose not
to play it. Therefore, in practicing using two hands
playing an octave or two apart, we are training this
function of fingering in the subconscious thereby open-
ingup more ideas for us to play. Start very slow and pick
up speed as the fingering flows more easily.
As with the arpeggios, experiment with different

rhythms, etc. The more you try new ideas and keep
playing, the quicker you will develop into a fine impro-

viser
It should go without saying that you should al-
ways play as empha-

musically as possible, with special
sis on playing with good tone, legato and phrasing. The
scales and arpeggios can be freely mixed in any man-
ner.
6) Seventh Chord Arpeggios
Take any seventh chord and play it up and down

in a beautiful arpeggio. Take care not to meter beat,
which means to let the arm swing with the chord. Be
particularly careful to evenly play one note to the next
with each note getting its full value and also even weight.
Practice legato and staccato, in rhythms etc. Also you
can develop randomness by switch "mid-stream" to
different seventh chords, not always in their root posi-
These should also be played with both hands. You
tions.
can mix with Scales and Triad Arpeggios.
The emphasis is to keep moving. In this way you

will develop good fingering habits in regards to improvi-
sation. Also you are priming the subconscious to "think
on your feet" because you are in constant movement
and are playing according to your spontaneous whims.
You can also play in different time values, such as eighth
notes, eighth note triplets and sixteenth notes. You don't
have to play fast, at first. Let your mind get used to this
kind of thinking and movement.
24. LEGATO PLAYING AND PHRASING
would like to say a few words about legato

I
playing and phrasing. In jazz, as it is in classical, legato

playing should be the most basic element of piano tech-
nique. It is emphasized because it is not natural to play

legato on the piano. The piano is basically a percussion
instrument with hammers that strilke strings and bang-
ing on the piano is perhaps the most natural way to play.
Therefore special emphasis must be placed on simply
moving from one note to another in a smooth fashion. I
know that most you have spent many hours working

of
on your perfect legato and glorious tone, but for the
benefit of others, would like to quickly share some
I
ideas on good tone, legato and phrasing. Believe me,

this will apply directly to the next chapter which is on Jazz
Improvisation.
The piano responds directly to weight. It is good

to have as much control over weight as possible to utilize
its full range of potential. In this regard, often start I
beginning students exploring the full dynamic range of

the piano by learning how to play loud without banging.
This is accomplished by relaxation, speed, and correct
use of body weight. The following exercise will demon-
strate how to use the natural body weight.
1 ) Move the piano bench To know how

back.
far back, sit off the front third of the bench and place the
right foot on the right pedal (damper pedal). The body
should be a comfortable distance from the piano.
2) Sit good posture.

upright with Lean
slightly forward and let your arms hang loosely from the
shoulders. Allow the hands to rest on the piano with full
dead body weight. knowthat sounds awful but the arms
I
should feel totally dead-weight. The hands should be

simply resting on the keyboard, on the bottom of the
key bed.
3) Now shift the dead-weight to the finger

tips. To do this relax the elbow. Make sure that the hand
and do not collapse. Also don't let the first joint in
wrist
the finger collapse. The hand and finger must be strong,
and the wrist strong, but springy.

4) Put the arm weight over the thumb in the
right hand and move the weight from the thumb to the
fifth finger. You can play C to G, for instance. A good
analogy is to stand on your feet with the feet slightly
apart. Move
the body weight back and forth smoothly
between the feet and feel the weight moving back and
forth. Now do this with your fingers and you can feel the
weight on one side of the hand and feel it move smoothly
to the other side of the hand.
5) Play the C, then play the G by shifting the

weight. Let them both ring at the same time with the
weight equally over both of them. Then shift the weight
to the G and release, just lift the C. This should clear the
blur and only the G is playing. Then
back to the C,
shift
let both play, then shift the weight all to the C and release
the G.
6) Now this exercise can be played with ar-

peggios. Play the C with the weight over the C; move
to the E, with both the C and E playing; move the weight
to the E and release the C. Do this throughout the
arpeggio.
7) To develop a beautiful simply

legato
shorten the time of the blur. If you want a totally clean
legato,change the weight simultaneously. If you want a
lush legato, have a little blur between the notes. (Not
enought that anyone would hear it.)
8) Play this exercise using all arpeggios,

scales, Hanon, whatever to develop a beautiful,
weighted legato tone. The arms, especially the elbows,
must be relaxed allowing the fingers to rest on the
keybed, not on the top of the keyboard. Do not cave in
the fingers, hands, or wrists. Keep the weight forward
into the keys.

9) Make up melodies, using both hands play
the same notes one or two octaves apart. You can start
by simply playing intervals. Play them as legato and with
as much feeling as possible.
25. THE PIANO AS A GONG
This is an exercise in playing and hearing

the fullest expanse of the keyboard. I usually assign this
exercise to a beginning student to have them explore the
loud dynamic limits of and to know that they
the piano
can achieve loudness without bad tone. Many students
play fearfully, with tension because they haven't had this
experience. They should feel their energy flow in and
with the piano and not feel separate from it.
The exercise simply is to play a full triad in

both hands over and over, in a steady rhythm. The triad
can be played up and down the keyboard. The student
is encouraged to think of a concerto. The beat should be
about 60 beats per minute. The idea is to develop a

continual wave action in the arms with the striking point
at the tips of the fingers. The action is similarto snapping
a bull whip. The main emphasis is that the arms be dead-
weight and totally relaxed.
If the piano is played over and over with

the damper pedal held down, the result is similar to
repeatedly striking a gong. The gong picks up more and
more vibrations as you strike has reached a total
it until it
vibration. Once the piano has reached that point, the

student can experience the complete fullness of the
piano. Now the student can measure between very soft
and very loud and should have a better musical com-
mand over dynamics.
1 02 Jazz Improvisation for the Classical Pianist

26. ROTATION EXERCISE
This exercise was first given to me as a

young student by Frederic Saatman. It explains a basic
wrist rotation technique which is excellent in developing
good phrasing and legato. am not suggesting that this
I
technique is proper for all types of piano playing or

musical styles, however it is especially invaluable in
playing jazz or any style which requires weighted phras-
ing. This technique is appropriate for Romantic, Impres-
sionistic,and Contemporary compositions but less
appropriate for Baroque and Classical Period composi-
tions. Also it works well for many pop styles and jazz
styles, but not all.
Another point is that this method requires

relaxation, and as such is very helpful in increasing
speed on the keyboard. It also lends itself to any kind of
textural playing, such as some Debussy pieces and
many "New Age" improvisational pieces.
1) Place each hand over the

five fingers of
whole tone scale. The thumb of the right hand is overthe
middle "E" and the thumb of the left hand is over the
middle "C". The fingers fan in opposite directions over
the whole tone scale from that point.
2) The wrists are slightly high. To get the

correct position, it is suggested that you place your
fingers overthe whole tone scale with the thumbs on "C"
and "E" and then move the wrists in until they are either
touching or almost touching. The fingers at this point are
fanning outward. This gives us the capability of rocking
from the inside to the outside.
3) Play the thumbs on "C" and "E" and rock

back and forth between the thumbs and second fingers.
The second finger on the left hand will play a "B Flat" and
Chapter Three - Technique for Improvisation 1 03

.
the second finger on the right hand will play a T Sharp".

Rock back and forth using the wrists to move the hand.
The action feels like the spokes on a wagon wheel being
moved back and forth.
4) Now rock back and forth between adja-

cent fingers, 2 - 3; 3 - 4; 4 - 5; 5 - 4; 4 - 3; 3 - 2; and 2 -
1. (Hands are moving in contrary motion.) Keep the
fingers rather straight with a very slight curve. Again,
spokes on a wheel. The wrists must be moving
think of
back and forth.
5) Rock over three fingers, 1 - 2 - 3 2;

- 3 -
4; 3 - 4 - 5; 5 - 4 - 3; 4 - 3 - 2; and 3 - 2 - 1
6) Rock back and forth between four fingers,

1-2-3-4.
7) Rotate over all five fingers. The fingers

are guided by the wrist. The fingers are not and lifting
falling. If you do not see the wrists moving back and

forth, the exercise is not being done correctly.
8) While continuously rotating over the five

fingers, start accenting one finger each complete rota-
tion.For instance, first accent the thumbs, then the
second fingers, then the third fingers etc. You can begin
the rotation with the accented finger. *
9) Now
use this techique to rotate between
random notes that you will spontaneously choose. In
other words make up your own melody. Think of a cello
or another melodic instrument and play with expression.

27.RECOMMENDED PIANO TECHNIQUE METHOD
BOOKS
There have been many methods of piano

technique that have used through the years, but some
I
in particular, have more meaning to the improviser. The
criteria that use for these books are as follows:

I
1 ) The exercises should be easily playable in

all keys.
2) The exercises should operate the fingers

in many patterns.
3) The exercises should lend themselves to

exploration of different harmonies, rhythms, phrasing,
touches, dynamics, etc.
4) The exercises should help develop the

hand in specific ways, ie: strength, flexibility, coordina-
tion, sensitivity and control.
Some of the methods that I use and rec-

ommend are as follows:
a) Hanon - especially if practiced in all
keys, in different rhythms, touches, dynamics, and with

variable tempo. most important to have the student
It is
play the exercises as musically as possible. Of course,

Hanon should be practiced with good piano tone. Hanon
Revisited by Arthur Gold and Robert Fizdale is helpful in
changing the patterns. Again this is improved upon by
playing in all keys, rhythms etc.
of Pischna's exercises. This is very good for finger and

hand coordination. Exercises are played in all keys.

ence of the Fingers - very good for building finger
strength and developing abilitiy to play large chords.
Robert Pace Method - This Is an ex-

d)
cellent method especially forteaching children to impro-
vise and to play in all keys. The technical principles are
designed with the improviser in mind.
d) Alfred Cortot - Principles of Pianoforte

Technique - this is my current favorite. Cortot seems
to have come up with just the right formula for exercises
which develop improvisational abilities. There are many
reasons that particularly like this method, for example:
I
1 ) All the exercises are

played in many different ways. Depending on the
exercise, the student is encouraged to explore all keys,
different harmonic progressions, many different
rhythms and different touches, mainly legato and stac-
cato. This adds freshness to the exercises and helps to
develop many different technical abilities.
2) There is a novel idea to have daily

warmup exercises for the fingers, wrists and arms. Not
only do these exercises warm you up, they help to
develop technical ability by increasing stretches and
strength. Also these exercises are practiced in different
keys, rhythms, etc.
3) There are several sections of the

book, each helpi ng to solve different technical problems.
4) Many of the patterns can be easily

adapted to become jazz improvisation patterns.
The mailing addresses and publishers of

these books are listed in the section entitled Further
Study.

28. JAZZ TECHNIQUES
We can make a few generalizations about

jazz technique, which have to be refinedfutherasweget
into specific styles.
1 ) There is a greater tendency to use arm

weight. This is the heavier jazz styles,
especially true in
such as early blues. Phrases and parts of phrases are

intensified by this arm weight. The wrists are slightly
looser and the shoulder weight is brought into play.
2) Even though legato playing is the funda-

mental touch, as it is in classical playing, individual note
durations are more varied. In other words, in classical,
the legates and stacattos are fairly even and regulated.
By duration, am I referring to the length of time that the
individual note sounds. This term is often used in
regards to synthesizer playing and in computerized
sequencing.
you often clip off the end of the

In jazz,
duration and leave a slight space. If you listen to big

band music and then try to exactly sing the phrases, you
can experience what mean. One of the things which
I
gives jazz a completely different sound from classical is

this variation of note durations. This duration changes
from phrases and from style to style. In general the
sound is "drier and "less sweet" than classical.
In order to play this correctly, greater care has

to be taken in the release action of the fingers. In this
instance the wrist used to lift the hand. This requires
is
intensive thought and listening to duplicate the sound,

for instance, that a big band creates.
3) Wrist rotation is often used as a technique

to achieve jazz phrasing. The classical player often tries
to play jazz arrangements with a fingery technique. This

never works and always sounds incorrect. In
jazz, as it
is in classical, phrasing is
everything. The best way to
learn what am saying is to listenXo records
I
and copy the
phrasing. It is not necessary to know what
they are
playing, just copy the feel of the music.
4) The hands (fingers) often do not play pre-

cisely together. In other words, the style of jazz has a
special feel and if you play with the right hand playing
precisely with the left hand the music will
not "cook",
"swing", or have a "groove". know that many will I
protest, because through years of classical playing the

goal has always been the opposite, but can
assure you I
that, for instance if the bass player is

playing an eighth
note walking bass, the piano player will not play pre-
cisely with his beats. In fact he will not be playing
precisely on the metronomic beat, nor will the
drummer.
As tuning a piano with its stretched scale, it is
in
the
precise imperfection of attacks that gives jazz its
special
feel.
To practice this, recommend playing scales and

I
arpeggios just barely missing the hands coming

down
together. Try playing the left hand first, then
try playing
the right hand first. know this is painful, but try
I
This it.
will be discussed further in the chapter on "Groove Ex-

ercises".
Special emphasis on hand independence

5)
is needed and should be practiced.
For instance try just
playing a repeated eighth note in the left hand.
Then
start swinging the right hand in random
patterns while
trying to keep the left hand playing. After awhile,
randomly move the fingers first in the air, then on the
piano. Then reverse the hands and play
the repeated
note in the right hand and wave the left hand in
the air.
The rhythmic patterns in the constant hand

can be varied. You will probably find that this is harder

than you first think and it will take a lot of practice before
the hands become free.
There
a center of the brain called the
is
Corpus Co llosum which organizes the right side and left

side activities. In jazz, we often assign different func-
tions to each hand. For instance, the left hand offen
functions as "comping" while the right hand solos. If the
two hands are in "sync", it severely alters the soloing
ideas and the overall "groove". Therefore it is essential
that the hands be separate. The masters of this are the
drummers since they often have hands and feet totally
separate. We have to think as they think.
6) Practice 3 against 2, 2 against 3, 3 against 4

and 4 against 3. This is an extension of the hand
independence exercises above. Ideally, when you hear
3 against 2 you hear a total rhythm. It is important to
perceive the totality, then you will be able to freely
improvise within that time frame. Again drummers do
this every day and a good idea is to listen to the rhythmic
freedom that drummers enjoy.
Many jazz styles, for instance, Bill Evans,

utilize this 3 against 2 time frame. Drummers who play
in this style constantly shift back and forth from three to
two. This is similar to the style of Claude Debussy
where is important that the music shift effortlessly back
it
and forth between 3 to 2.
There are many ways to practice 3 against 2,
but the following is my favorite. Start with the beginning

notes of a major scale. Play the triplet in the left hand (or
vise versa), which means that you play four notes. Play
continuously up and down without stopping. Then play
the right hand in duple, which means playing two notes.
When the hands play together, you can say something
like, "not diff-icult". Start slowly. the hands sound
If
mechanical, then try imagining that they are sliding

around in butter. Hopefully they will fall into a natural 3
-2 feel. Then reverse the 3 and 2. Then start randomly
reversing back and forth from 3 against 2 to 2 against
three. Finally, try improvising using, for instance, an
accompaniment pattern in the left hand in three and
improvise in the right hand in two. If you can try to freely
move back and forth between the two.
The idea is to hear the overall sound that 3

against 2 makes. Once you hear as a totality, it it will be
easy to play.
To learn three against four, try the above

exercise except saying somthing like "not ver-y diff-
icult". Three against four is not used as much as three

against two, however if you master both, you will find it
much easier to play rubato. Also this will help you to

achieve certain jazz styles. Once again, listen to drum-
mers!
In general, to develop a good sense of time

and rhythm, a drummer. Try isolating rhythm
think like
from your music. Think only of rhythm by clicking your
fingers (always on 2 and 4), beating on your lap or
clapping your hands. Take a jazz book, a drummer's
manual, or any book which features rhythmic exercises
and clap the rhythms. Always play rhythms emotionally,
never in a mechanical way. Good rhythm is absolutely
essential in jazz.
suggested that you go out and

Finally, It is
hear jazz pianists. Or more correctly, go out and watch

jazz pianists. Study howthey play and how they produce
their sound and phrasing. Jazz pianists tend to be more
original and different, one from another, than classical
pianists because the emphasis on classical is proper
technique which leads to a certain amount of conformity.
Many jazz pianists have evolved a technique which

works for their style. A classical pianist should
be able
to study the jazz pianist's style and technique and
duplicate it, if he wishes. It is not important that you like
the style, it is more important that you study what he does
and how he does it.

Technique for Improvisation
Review
GENERAL TECHNIQUES FOR IMPROVISATION
1 ) Have you practiced scales, arpeggios and Hanon

using "Variable Speed"? (#1, Page 96) Completed: Date.
2) Have you practiced scales, arpeggios and Hanon

using "Variable Dynamics"? (#2, Page 97) Completed: Date.
3) Have you practiced the "Root, Third, Fifth Arpeg-

gios"? (#3, Example 3-1, Page 97 & 98)) Completed: Date
4) Have you practiced the "Random Arpeggios'?

(#4, Page 98) Completed: Date.
5) Have you practiced the "Random Scales"? (#5,

7) Have you practiced the "Seventh Chord Arpeg-

gios'? (#6, Page 100) Completed: Date
8) Have you worked on and achieved a beautiful

legato? Is playing with "weight" comfortable for you?
(Section 23, Pages 100 - 103) Completed: Date.
9) Did you practice and complete the "Piano as a

Gong" Exercise? (Section 24, Page 103) Completed: Date.
10) Did you practice and complete the Rotation

Exercise? (Section 25, Pages 104 & 105) Completed: Date.

1 1 ) Have you practiced the Jazz Technique Exer-
cises. Are you achieving a proper jazz tone and ap-
proach? (Section 27, Pages 108 - 112) Completed: Date.
1 2) Have you thought about "note durations"? Completed: Date
1 3) Have you worked on "Wrist Rotation"? Completed: Date.
1 4) Have you mastered the special feel which comes

from not having the hands come down precisely to-
gether. Can you hear in other jazz pianists?
it
Completed: Date
1 5) Have you mastered hand independence? This

may take awhile. Completed: Date.
1 6) Have you mastered the "three against /wo"feel? Completed: Date.
17) Make a special effort to listen to live jazz pianists

to study their technical approach.
Note:
The purpose of this Chapter is to present ideas,

not to lay down rules or "laws". You are encouraged to
discover for yourself what makes jazz "tick". This is a
music which for generations has been played by "feel".
There are many ways that jazz players achieve good
feeling. You are encouraged to enjoy the discovery.

Foundations of
Jazz Improvisation
The lessons which follow will be much

easier and will flow more readily if you have studied and
mastered the exercises in the chapter on Foundations of
Improvisation. I know that that study was tedious but if
that information currently resides in your subconscious,

this study will be fun.
29. THE BLUES
We are starting at the source of jazz. The

Blues is fun and simple. It is played with simple, honest
emotion and is understood by all jazz players. It is not
the purpose of this book to discuss all the blues styles,
since the subject has been ably covered in many jazz
instruction books. The section entitled Further Study of
this book will list some of the jazz instruction
books. We
are using the blues to develop a jazz feel through good
time and jazz phrasing, develop hand independence,
and to begin to improvise.
The Blues is really two different things, a

style and a form. The Blues Style is instantly recogniz-
able because portrays the picture of hard times.
it
has It
been portrayed by many vocalists, such as Billie Holli-

day, and jazz pianists, trumpet players and guitar play-
ers. When sung, the songs usually tell of troubled
relationships and problems, in general. There is a lot of
honest feeling in the blues. Often, not always, the blues
is played slowly, with sliding notes
(blues notes) and
short phrases. The style is prevalent in styles from
dixieland, to swing, to bebop, to today's current rock,
fusion, country, and jazz styles. There are many many
Chapter Four - Foundations of Jazz Improvisation 115

examples of good blues styles on record.
The Blues Form relates to a specif ic set of

chord changes over which blues players like to impro-
vise. The patterns are very universal and are known to
literally all blues players. The most popular blues form
is the Twelve Bar Blues. There are many chord vari-
ations on this form and once you have mastered the

basic form, it is easy to learn other chord progressions.
(See Example 4-1)
The Basic 12 Bar Blues Progression

should be studied as three groups of four measures.
The first group describes the chord area the next group
I
describes the IV chord area (two measures of IV and two

of I) and the final four measures actually describe the V
chord, which accomplishes a "turnaround". The turn-
around is the ending progression which takes you back
to the top of the tune. The turnaround will be more fully
discussed later in this book.
The purpose of this book is to give you a

couple of basic blues progressions so that you can begin
to experience the blues groove. Also, you can use these
blues progressions as a great way to begin right hand
soloing. you want to continue your study of the Blues,
If
there are many, many variations of the Blues Form,

using chord substitutions. There are many jazz books
that list some of these variations. A good list of Blues
progressions is found in Jazz/Rock Voicings for the
Contemporary Keyboard Player by Dan Hearle. Also

the second record, entitled, Nuthin' But Blues, in A New
Approach to Jazz Improvisation for All Instruments by
Jamey Aebersold will give you an opportunity to play
Blues with other musicians. (See the section on Further
Study.)

EXAMPLE 4-1 BASIC 12 BAR BLUES PROGRESSION
I I I I
6 8
IV IY I I
9 10 11 12
-« "D
-n 1
IY I

30. THE BOOGIE WOOGIE BLUES
There are many blues styles which can be

performed using this basic progression, but we are
going to start with the Boogie Woogie Blues. The
boogie woogie piano style dates back to around 1910,
and is distinguished by the left hand ostinato o r re peated
pattern. There are many boogie woogie left hand
patterns and in the 1910 - 1930 era, there were many
pianists who made their reputation primarily playing the
boogie woogie. The boogie woogie pattern that I have
chosen is simply one of many.
you want to learn more,
If
there are music books which develop this style, but

better yet, take them off of records and write them out in
your music scrapbook.
have developed the boogie woogie in the

I
examples in two stages. First, in Step One, we are

learning just the open voices (See Example 4-2). Learn
this, for now in the key of "C". (Of course, you can always
learn the examples in all keys.) Then, in Step Two, learn
Example 4-3, which is a little more complicated. (See
Example 4-3) The main idea is to learn the Step Two
pattern until you can literally carry on a conversation
while you play effortlessly.
it
There are several reasons why have I
chosen boogie woogie to begin the jazz improvisation

section of this book.
31. GROOVE TUNES
boogie woogie pattern constitutes

This
what term as a "Groove Tune". A Groove Tune is a
I
tune, or more precisely, a chord progression which is

played over and over. Usually the left hand is repeated
over and over and while the right hand solos. This ac-
complishes several things. First, it gives you something

to playas a solo pianist which sounds complete. This is
important because many jazz pianists today only play
with groups and as a result do not feel comfortable
playing solo. I feel that a classical pianist is perhaps
most comfortable with solo playing first. It is also
important to be a good solo pianist, because then you
have a command over all the elements of the music,
melody, rhythm and harmony. Then when you add other
instruments, they are augmenting your mastery of the
parameters of the tune that you are playing.
Secondly, it requires that you, and only

you establish the rhythmic groove. This "groove" is a
term which is usually foreign to the classical player. The
term refers to the rhythmic feeling generated by a jazz
tune. Remember the phrase, "It don't mean a thing if it
ain't got that swing"? This refers to the subliminal mes-
sage established by the groove. Some jazz players
spend more of their energies establishing the groove
than others, but all are conscious of it as a major part of
the jazz style. Even in a rubato ballad, groove plays an
important part of the style.
When you your foot

find yourself tapping
or snapping your fingers (in jazz, always on 2 and 4,
please), you are aware of the groove. A jazz player often
tries to make the groove better or deeper as the tune pro-
gresses through the choruses. If you play the boogie

woogie over and over, eventually you will relax with the
pattern until the groove becomes automatic. Then you
will notice that your rhythm loosens up as your subcon-
scious takes on more of the duties of controlling the
rhythm. At this point you will probably feel the urge to
take more liberties with the boogie woogie improvisa-
tion. However you must keep the chord pattern consis-
tant.
Listen to players who

are considered as
good groove players, such as Oscar Peterson, Monty

Alexander and Ahmad Jamal. Of course, any blues
player is considered a groove player. Also listen to big
bands, such as Count Basie.
So, first play the Stage One boogie

woogie example (See Example 4-2), and then the Stage
Two boogie woogie example (See Example 4-3) over
and over until you can really feel the groove and can
completely relax while playing it. Even though the
examples are written in 4-4 time, think of them in 12-8 as
a rolling three. (See Example 4-4)
EXAMPLE 4-4 TWELVE - EIGHT FEEL OF BOOGIE

WOOGIE
Then start adding in rhythmic chordal pat-

terns in the right hand and keep the left hand playing the
boogie woogie. (See Examples 4-5 & 4-6) Please ex-
periment with many different right hand rhythms as you
continue your left hand boogie woogie pattern.
Also inherent in the style are some gener-

alized piano "licks" or sequences usually developed
from the blues scale. The blues scale is a scale which
came quite naturally out of the feelings of the players. In
the early days, players did not usually know about scales
and simply followed the styles of the day from their ear.
Today, we are more prone to study and analyze the
styles and thus have developed the term, blues scale.
Imention this because believe that it is over-stressed
I
and over-used. Today's young rock and jazz players

often learn this scale and then let their fingers run wildly
up and down the scale without giving much thought to
the melodiesihai they are making. The result is a boring,

uncontrolled improvisation.
Although, I use the blues scale often, I
recommend a slightly different perspective on its use.

Instead of thinking of the blues scale has a specific
scale, work off of the mixolydian mode and liberally add
and flatted 7's. The flat 3, flat 5 and flat 7can
in flatted 5's
be called "blues notes". The difference is that now you

have a better chance to create melodies, much in the
same way that the original blues singers and instrumen-
talists created their blues songs. I also think that this ap-
proach should be more appealing to the classical pianist
because we are accustomed to making and appreciat-
ing good melodies. suggested listening to blues rec-
I
ords and imitating the "licks", trying to maintain the style

and inflections. The licks are usually not too difficult to
hear and reproduce. Try singing them first, then playing
them. Then place them in your improvisation scrap-
book. (See Examples 4-6)
Actually, in my personal teaching, I usu-

ally do not teach by having the student copy my favorite
jazz licks, because this does not encourage the student
to improvise on his own. Also, would rather that the
I
student make a practice of listening to a wide range of

jazz musicians to develop new discoveries. The stu-
dent, ultimately, is encouraged to develop his own style
based upon a lot of listening. It Is important for the
student to try to compose tunes and licks and chord pro-
gressions etc. Jazz is a music of self discovery, not
mimicry. Having said that, have included some blues
I
ideas to help give you are start. Notice that it is popular

in the boogie woogie style to alternate in the right hands
melody between the thumb and the other fingers. (See

Example 4-7).

32. BOOGIE WOOGIE EXERCISE
1) Play Step One Example until you can play

with ease. Notice that we are playing off of the open
voicings.
2) Play the Step Two Example with the twelve/

eight feel until you can play totally with ease.
3) Continue the left hand as you have been

playing in Step Two and start playing rhythmic chord
figures in the right hand. You can use the examples to
get you started, and then add in your own. It is vitally
important that you, as a classical player, start to think
rhythmically. That is why these rhythmic chords are so
important.
4) Learn the Blues Scale and the Mixolydian

Mode with the added flat third and fifth. Practice playing
melodies without the left hand and then with the left
hand. Put special emphasis on the rhythms that the right
hand melodies make. (See Example 4-8) In other
words, listen to, for instance, a big band and clap one of
the melodic rhythms. Then go over to the piano and play
that one rhythm over and over, making up melodies from
the Mixolydian Mode with the flatted third and fifth. Take
special care to play the phrasing exactly as the band
plays it. You will find that you can create many many
melodies from that one rhythm.
can not be stressed enough the importance of

It
these melodic rhythms to the creation of a good sound-

ing jazz solo. Even though you can find drum books and
other books which deal with these rhythmic licks, it is
more important that you find them by listening to records
and then adding them to your improvisation scrapbook.
Many classical players have tried and tried to play

written jazz solos, only to f i nd that the solos do not sound

like the original recordings. I think that the main problem
is inthe rhythm. Often the groove is not correct or is non-
existent. For instance, the correct groove in the
boogie
woogie blues is a 12/8 Also the hands are often
feel.
locked together, right hand and left hand together, which
stops the groove and natural feel of the solo. Remember
the hands do not come down precisely together.
Also many young jazz students have concen-

trated on learning jazz scales and modes also without
studying melodic rhythms only to find that their
solos
sound like run-on sentences instead of well crafted
solos. A solo should have a beginning, a
middle and an
end. The melodic ideas should follow good
melodic
principles of tension and release. Also the
melodic ideas
should always resolve purposefully and cleanly.
Then
the phrasing will make sense and the ideas
will have
power.
Listen to the drummers - think like a drummer and

you will begin to sound like a jazz player. Drummers
have a wonderful sense of rhythmic phrasing. They also
think about the groove constantly while
they are playing
a tune. And, if you are fortunate enough to play with
a
good drummer, he will feed you with many ideas to play.
Always try to fit in with his phrasing while you
are
comping.
Another problem which you be immediately

will
confronting is perfecting hand independence.
The left
hand pattern must be learned so well that you
can
literally play any melody in any time
frame against it. Of
course, the left hand must be establishing
the groove
and the right hand plays the part of a vocalist or instru-
mentalist. The soloist (right hand) should be free
to not
have to lay down the groove. He can float over
the
groove, making melody. This is very difficult
to master
because the tendency is to play time with the soloing
hand. Then, everything locks in and the jazz sounds
Chapter Four - Foundations of Jazz Improvisation

1 23
clunky and un-natural. Listen extensively to great jazz
singers Sarah Vaughan, Ella Fitzgerald, Nancy
like
Wilson, Mel Torme.and Frank Sinatra, to name just a
few. Also, listen to trumpet or saxaphone players to hear
how they float over the groove. Mastering this concept
and "feel" is essential to developing a good jazz sound.
One way to learn this is to listen and learn specific

licks from a record, then transfer that to your scrapbook.
Now play on the piano while singing the phrase the way
it
it was originally played or sung. This time do not play the
left hand boogie woogie pattern, but rather just play one
note in "stoptime". Stop time is aterm which means that

the drummer or the band accents the first beat (or
another beat) and the rhythm stops. The soloist solos
overthis empty space. Then the band punches in on the
next first beat, etc. This allows you to hear the basic root
tone and to solo with looser phrasing.
Another suggestion is that you try practicing

rubato, putting all the emphasis on the phrasing of the
solo. Then you have developed this, add in the left
after
hand boogie woogie pattern, trying to not have the hands
play together. This is very difficult, but if you persevere,
eventually your subconsious will learn this new lan-
guage. This is a study which you must do for yourself,
no amount of written examples will do it for you.

7
EXAMPLE 4-8 MIXOLYDIAN MODE WITH ADDED FLAT 3, 5,
EXAMPLE -BLUES SCALE
i
1 |> 3 4 l»5 5
m
l»7 8(1)
EXAMPLE 4-2 BOOGIE WOOGIE STAGE ONE
10
m 1 1, 12
U LIJ
m
I
j.
Chapter Four - Foundations of Jazz Improvisation 1 25

EXAMPLE 4-3 BOOGIE WOOGIE BLUES PART TWO
(Play in a 12/8 feel)
12 Bar
Boogie Woogie
p *n n
n
m
p Li D^ r 1j ifab

EXAMPLE 4-5 BOOGIE WOOGIE WITH RHYTHMIC PATTERNS #1
(Play Ina 12/8 feel)
4
5 5
J"]
J J U J ^PP^
5 6
5 in
m
8 9 10
, I
It
n U'LJ[j
12

EXAMPLE 4-6 BOOGIE WOOGIE WITH RHYTHMIC PATTERNS #2
(Play In a 12/8 feel)

.
EXAMPLE 4-7 BOOGIE WOOGIE BLUES LICK #1

(Play in a 12/8 feel)
m
1
m 5
5
Jl Qii
8 1
5
ILLUU

Here are some ideas for soloing. Choose
a rhythmic pattern and play many melodies using it.
Change the scales or modes with the chord change, ie.
Use CMixolydian C Blues with the C7 etc. Note: is
or it
possible also to use the C Mixolydian over the F7 also.

For practice you can stay with the same rhythmic pattern
through the entire chorus. Don't forget to add the12/8
feel throughout. (See Example 4-9)
EXAMPLE 4-9 RHYTHMIC LICK IDEAS
On the following page are several sample endings.

Actually they are variations on a theme. There are many
endings which can be used, and as mentioned before,
there are many books which deal extensively with these
licks. Also, as said before, I strongly suggest learning
your licks direct from the source, the performers on
records. (See Example 4-10)

EXAMPLE 4-10 SAMPLE ENDING #1
C C? /E F F tt dim G 7 G/B C
?
[ "I
J J
I IY tt|
V I
SAMPLE ENDING #2
C7 /E F F*di G 7 G/B C
?
Is
i
^'OUp J i We
i
I IY IY I
SAMPLE ENDING #3
tt-K
G7 G/B C

33. TRITONE BLUES
Here is another blues groove tune which

features a repeated quarter note figure as the rhythmic
ostinato. The figure utilizes the third and flat seven of the
dominant chord. This interval, a flatted fifth, is also
known by the term "tritone". When we delve later into the
subject of substitute harmony, you will find many refer-
ences to this interval. For now we will familiarize
ourselves with this interval through playing it in this blues
progression.
A brief mention should be made about the

use of a common jazz harmonic idea, that of playing a
chord 1/2 step above or 1/2 step below as a lead in to a
chord. The chords which may be thought of in this
manner are marked with an Chromatic movement is
very common in jazz. Also note the chromatic move-
ment in example , in measures 8 and 9 to move to the
A7.
It is recommended that you start playing

the pattern with the root note played by the left hand and
the repeating tritone in the right hand. (See Example 4-
11) Then play the tritone with the hand and play
left
rhythmic figures with the right hand, as you did with the
boogie woogie. (See Example 4-12) Now practice
soloing in the right hand and playing the repeated tritone
accompaniment in the left hand.
Now try playing the left hand using the

rhythmic comping in (Example 4-13) Add in some
simple right hand soloing figures.
a good time to mention again the

This is
use of "play alo ng" records such as the Jamey Aebersold

Jazz Improvisation Series of records. The records are
very helpful to learn the basics of jazz improvisation; to
learn specific styles such as the blues; to learn tunes;

and to enjoy the experience of playing along with great
players.
The second record of the Series, Nothing

But Blues is a good method to experience playing blues
with a group. TheTritone Blues will help you as you
comp with the left hand. Or you can leave off the left
hand and only solo with the right hand.
suggested that you choose the slow

It is
blues first and learn the progression from the book

which accompanies the record. Practice the left hand
comping until it is automatic. Start playing some rhyth-
mic figures in the right hand and soloing as described
before in the Boogie Woogie Blues section. Work off of
rhythmic figures until you are very comfortable with the
phrasing. Keep to the Mixolydian and Blues Scale for
now. If you have a variable speed tape recorder, try
playing the blues in different tempi (and therefore,
keys!).

EXAMPLE 4-11 TRITONE BLUES - LEFT HAND BASS, RIGHT HAND OSTINATO TRITONE PATTERN
V (hi)

1
EXAMPLE 4-12 TRITONE BLUES - ACCOMPANIMENT WITH RHYTHMIC FIGURES
8 9
$ "I , I
I
i r
I"
f f i i
1 1 1 I r r r r I

EXAMPLE 4-13 TRITONE BLUES - ACCOMPANIMENT IN LEFT HAND
II Y I y

34. CHORD EXTENSIONS
Now we have fully arrived to the area of
Jazz Theory. If you have ever looked at a Jazz Fake
Book, you have noticed chords adorned with extra
numbers such as ninths, elevenths and thirteenths.
These extensions add additional color to the triads and
sevenths. Also, in the common practice of leaving out
the root when playing extensions, they also add the
element of ambiguity which is essential to using jazz
substitutions. By and large, it is in the area of extensions
that jazz leaves rock and pop. There are some mental
tricks however, that you can learn which will make it
easier to master these extensions. The chart below lists
the common
extensions and their equivalents, one oc-
tave lower. (See Example 4-14)
EXAMPLE 4-14- EXTENSION EQUIVALENTS
Extension Equivalents
9th H i nor 2nd
9th Ha j or 2nd
9th H nor 3rd

i
11th Perfect Fourth
#11t h Tritone (Aug. Fourth)
3th Flatted Sixth (Rug. Fi fth)
13th Raj or Sixth

It important that you have a facile
is vitally
working relationship with these extensions if you want to

play jazz. probably take a great deal of persever-
It will
ence and dilligent practice to master the extensions.
35. EXTENSION EXERCISE
The best way to learn extensions is to play

and recognize the third and flat seventh (tritone). You
must first designate a root tone in your mind (you do not
have to play the root, however). It is relatively easy to
spot the third and seventh in a dominant style chord.
flat
A dominant style chord is created from the Mixolydian

Mode, which is a Major Scale with a flatted seventh. This
chord often plays from V to (See Example 4-15)
I.
Once you play the third and flat seventh,

practice adding in two other extensionsto the chord. As
in other exercises book, you should invent many
in this
many chords on your own. Make sure that you label

each chord with the extensions that you are using.
When labeling extensions, you usually do not have to list
the seventh orthe third. When using the eleventh, notice
that the 11th has replaced the third as a suspended
fourth. Here are some examples of some extensions.
These can be played in all inversions and in all keys. It
is convenient to include these extensions as part of the
II.V.I Progression. (See Example 4-16)
To ease into the use of extensions, let's

start withsomething that we already know. Take the
Tritone Blues and add two additional extension notesXo
the tritone. (See Example 4-17) Note that we are
adding a 9th (which is the same as a major second) and
a 13th (which is the same as a 6th). Now exolore the
blues, this time using the chord extensions in the left
hand. This should sound good with the Aebersold

Record Number 2, blues record. Use the Mixolydian
Mode and blues scales to improvise over these chords.
This is a good opportunity to start to play in other keys,
eventually all keys.
SOME THOUGHTS ON PLAYING IN ALL KEYS
The jazz players usually like to play in the

flat keys, with the emphasis on F, B Flat, E Flat, A Flat,
and D Flat. This is because Saxaphones and Brass are

primarily in B Flat and E Flat. The flat keys are a little
more comfortable for them. Guitarists, such as rock
guitarists, love the sharp keys such as G, D, A, and E
because the open strings are in those keys. Pianists are
somewhere in the middle. Classical players tend to
prefer the sharp keys because the violins are more
comfortable there and jazz players are usually more at
ease in the flat keys. However, it is very important to
practice in all keys because frees you to think in
it
intervals, and not in cliche piano patterns.
The main point in playing in different keys

is to think in numbers For instance, the chord in the
I
blues always the chord in each key, ie: "C" in the key
is I
of "C" and "G" in the key of "G". Therefore you should

memorize the chord progression in numbers. Also if you
know the correct scalesand modes to play, they, also,
should be thought of in numbers. Then, it is relatively
easy to play in all keys. Start with whatever you would
think of as an "easy" key and work into different keys
from there.
It is very common to leave out the root

when playing an extension. Sometimes this results in
two or more roots being possible forthe chord. Of course

this changes the nature of the chord. Chord substitution
of this type will be discussed in a future chapter. For
now, we will try to deal with chords and progressions

EXAMPLE 4-15 COMMONLY PLAYED DOMNANT EXTENSIONS

EXAMPLE 4-16 TRITONE BLUES USING EXTENSIONS/QUARTER NOTE OSTINATO
13 VIII
m
AS
f f f
villi Yl t
13
ii
J M J
1?'
V <>ll)

EXAMPLE 4-17 TRITONE BLUES WITH EXTENSIONS - COMPING LEFT HAND

36. II V I PROGRESSION
This progression is perhaps the very foun-

dation of jazz. impossible to overrate its importance.
It is
Perhaps you have already noticed the irresistible power

of the V - progression. This has a great deal to do with
1
the resolution of the 3 and the 7. The 3 of the G7 wants

to resolve to the chord, C. And the Flat 7 of the
1 of the I
G7 chord wants to resolve to the 3 of the chord. As we I
travel around the Cycle of Fourths (Flats), we are con-

stantly moving from V to (ie. G to C). Also, if we travel I
from D to G to C, we would around the Cycle of

as
Fourths, we are continuing this V to twice. This is the I
II, V,
Progression and it forms the basis of most jazz
I
tunes. Along with completely knowing the Cycle of Keys

itself, the II, V,
probably represents the single most im-
I
portant basic knowledge in the study of jazz. (See

Example 4-18)
This
exercise can be practiced in II, V, I
many different ways. The prog ression should be played

around the Cycle of fourths and fifths (Flats and Sharps)
(See Examples 4-18 & 4-19 ) and also up and down
chromatically. It should also be practiced using a II, V,
I in minor. (See Example 4-20).
1 .) Start with the examples as shown with the

left hand playing the roots and the right hand playing the
chord.
2) Then play with the left hand playing the

chord and sing the roots.
Now, the real secret to learning progres-

sions is to learn them in all Inversions and also in open
voicings. (See Example 4-21) Some jazz instruction
books suggest that you learn the first and third positions
only, but feel that since each position or inversion
I
contains different melody notes on top, you should learn

)
all of the positions. I realizethat it is very time consuming

to learn this progression in ways, but since the
all
accompaning left hand must be playing almost auto-

matically, you must have it totally commited within your
subconscious. The best advice is to start your study of
progressions early in your study and stick with it until you
are an expert! (See Examples 4-23 & 4-24

EXAMPLE 4-17 BASIC II V I PROGRESSION IN MAJOR
F(pt Direction
_ 13 9
llmi 9 Y9 IMa 7

EXAMPLE 4-18 BASIC II V I PROGRESSION IN MAJOR
Sharp Direction
_ 13 9
llmi 9 Y9 IMa 7

EXAMPLE 4-19 BASIC II V I PROGRESSION IN MINOR

EXAMPLE 4-20 BASIC II V I OPEN VOICINGS PROGRESSION IN MAJOR
1 48 Jazz Improvisation lor the Classical Pianist

37. MODAL SOLOING
the chapter on Foundation of Improvi-

In
sation, we discussed the modes and you were given

some beginning exercises in Modal Improvisation. The
modes can also be used to learn to solo over the H, V, I
Progression. The three modes that you will use in the

Major V, will be the Dorian Mode (Flat 3 and 7), over
II, I,
the chord, the Mixolydian Mode (Flat 7) over the V

II
chord; and the Ionian Mode (Major Scale) over the I
chord. Practice playing each of these modes sepa-

rately, until you know them very well. Then apply them
to the II, V, progression. (See Example 4-21 & 4-22)
I
38. EXERCISE - II, V, I SOLOING WITH RIGHT HAND
Put on a metronome or a drum machine at a

1)
comfortable tempo. Start playing the left hand comping
using the II, V, I.
2) Then start soloing with the right hand. Try to

think of the modes as youbetween the Dorian,
shift
Mixolydian and Ionian. Don't forget to use melodic

rhythmics as you solo. The Jamey Aebersold Records,
Record #3 on the II, V, /will be very helpful at this point.

EXAMPLE 4-21 II, V, I SHOWING PATTERN FOR MODAL SOLOING
Mixolydian
Dorian Ionian
EXAMPLE 4-22 SHOWS MODES USED FOR MODAL SOLOING ON II, V, I
Dorian Mixolydian
Ionian (Major Scale)
9
lMa7
1 50 Jazz improvisation for the Classical Pianist

Foundations of
Jazz Improvisation Review
THE BLUES
1) Do you have an understanding of the Blues

Style? (Page 115) Completed: Date
2) Do you know the 12 Bar Blues as given in
Example 4-1, Page 117? Completed: Date
3) Do you have an understanding of the concept of

"Groove Tunes"an6 the overall concept of the groove?
(Page 118) Completed: Date
4) Can you easily play the Stage One Example of

the Boogie Woogie Blues? (Example 4-2, Page 125) Completed: Date
5) Can you easily play the Stage Two Example of

the Boogie Woogie Blues? (Example 4-3, Page 126) Completed: Date
6) Do you know the Blues Scale in "C"? Do you

knowthe Blues Scale in all keys? Do you understand the
concept of the Mixolydian Mode with added flat 3, & 5?
7) Can you play the BoogieWoogie with rhythmic

patterns #1. (See Example 4-5, Page 127) Completed: Date
8) Can you play the Boogie Woogie with rhythmic

patterns #2. (See Example 4-6, Page 128) Have you
experimented with your own rhythmic patterns? Completed: Date
i
9) Can you play the Boogie Woogie Blues Lick #1?


0
10) Can you play the Boogie Woogie Blues with

different rhythms? (Example 4-9, Page 130) Completed: Date
1 1
)
Can you Sample Endings ? Have you
play the
triedto create yourown Blues endings? (Example 4-1
Page 131) Completed: Date
1 Have you mastered the Tritone BlueswWh the left

2)
hand bass, right hand ostinato? (Example 4-11, Paqe
134)
Completed: Date
13) Have you mastered the Tritone Blues with

Rhythmic Figures in the right hand? (Example 4-12
14) Have you mastered the Tritone Blues with the

left hand tritone? Practice the Continuous
Eighth Note
Exercise using the Blues Scales and the Mixolydian
Scale? Then start soloing using Blues Phrases. (Ex-
ample 4-1 3, Page 136) This will take some time. Please
read the section on Blues carefully.
Completed: Date
CHORD EXTENSIONS
1 5) Have you memorized the Extension Equivalents

in Example 4-14, Page 137? Completed: Date
16) Have you thoroughly

practiced the Extension
Exercise ? This exercise will take a long time to master.
17) Did
you practice the Tritone Blues using
Extensions? (Example 4-16, Page 139)
Completed: Date
18) Did you practice the Tritone Blues

using
Extensions in the comping left hand? (Example 4-17
Page 1 42) Completed: Date

II, V, I PROGRESSION
1 9) Did you master the //, around the

V, I progression
flat direction of the Cycle of Keys? This will take a long
time, but is essential to your study. (Example 4-17,

20) Did you master the //, V, I progression around the

sharp direction of the Cycle of Keys? This will also take
a long time. (Example 4-18, Page 146) Completed: Date.
21) Did you master the Minor II, V, I progression

around the flat direction of the Cycle of Keys? This will
also take a long time. (Example 4-19, Page 147) Completed: Date.
22) Did you master the //, V, I progression around the

fiat direction of the Cycle of Keys in open voicings? This
will take a long time. (Example 4-20, Page 1438 Completed: Date.
23) Modal Soloing over the

Did you practice II, V, I?
(Examples 4-21 & 4-22, Page 150) Completed: Date.

Foundations of a
Tune
Finally, we are at a point where we can

actually learn to improvise and and create our own ar-
rangementon a tune, a song, a piece of music. We want
to be able to improvise a jazz solo. We want to be able
to spontaneously accompany a singer or instrumental-
ist. Most importantly we want to be able to sit down
and
create a beautiful solo arrangement in our own style.
Please remember, that the preparatory work you have
been doing up until this time, will now come to fruition. It
isimportantto have a good approach to learning atune.
This trains your mind to think in certain ways. If you do
this haphazardly, the results lead to sloppy improvisa-
tion. Also, all good musicians have a way that they think
about a tune. This is part of the language of music. As

with the other chapters, it is important that you practice
each step until the step is automatic Also it will be
helpful you will include all of your learned tunes in your
if
notebook. As you learn new harmonic, melodic or

rhythmic ideas, you can add them to your tune.
39. LEARNING ATUNE
There are many sources from which to learn a

tune. Of course, the most obvious choice is to go to the
original music, usually in sheet music form. Even
though this is the most basic source, it might not be the
preferred place to go. Certainly it is important to see a
tune written as it is originally intended, but since jazz
tunes are seldom played in their original style, with the
original chords, etc., you must look to other sources.
Most importantly, you should listen to recorded and live
Chapter Five - Foundations of a Tune 1 55

versions of the tune. If it is a jazz tune, or a tune which
is often played by jazz players, you can often find it in a
Fake Book. A Fake Book is a compilation of tunes with

the melody and chords written. Often, more information
is also given, such as counte melodies, special riffs Gazz
melodic ideas), alternate chord changes, special bass

lines and lyrics are given.
Perhaps, the best method of learning a tune is to

use a combination of all sources. However, of the
various ways to learn a tune, personally like listening to
I
recorded versions by pianists whom like. After writing I
the tune down, then I like to create my own arrangement.

I often change the chords, rhythms and melody to come
up with a personalized arrangement. It is particularly fun
to hear a tune which has been played many ways by
different musicians.
Write your tune out so that the bass line and

melody are clear. Actually a distinction should be made
between chord structure and bass line. The chord
structures are the harmonic changes and the chord
types which flow through the tune. The bass line is the
actual line that the bass player plays. Sometimes the
bass line is not the root, as in a "G/B" which indicates that
you have a "G chord" with a "B" in the bass.
Inyour first version of writing out the tune, espe-

cially if you are listening to a recorded version, it is rec-
ommended that you first listen to the bass line. It is
easier to hear and then you have the foundation notes of

the tune (however, not necessarily the root of the chord).
Then, write the melody, which is also easy to hear.
Then, write the chord changes in the key that you

are writing the song. Include the chord type, such as
major seventh, minor seventh, etc. This is much more
difficult to hear. recommend that you listen first forthe
I
type of triad. See you can hear major, minor, aug-

if
mented or diminished. If not listen for the root of the

chord and hear the third and/or flat seventh. From
try to
there, listen for extensions such as the flat ninth, sharp
eleventh etc. Finally, listen forthe type of scale which fits
that chord. For instance listen forthe flatted seventh and
the mixolydian mode, or the minor third and flat seventh
to hear the dorian mode.
Finally, list the numbers of the chord changes,

such as IV, V, etc.
I, To do this you first write down the
bass line. Then list the chord. Finally try to determine the
root. Once you have decided on the root, you can set up
the chord changes, written in roman numerals, ie: I, IV,
V, etc. This will enable you to play and hear the tune in
any key. (See Example 5-1)
40. EXERCISE IN LEARNING A TUNE
1) Notice the form of the tune. In the case of

M
Autumn Leaves, the tune is A-A-B-A, with the B" being
the "Bridge". When you write out the tune, try to block out
the sections so that they are clear. For instance, make
sure that the Bridge is clearly defined and that first and
second endings are delineated.
2) Learn and write the melody. One way to really

get to know a melody melody in all keys.
is to play the
You have to use a combination of knowing the intervals
and using your ears. If you can play just the melody of
Autumn Leaves in all keys, you will really start to know
the tune. Try to think of the Intervals of the melody,
especially the interval of the starting note.
3) Learn and write the bass line. Write and play

it whole and half notes. Remember, that sometimes
in
the bass note will not be the root note, but an alternative
which gives a better voicing of the chord or better voice
leading forthe bassist.
Chapter Five - Foundations of a Tune 157

4) Play the melody along with the bass line
playing in half and whole notes. This allows you to hear
the harmonic structure from the top and bottom of your
arrangement. For the purposes of jazz improv, it is very
important that you hear the tune from the perspective of
the bass player. (See Example 5-1)
5) While still melody in the right

playing the basic
hand, start playing "lead-in" notes in the bass line. The
lead- in notes can be a whole or half step above or below
the note you are heading toward. Sometimes they can
be chord tones. Experiment with different lead-ins.
(See Example 5-2)
6) Afteryou are proficient in playing the lead-in

notes in the bass, add in more lead -in notes until you can
play continuously in quarter notes. Now you have a
Walking Bass Line. The concept of lead-in notes is im-
portant since, in improvisation, you always want to know
where you are going with your musical ideas. For
instance, it is crucial that you not embark on a musical
idea without knowing where that idea will land. Many
players do not have this kind of control in improvisation.
This often results in faulty phrasing because the player
does not know where the phrase will end. Overall, this
usually means that the ideas will lack conviction and
power.
If the bass line is correctly organized, this sets up

the right hand improv. You can hear the bass line as a
roadway which connects the chords. In other words,
instead of the chords being static entities, you perceive
a connection as you leave one chord and move into
another. This makes the entire right hand solo more
understandable. Incidentally, it should be mentioned
that later on, when you play your finished improvisation,
you possibly or even probably will not actually play the
bass line on the piano, however, you will hear it in your
head, or possibly have a bass player to play the lines.
(See Example 5-3)

This stage is very difficult since the bass line
should not be the same each time. In other words,
practice it with left hand alone so
you can lead into that
the chords in different ways. For instance, sometimes,
come in diatonically or chromatically from above and
sometimes from below. Try different ways to melodically
move from one chord to another.
The bass however, should not be played in

line,
a melodic manner. Instead, it should take on the

function of the bass player in a rhythm section. It is
advised that you start listening to records and live jazz
bands to hear the concept of the bassist. His function is
largely rhythmic and the bass be con-
lines are not to
strued in a melodic way but as a tension moving to a
resolution (the next chord.).
Also, it is absolutely necessary that that right

hand and left hand not play precisely together. They
must play just slightly off, either before or after. know I
this is a difficult concept for a classical player to swallow.

You have to listen verycarefullytoajazztrio, piano, bass
and drums to hear what mean. If the hands play my
I
tune, Eliza, together, the piece will sound like a Bach

piece, instead of a jazz tune. In order to get a "feel" into
your music, the hands should play slightly, not noticea-
bly, off. After a great deal of listening and playing, you
will develop this feel.
Also, the notes are not played precisely on the

beat. Both the bass line and the melody are slightly off.
Again, you will have to study this for yourself to develop
the right "feel".
7) After the walking bass

mastered, start line is
comping'm the right hand while "walking" in the left hand.
You can use the voicings of V, that you learned in the
1
1, I
last chapter. In this tune, you have both II, V, I in major

and in minor. (See Example 5-4) Experiment with
different inversions oi the extension voicings in the right
hand. This step also should take time to master. Try
different ways to pi ay the progressions. Then try playing
the comping chords only in the left hand (without playing
the right hand at all). This is the normal function of the
lefthand when the pianist plays with a bass player. It
takes a great deal of experience to comp with the left
hand so that is totally independent from the right hand
it
soloing.
8) To start to improvise off of the melody, it is
advised that you again simplify the left hand to half and
whole notes so that your full attention can go to the
soloing hand. Next, in the melody, we should pick
certain melodic notes which we will call "destination
notes". In the case of Eliza, to start we will arbitrarily
chose the first note of measures 1 3, 5, & 7, "F", "E", "D*\ ,
and "C" respectively. Now similarly to the walking bass

line, we will head for these destination notes. In the
following example several ideas will be given to arrive at
n
the "F . (See Example 5-5)
The destination notes are your choice. However

it is important that you always have these points of
resolution. you don't, your improv will sound aimless
If
and will not have proper phrasing. It is most important

that you be aware of the rhythm leading up to the
Destination Note. For instance in the Example 5-6, ,
there are three quarter notes leading to the Destination

Notes. It is change those
a wonderful exercise to
rhythms, then play the same rhythm to each of the
Destination Notes. In this way you have to build your
melodic notes around the rhythm. You hear the rhythm
first, then attach a melodic idea to it. Practice beating a
rhythmic fragment, then playing through the tune, over it
and over, using different melodies ending on the Desti-

nation Notes. (See Example 5-6)
Speaking of phrasing, you should practice your

melodic routes with different phrasing and timing. In
jazz, as in classical, we phrase everything. However in
jazz, we often experiment with different timing in
phrases. The only way to understand what am saying I
is to listen to lots and lots of players. Carefully analyze
their phrasing and try to perform exactly as they do.

Especially listen to vocalists, since they are the masters
of phrasing. Many pianists actually think of the lyrics of
,, ,,
asongtotrytofindthe right phrasing. Also, it is strongly

advised that you sing along with your soloing.
Make an exercise out of arriving at the destination

notes, and trying many ways of phrasing to arrive at
those notes. Work on one destination note at a time.
This will take some time. Keep at until you can do
it it
spontaneously.
As another exercise try playing straight through

the tune, spontaneously improvising using a continuous
eighth note solo. Nexttry continuous eighth notetriplets,
and finally continuous sixteenth notes. When you are
really competent at playing all time values, then start
mixing them up. Finally add in in space. often practice I
by playing continuous soloing just to get my subcon-

scious "rolling". Also want to establish the "hook-up"
I
between my brain and my hands. Sometimes the flow

is there, sometimes not. Of course, after awhile,
start I
adding space and phrasing into the soloing.
41. BALLAD STYLE
9) To develop a ballad style of playing, where the

piano is played in a fuller style, try practicing "Stop on the
the Chord". Stop on the Chord is an extension of the
Modal Exercise given in the chapter on Beginning Im-
provisation. For instance, play Eliza and stop atthefirst
"D Minor" chord. Now pretend that time has stopped for
an instance and freely improvise on "D Dorian". Just

play on and on, with no particular relation to Eliza.
Then move on "G7 chord" and play on the

to the
G Mixolydian Mode for awhile. The more you practice
this exercise, you will begin to find different
avenues to
play through the modes of Eliza. Try not to play cliche
bases and stay away from standard
chords, such as
triads. To do this play more major seconds and
perfect
fourths. When you improvise, always establish
some
rhythm. Try different combinations of notes together. In
other words, make up your own chords.
This is a very valuable exercise and should be

practiced eventually in all keys. In fact, it is highly
recommended that you start playing Eliza in all keys.
Remember that the tune is primarilly made up of II, V, I.
Practice all the steps as given in this exercise.
Remember, you can use the Dorian Mode (flat 3

and over the minor chord; the Mixolydian Mode (Wax
7) II
7) over the V7 chord; and the Ionian Mode (Major Scale)

overthe major. In the II, V, in the minor, use the Locrian
I
I
Mode (Flat 2, 3, 5, 6, 7) over the

minor 7 flat 5; the II
diminished scale (hasn't been presented yet) over the

V7 flat 9; and the Dorian, Phrygian, Aeolian Modes or
Melodic Minor Scale over the minor. I
As suggested before, it is important to always

choose a melodic rhythm to solo with. Think of the
melodic rhythm, then apply the appropriate mode or
scale to the rhythm. Work on
phrasing, getting the jazz
feel, good melodic construction and, in
general, getting
a good jazz sound on the piano. Try not to ramble on
and on. (See Example 5-6)
Stop on the Chord is a principle method of devel-

oping a ballad style. The more you practice this exercise
you will discover many ways to play a tune, texturally,
rhythmically and melodically. Listen to good ballad pian-

rhythmically and melodically. Listen to good ballad pian-
ists such as Bill Evans, Denny Zeitlin, Chick Corea,
George Shearing, Oscar Peterson and Monty Alex-

ander to discover the many approaches to playing a
ballad. This is where the solo pianist and also the
classical pianist can fully exhibit his skills. This is where
such as tone, phrasing, dynamics,
classical skills line,
balance and all manner of interpretation can come fully
into play.
Do not assign your hands to specific roles such as

left hand, accompaniment and right hand solo. Do not
fall into playing accompaniment patterns over and over.
Also do not always play chords in their root positions.
Explore seconds and fourths and chord fragments. The

chapter on Advanced Theory will further explore this
area.
One problem that classical players have when

playinga ballad is to not think in terms of a rhythmic
groove. Even though the style is mellow and quiet, the
rhythmic intensity should still be there. Don't let it sag in
the middle and become soapy. Again, the best way to
describe a good ballad suggest that you listen to
is to
good players. Definitely listen to the element of rhythm.

Listen how a goodjazz pianist accompanies a good jazz
singer. Incidentally, try playing Symphony in a 3/4
meter.

EXAMPLE 5-1 ELIZA - MELODY AND SIMPLE BASS LINE
Eliza
Martan Mann
May 31 , 1 988
Dmi 7 G7 Dmi 7 G7 Gmi 7 C7 Fma 7
i i 1 l
C: II ii F: II i
Em 7 * 5 A 7 Dmi Gmi 7 C7 Fma Dmi 7 G7

r 1 I- , q
1 1 1
1
= 1
Dm: 11 Y Fill V 1 C: II
-p-
^ r
f
—e —« [—e 1
Cma 7 Bm. 7 ^ 5 E 7 Am. 7 Dmi 7 Ami 7 Dmi 7 Gmi 7
1 1 .i i
J. J w 1
J. J~3 1
1 Am: II V i F:YI III VI II
?" e
M
nJ- r 1—e
'
c7 Fma 7 Emi 7 ^ 5 A7 Dmi 7 Gmi 7 C7 Fma 7
Y 1
r
Dm: II
r
Y 1 F: II
mm Y
J.
1
JT
—« —e
Ik » 0 —w
b
1 i
—e
©1988 Musicmann Publishing Co., Cupertino, CA

Dmi 7
G 7 Cma 7
A 7 B*ma 7 C7 F Emi^A 7
if L 1 III 11^
—*
1
-a
fjjJ
"" '
J i J 1
^
C: 11 Y 1 VI F: IV Y 1 Dm: 11 V
—n
|— « 1 u 1
B 1
—o
¥ v.
F: 1
1
i
*
o —o
c

EXAMPLE 5-2 ELIZA - BASS LINES WITH LEAD-INS
Eliza
Marian Mann
May 31,1988

Gmi C7 Fma 7 Emi 7 > 5 A7 Dmi
P 1
F: II I Dm: II
Cma 7
Fma 7
m G7
7 7 Dmi
Gmi C
i Z
F: II i C: II I
i HP?
A 7 C7 Emi 7 > 5 A7
-
"~o i j I
Y Dm: II V 1^
VI F: IV 1
>> j itJ j bid 1

—o

EXAMPLE 5-3 ELIZA WITH WALKING BASS LINE
Eliza
May 31 , 1 988
Dmi 7 G7 Dmi 7 G7
1
—« |-J J J J- J"] I
i! i
j. 1 J
C: II V II Y
K 3
i j J J j j i a
j . . . I
Gmi 7 C7 Fma 7 Emi 7 ^ 5 A7
F: II
m z
P
Dm: II
i
^ j j p
J
7 C7 Fma Dmi
Dmi Gmi
1 in
P i
C: II
I F: II I
G7 Cma 7 Bmi 7 > 5 E7 Am. 7
Am: II V I
01988 Musicmann Publishing Co., Cupertino, CA

Dmi 7 Ami 7 Dmi 7 Gmi 7 C7
IY 1 IV
1
F: II
m z
Fma 7 Emi 7 > 5 A7 Dmi 7 Gmi 7
I
D: II i
F: II
1 m i
i
i
r
^^^^
c7 Fma 7 Dmi 7 G7 Cma 7
I C: II I
A7 C7 F
Emi 7 ^ 5 A7 F
Dm: II V
©1988 Musicmann Publishing Co., Cupertino. CA

EXAMPLE 5-4 ELIZA - RH COMPING, LH WALKING BASS
Em 7bS A 7b9 Dm* Gmi 9
M| 7bS £ 7b9
1
1 | 1

©19( 8 Musicmann Publishing Co., Cupertino, CA
M '
7 Ml
1 <F zp
5 fa fa 5
F: Yl III Yl II
ft if fl
2 2 2
5 5 in lii
I Dm: II
m
Ml
m i 1
MA
i
si I
5
F: II I
mm m
MA
z 3P
5 5
C: II Yl
m
3 3 3
5
F: IY 1
f
s
D: II V F: I

1
EXAMPLE 5-5 ELIZA - MELODIC IMPROV TO FIRST DESTINATION NOTE
EXAMPLE 5-6 ELIZA - DIFFERENT MELODIC RHYTHMS FOR SOLOING

Foundations of a Tune -
Review
WRITING OUT A TUNE
1 ) Did you write out the Melody? Have you studied

the intervals so that you can play the melody in all keys? Completed: Date
(Section 39, Pages 155 - 156 & Example 5-1, Page
158)
Completed: Date
2) Did you write out the Bass Line in half an whole
notes? (Section 39, Pages 155 - 156 & Example 5-1,
Page 1 64)
Completed: Date
3) Did you write out the Chords'? Have you listened
for the type of triad? the type of seventh? type of
extension? (Section 39, Pages 155 - 156 & Example Completed: Date
5-1 ,
Page 1 64)
4) Did you writeout the Chord Progression (Roman Completed: Date

Numerals)? (Section 39, Pages 155 -156 & Example
5-1 , Page 1 64)
Of course, you can write out many tunes of your

choice in this way.
Completed: Date
LEARNING A TUNE
Completed: Date
5) Did you play the Melody? Did you learn it by
intervals so that you can play it in all keys? Example 5-
1 ,
Pages 1 64 & 1 65)
Completed: Date

6) Did you play the Melody along with the Bass Line
(Bass Line playing in half and whole notes)? (Example
5-1, Pages 164 & 165)
7) Did you practice playing "lead-ins" into the Bass Completed: Date
Lines? Can you do this while playing the basic melody?
Also,can you spontaneously find different lead-ins?
(Example 5-2, Pages 166 & 167)
8) Did you learn and perfect playing Walking Bass Completed: Date.
Lines? (This will take a longtime.) Don't forget to make
the Bass Line sound like it was played by a Bass Player.
Can you Bass Lines while playing a
play these Walking
simple Melody? Are your hands not together? (Ex-
ample 5-3, Pages 162 & 163)
Completed: Date.
9) Next practice comping with the right hand while
doing a Walking Bass Line with the left hand. Use
different inversions in the right hand extensions. Try the
examples using different rhythmic patterns. (Example
5-4, Pages 170 & 171)
Completed: Date.
1 0) Now improvise with the right hand while playing
half and whole notes in the bass. Practice arriving at
"Destination Notes" using the Example . Make up your Completed: Date.
own rhythmic patterns to play. This exercise will and
should take some time. (Example 5-5, Page 171)
11) Play the Continuous Eighth Note Exercise until
you can play with complete control. Also play Continu-

ous Eighth Note Triplets and Continuous Sixteenth
Notes. Now mix them. Now insert space and phrasing.
This exercise should take some time.
1 2) Practice "Stop on the Chord" until you know the

modes very well. Practice developing a Ballad Style.

Note:
This Chapter has far-reaching importance. Al-

though I have presented just "Eliza" for your study, you
can apply these principles to any tune. Seek out tunes
which you would like to learn, write them and learn them.
Con stan tly expand your repetoire. Then ext chapter will
give you more advanced ideas for your arrangements.
Good luck.

Advanced Theory
Inthe prior chapter, Foundations of a

Tune, you learned the basics of how to put together an
improvisation or a basic arrangement of a Tune. In this
chapter, we will go much further in exploring possibilities
of dressing up Eliza or any other tune that you wish to
explore. As said many times in this book, this chapter will
be much easier if you have diligently practiced the ideas
presented in earlier chapters.
42. CHORD SUBSTITUTIONS AND ALTERATIONS
A tune can sound reasonably well with the

standard changes, but in jazz, it is universally accepted
thatyou have license to substitute and alter the chords.
The alteration of chords relates to the changing of the
chord type, for instance from major to minor, or from a
major seventh to a dominate seventh. In doing so, we
are also altering the scale that we are using for soloing.
Chord alterations and different scales will be discussed
shortly, but for now we will discuss chord substitutions,
which means to substitute one chord for the original.
43. TRITONE SUBSTITUTION
By far the most often used chord substitu-

tion in jazz is the Tritone Substitution. Once you begin
to master this substitution, you will begin to understand
much of what you hear in jazz. This tritone substitution
is used over and over. It is the foundation of most intros,
turnarounds, and many endings of songs. It is aconven-
Chapter Six - Advanced Theory 1 77

ient way to modulate a new key. And, it is a primary
to
method of jazz soloing and comping. Bass players freely
utilize this substitution.
To start, let's return to the Blues and the

tritone accompaniment. Remember, we played the third
and the flat seventh (tritone) as the primary intervals in
the dominant seventh chord. It is interesting that if you
play a third and seventh, let's say "B" and "F", the root is
M
G". Now if we exchange the root for a "D Flat", which is
a tritone away from "G", now the "B" and "F" are re-
versed. The "B" is the seventh and the "F" is the third.
This is another way of pointing out that both "G" and "D
Flat" share two of the same notes (in reverse). (See
Example 6-1)
EXAMPLE 6-1 TRITONE SUBSTITUTION
This means that in many cases, not all, if
you see a "G7" on the chart, you can substitute a "D

Flat7" forit. Keep in mind that this works for some styles
of jazz. It definitely does not work in other styles such as
Country Western, pop and rock. Also, a major determin-
ing factor of whether or not the tritone substitution will
work, is the melody of the tune. Sometimes you have to
change the melody to make it work, orsimply not use that
kind of substitution.

44. THE TURNAROUND
The best way to practice the tritone substi-

tution is within the structure of the turnaround. If youwill
remember, the four bars of the blues was referred
final
to as the "turnaround". The turnaround, as its name
implies is the area of the tune which returns the tune
back to the beginning of a section, or carries it on to the
next section, such as in the case of the "Bridge". Very
often, the intro can also be a turnaround and some-
times, the ending is a turnaround. If the turnaround
repeats over and over, without a set place to stop, this is
known as a "vamp".
A very common turn around is the "Heart

and Soul" or "We want Cantor" vamp of VI, II, V. In its I,
most natural form, within the key, is written as major,

it I
VI minor, minor, and V7 dominant. (See Example 6-2)

II
EXAMPLE 6-2 I, VI, II, V7 TURNAROUND
IMa YIMi IIM1 Y7
Chapter Six • Advanced Theory 1 79

To more clearly understand and hear the
tritone substitution, we will only use the dominant form
and only use the 3 and Flat 7. (See Example 6-3)
EXAMPLE 6-3- I, VI, II, V USING DOMINANT CHORDS
The examples which follow will give some

variations which youas you use the tritone
will find
substitutions. For instance, if the second chord is an "A",

which is the sixth, it can be substituted by an "E Flat",
which is a tritone away. By doing this, you can have
many combinations. Note the relationship of fourths and
also chromatic half steps. The chord has been substi-I
tuted by the and it's tritone sub, the Flat VII. The III is
III
the next chord around the Cycle of Keys. Therefore it is

natural to use E, A, D, G, to C. (or III, VI, II, V, I).
Practice these substitutions extensively,

in all keys, you can play and hear them automati-
until
cally. Then, start inserting them into the Blues and other
tunesthat you are learning. Incidentally many jazz tunes
use this turnaround-tri-tone substitution combination
and call the pattern "Rhythm Changes". The term,
"Rhythm Changes" comes from the tune, "I've Got
Rhythm". You can practice a walking bass line and
improvise in the right hand using different combinations
of rhythm changes. Also try making up different intros
and endings using these changes. (See Example 6-4)

» —
EXAMPLE 6-4 VARIATIONS OF THE TRITONE SUBSTITUTION
I VI II V I b||| || y |
b||| t>vi V
-^s
-Hnr—
I hn byi b M
in vi II v in bin bvi v in b| M byi bu
m
*>
— —
tt*
— 2
FT*
—n ft
e
ill b M | || b M
Chapter Six - Advanced Theory 181

3
45. DIMINISHED SCALE AND COLOR CHORDS
The Diminished Sca/eand "Color Chords"

will instantly dress up your chords and melodic soloing.
Also, given the nature of the diminished scale as an
"equal distant scale", it is very easy to learn and hear.
The diminished scale is built around the minor third
intervals which make up the diminished seventh chord.
These minor third intervals are equally proportioned
from octave to octave. The scale can be constructed as
a half-whole or a whole half diminished. (See Example
6-5)
The Diminished Scale, because of the

equal distance, only has three different keys. If you play
the "C Diminished", "C Sharp or D Flat Diminished", and
"D Diminished", you have learned a//the scales because
E Flat Diminished" is the same scale as "C Diminished".
tt
Learn to play the diminished scales in all keys. Also, the

"Whole Half and Half Whole Diminished are, in reality the
same scale because if, for example, you start a "Half/
Whole C Diminished Scale" on the second degree of that
scale, you will be playing a "D Whole/Half Diminished
Scale". So actually,you only have three different scales
to learn, "C", "C Sharp or D Flat", and "D".
The scales should be played with two

hands until thoroughly known. The Diminished Scale is
primarily used while playing either a dominant or dimin-
ished chord. case, the player thinks of a Whole/
In this
Half Diminished Scale off of the Flatted Ninth of the

dominant chord. Notice the extensions which fall into
this scale and which extensions that do not. For
instance, you can play the Flat 9, and Sharp 9, but notthe
Major 9th. The Sharp 1 1 and 1 3th works but the flat 1
does not. The scale works very well with the diminished
seventh chord. To be completely safe, you can just play
the tritone 3 and flat 7 chord in the left hand. The Sharp
1 1 Flat 9 chord works well and also happens to be the
,

dominant chord. If you are playing
tritone substitution
Autumn Leaves, the diminished works very well with the
E7 Flat 9, since moves to a minor chord. (See Ex-
it
ample 6-6).
Color Chords are a way of combining four

dominant seventh chords. The roots of these dominant
sevenths are a minor third apart, which describes the
notes of a diminished seventh chord. When the notes of
these dominants are combined, all the notes in a dimin-
ished scale are present. For instance, the combination
of B Flat, D Flat, E, and G, can be combined to contain
allthe notes of a B, D, F, or A Flat Diminished Scale (they
are all the same scale) (See Example 6-7)
COLOR CHORD COMBINATIONS
1) Bb E G
2) B D F Ab
3) C G> A
46. COLOR CHORD EXERCISE
1 ) Take each colorchord combination in turn and

experiment with combining the sevenths. For example,
mix a D Flat7 with a G7; and a B Flat7 with an E7. Try
allcombinations of this color group as chords and arpeg-
gios. Try playing two notes from, let's say, a B Flat7, the
A Flat and B Flat in the left hand and a G7 in the right
hand as an arpeggio up the piano.
2) Try playing the Modal Exercise from the

chapter on Beginning Improv using the Color Chords.

3) When playing a ballad, add in color combina-
tions whenever you have a dominant chord. You can
also play with color chords as substitutions. Note that
one of the color chord combinations is the tritone substi-
tution. This is also a good modulation devise.
4) It is also possible to think

terms of color in
chords when you are soloing. This works great when
you are playing over any dominant or diminished chord.
Keep in mind that a lot of the passing chords that you can
use to move between one chord and another can be a
diminished chord. This opens up fresh possibilities.
5) Listen to Debussy to hear many examples of

color chords.
6) Practice the Diminished Exercise in all keys.

(See Example 6-8)
EXAMPLE 6-5 HALF/WHOLE AND WHOLE/ HALF DIMINISHED SCALES
C Dim 7 Half Step/Whole Step Diminished Scale
Whole Step/Half Step Diminished Scale
j J J J >J 1

m7 Half Step/Whole Step Diminished Scale
m
ctt Di
mm
i
DDim 7 Half Step/Whole Step Diminished Scale
i

EXAMPLE 6-6 DIMINISHED SCALE AND CHORDS
Tritone Sub
EXAMPLE 6-7 COLOR CHORDS AND DIMINISHED SCALE
D b7 E* G7 B Diminished Scale
M'lV
1 Pi 3
2
FT A*
C Diminished Scale
minished Scale

EXAMPLE 6-8 DIMINISHED SCALE EXERCISE
G>m a7 Eb i
Fma7 Dm a7 Bma7 A*W

-
1
f jj i
f
* B
nil

,
47. ADVANCED CHORD YOICINGS AND SCALES
In the world of jazz, a jazz player almost

never plays a chord in the root position, in thirds stacked
up the chord. This is one of the main confusions in the
mind of the classical player, because in music school,
they were always taught chords in this way. Another
majorconfusion is created by thinking of chords from the
bottom of the chord up to the top. Jazz players, arrang-
ers and composers most often think of a chord from the
top of the chord down. They do this for a logical reason
the melody of the chord voicing is on the top. In other
words, think of chords in a melodic way.
When am comping behind a instrumental

I
soloist or a vocalist, am voicing my comping chords so

I
that they are playing certain counter-melodies against

what the soloist is playing. Incidentally, it is also as
important to think of melodies in a harmonic way. This
wilt be covered later in this chapter.
Secondly, as expressed before, chords

are not to be thought of as solid, concrete entities. Try
to de-emphasize naming chords in their exact inver-
sions. Instead, think of chords as two or more notes out
of a Mode or Scale. There are many many ways to
construct scales, and with each construct there are
many combinations of chords. is fun, just to create
It
your own scales and then experiment with many combi-

nations of chordal possibilities. This is very intuitive and
musical, because you are working directly with sounds
and not simply labels of chord names.
In other words, scales and chords are

totally intertwined. you have a scale, you can make
If
many many chords out of that scale. Also, if you have a

chord, you can fill in notes of your own choice between
the notes of that chord, and in so doing, make up your
own scale. Remember, that with each scale, you can
Chapter Six • Advanced Theory 1 89

create modes by starting on any note in that scale.
One of the best ways to get out of the

doldrums of hearing the same type of improvisation, isto
come up with fresh harmonic sounds. This means
chords into scales, and/or scales into chords. Again, try
not to get too deep into labelling everything that you do,
it is better to simply experience it freshly. If you want put
emotional labels on scales and chords, rather than

numbers. Call one scale or chord, happy and another
sad, whatever. This will definitely add new spice to your
playing.
Also it is possible to reharmonize entire

tunes with new chord Of course, this has to be
types.
done with great discretion, but you can come up with
many new ideas this way. Every so often, Keyboard
Magazine invites a number of composers to come up
with special arrangements of a tune like "Greensleeves".
It is always fun to see how many ways a tune can be re-
harmonized and how different it makes the tune feel.
The point is, don't worry too much about

your ears and inner musicianship be your
rules, let
guide. The main rule is to clearly have a goal\n what you
are writing. Then place the harmonies in the context of
that goal. you are writing a simple Country Western
If
tune, do not use Stravinsky-like harmonies!
I am going to present several exercises to

help open your ears to new harmonies. Wetendto hang
on harmonic concepts - and get bored as a result.
to old
The point is to become friends with new harmonies. Live
with them until you will musically speak with these
harmonies. Remember, music is a language and lan-
guage must be part of us. Therefore, enjoy these mental
games, and enjoy the future results. Try not to have too
many preconceptions at this point. Just have fun and
see what happens. Good Luck.

48. VOICINGS
It is more important know how to find

to
your own voicings than to have someone tell you sup-
posed "hip" voicings because if you have certain voic-
ings which are elevated above others in importance,
you, most assuredly, will use them over and over. In
other words, you will probably sound like everyone else.
As a classical player, you have a wide harmonic lan-
guage already available in your subconscious from the
compositions that you have been playing for many
years. You want to be an original and to bring all your
experience to your jazz.
I like the idea of finding a sound, call it a

chord or voicing first, then finding a purpose for it later.
In other words, it is fun to you hands

sit at the piano, let
find a chorda! sound that you like. Then you have to
analyze it in terms of its intervalic content. Here is an
example: The following chord or voicing is a sound
commonly found in jazz. Some players call it the "So
What" chord because it is used in a jazz tune by the same
name. Just look at the chord, do not worry about its
name or function. Do not try to figure out its root. Just
analyze the chord as an intervallic structure. In this
case, it stacks two perfect fourths and a third on top.

Let s call it 4-4-4-3. (See Example 6-9)

Let's start by playing this voicing up and
down chromatically. Think of it in its intervals. Let it float,
do not worry about Then, play this voicing all
it's root.
overthe piano, from very lowto very high. Certainly, you

will like some sounds, and others will not be pleasant to
you. The main idea is to experience this particular

sound.
Then start playing melodies using only

this voicing. Even "Happy Birthday" will do. (See
Example 6-10) Play the voicing in many melodies and
in all keys of the original melody. Try playing up a major
scale with this voicing. The top note of the voicing plays
the major scale. (See Examples 6-11).
It has been my observation that you play if
a voicing enough times and enough ways, it will find

in
its way into your piano stylings. The subconscious will

automatically start using as part of your languange. If
it
you hear Chick Corea or Keith Jarrett play harmonies

which you do not understand, remember that those
harmonies are understandable to their subconscious,
that is why they are able to use those harmonic struc-
tures so freely.
After you have familiarized yourself with

the voicing, then you might want to analyze it interms of
the possible scales or modes that it belongs to and what
possible roots can be played with it. In the case of
quartal harmony, the harmonic structure is usually
vague and many roots can be applied to The "So it.
What" voicing can sound well in a major scale context;

a mixolydian mode context; or a minor context. It's a
handy chord to use for comping. In general, it is a more
modern sound to us than tertial harmony (chords in
thirds).
Here are some commonly used voicings.

Notice that some use perfect fourth intervals and some
use the tritone or augmented fourth. It is recommended
that you learn just one chord at a time. Of course, find
your own chords and learn them. have deliberately not
I
included the roots. Play up the chromatic scale and you

will find the roots which work. (See Example 6-12)
EXAMPLE 6-10 HAPPY BIRTHDAY PLAYED WITH ONE VOICING
EXAMPLE 6-11 MAJOR SCALE PLAYED WITH ONE VOICING

EXAMPLE 6-12 SOME VOICINGS
47. CHORD STRUCTURES
One of my ways to learn a new

favorite
scale or mode, is to play the game, Chord Structures.
Chord structures is deceptively simple. But know first I
hand in my own experience that works as well in the ex-

it
periences of my students. This is a very good way to get

to know any scale or mode inside out. highly recom- I
mend practicing this with all scales that you know, and
want to learn.
We will start with the Major Scale. Always

start in the key of "C" because it is easier to look down
at the keyboard and see the structures. Choose a
structure, let's say fingers 1 ,2,5 in the right hand. If you
hold that structure, you can play up and down the scale
using 1 ,2, and 5. The intervals will slightly change as you
move up the Major Scale. Now comes the hard part,
play this in ail keys.
Practice this exercise in any structure of

your choice. Make sure that you play in all keys. Next,
break up the structures. Play the structures in single
notes, in any order. This will greatly help your modal
improv. (See Example 6-13)

—
EXAMPLE 6-13 CHORD STRUCTURES
Chord Structure 1-2-5

* Major Scale
J=i
.
ii 1 J J J w e
^ 1 3. > 1 1
L,
^
1 . , p r r a
— — —+
t
1
1
r i
1
i
p
Arpeggiate Chord Structure
1 j J
JT3 m JTlTTL^^y 1 1 1
P'
uJ uJ ui a_T LLT U-f liJ
51. MELODIC CHORDS
This a crazy way to add new harmonies

is
into your ears. I warn you, it will sound strange, but the
result is that you will start hearing harmonies in fresh
ways. This is also a great way to learn triads, sevenths
or any chords. Also teaches you to hear a melody in
it
a harmonic way. In other words, if you play a single note

melody, the tendency is to only hear the melody note
which you are playing. However, implied in that melody
note are hundreds, maybe thousands of ways to harmo-
nize underneath it. Remember it is important to hear
harmonies from the top down.
1) any Major Triad in the root

Start with
position. Pick a melody of your choice and harmonize
that melody using the root position triads. The melody
will entirely be harmonized with Major Triads. This
makes the fifth of the triad the melody note. (See
Example 6-14)
2) Next harmonize the same melody with

theMajor Triad in the first inversion. Now the melody
note will be the 3rd of the triad. (See Example 6-15)

3) Now use the triad in the 2nd inversion.
The melody note will now be harmonized by
the root of
the triad. (This exercise can also be practiced in the
Open Voicings) (See Example 6-16)
4) Next mix and match any triad in any

random order which you choose. This means that any
melody note has three possible chord choices depend-
ing whether or not you are using the root, third, or fifth.
of the Major Triad. (I know, it doesn't sound very
musical.) (See Example 6-17)
5) Nowyou can use Minor, Augmented

and Diminished Triads. Mix and match any way that you
want. Do not listen for or expect pleasant sounds or
chord progressions. The main idea is to hear new
harmonic sounds. Then you can use any seventh chord.
With seventh chords, you have four possible harmoniza-
tions on any melody note. Actually, any chord can be
used in this way. (See Example 6-18)
This exercise will definitely stretch your

ears to hear harmonies a fresh way. It is fun and
in
creative to reharmonize key chords in a tune or perhaps

reharmonize the entire tune. As said before, "context" is
the main word to creating a successful arrangement.
But there is no reason why you can not experiment in
many new and fresh, even radical ways.

EXAMPLE 6-14 MELODIC TRIADS - ROOT POSITION
§ *l ii U I
"P
"i f hi ii
'
ll
EXAMPLE 6-15 MELODIC TRIADS - FIRST INVERSION
EXAMPLE 6-16 MELODIC TRIADS - SECOND INVERSION
EXAMPLE 6-17 MELODIC TRIADS • RANDOM CHOICE

Major Triads - Random Choice
Chapter Six - Advanced Theory

EXAMPLE 6-1 8 OPEN VOICING MAJOR TRIADS - RANDOM CHOICE
Open Voicing Major Triads - Random Choice
EXAMPLE 6-19 MINOR TRIADS - ROOT POSITION
Minor Triad - Root Position

51. SCALE CONSTRUCTION
It is recommended that you experi-

highly
ment with constructing your own scales. Remember
that any scale that you construct will have its own
modes. The modes offer further exploration. Also each
scale that you construct will have its own chords and
chord voicings. The main point is to become completely
familiar with your scales so that you can freely compose
and improvise with them.
52. TETRACHORDS
Tetrachords are four note scale frag-

ments. Any four continuous notes can actually be
construed as atetrachord. First find a tetrachord of your
choice. Note the interval relationship between the
notes. Now play your new tetrachord in all keys. Next
try combining tetrachords. They may be the same
tetrachord, let's say one half step apart, or can be a
combination of two or three different tetrachords. These
combination have the possibilities of creating many new
scales. Once you have your new scale, then you also
have modes and chordal structures from that scale.
(See Example 6-20)
54. PENTATONIC SCALES
The Pentatonics are five note scale frag-

ments. They are often used in today's jazz and rock. It
is particularly fun and creative your own Pen-

to create
tatonics. Here are some examples: (See Example 6-
21)

54. WHOLE TONE SCALES
The Whole Tone Scale is a very simple
scale because is an equal distant scale.
it All the six
steps are whole steps. There are 12 tones in the

Chromatic Scale. This means that there are two differ-
ent Whole Tone Scales. These scales are used for
Augmented Chords with a flatted seventh. (See Ex-
ample 6-22)
55. MELODIC MINOR SCALE
you have thoroughly learned and

After
assimilated the Major Scale and its modes, and the
Diminished Scale, the next scale to master is the Me-
lodic Minor. The Melodic Minor will give you a very
current jazz sound. Many of today's current jazz musi-
cians use this scale to a great extent. It will definitely
modernize your sound.
As with all of the other scales, you must

start slowly and deliberately to integrated this sound into
your arrangements and soloing. Use the Modal Improv
exercise to develop modal arrangements. Make up
some Groove Tunes which use this scale. Practice the
Chord Structures exercise. Listen forthis sound in your
jazz records. Definitely practice in all keys. (See Exer-
cise 6-23)
56. HARMONIC MINOR MODES
The Harmonic Minor Scale and its modes

are also used in today's contemporary jazz. This scale
and its modes
are not used as often as as the Major and
Melodic Minor, however you will find a wealth of ideas by
learning this scale and its modes. (See Example 6-24)

57. SCALE EXERCISES
The following exercise is similar to the

1 )
Modal Exercise and also the Stop on the Chord Exer-

cise. Pick any scale or mode. First, develop a rhythm by
patting on your lap. Choose two of the same modes,
each in a different key, or change the scales or modes.
Then play and play developing scale or mode #1 and
then switch to scale or mode #2. You will be surprised
at how easy is to compose entire compositions in this
it
way. Of course, you can use any amount of scales that

you wish. Change the rhythms as often as you wish.
2) Take any beautiful ballad, such as

"Here's that Rainy Day"; or "But Beautiful", or "Lover
Man" etc. Chart out the tune in your notebook. Note all
thepIacesthatyoucanustheTritone Substitution. Then
have fun using the Stop on the Chord Exercise. Try to
experiment using all the scales and modes. This will, of
course, change the type of chord. cases, this In some
will mean that you have to change the melody. Keep
trying and have fun. Ofcourse, play the ballad />? a// /ceys.
3) Play with rhythms and time signatures.

If, for instance the tune is in 4/4, try it in 3/4 or whatever.
If the tune is a ballad, try playing it as an up tune, or
perhaps a latin.
your beautiful ballad by first play-

4) Play
ing an arrangement which defines the melody. Then
start soloing on the next choruses. Try the continuous
stream of notes to start, then start adding phrasing and
space. Play chorus after chorus until you really know the
tune and start building your confidence in your ability to
improvise. Remember, try to prehear what you are
playing. At first, maybe you will hear only 50% of the
notes, but soon you will be hearing 100%. Also try

singing along with your playing.
5) Play along with the Aebersold Records.
Buy written arrangements by excellent

6)
pianists such as George Shearing, Bill Evans and Oscar
Peterson. Experiment with these arrangements. You
do not have to play them note for note. If fact, you can
use just part of an arrangement and fill in your own ideas.
Stay away from sheet music arrangements.
Study improv with a teacher who is a

7)
good improviser. He or she will teach you a great deal
from his or her experience.
8) Most importantly, try to find a playing

situation. It is very important that you play with other
musicians and for an audience.

EXAMPLE 6-20 SOME TETRACHORDS
EXAMPLE 6-21 SOME PENTATONICS
C Major C Minor
Create Your Own Pentatonics (Find the chords vhich match)
31
u ^
si Continue creating more Pentatonics . . .

EXAMPLE 6-22 WHOLE TONE SCALES
C Whole Tone Scale
Whole Tone Scale
EXAMPLE 6-23 MELODIC MINOR MODES
Melodic Minor Cmi^ a7^
(1 - 1)
on a C b > C* 9 Cm. 7
(2 - 2)
ydian Augmented Cma 7 * 5
(3- 3)
ydian l>7
(4- 4)
lixolydia.nl> 6 C7* 5
(5 - 5)
ocrian#2 Cmi 7 ^ 5
(6 - 6)
7*5
uper Locrian (Altered Scale) Cfo?] C
(7 - 7)

EXAMPLE 6-24 HARMONIC MINOR MODES
Harmonic Minor Scale Cmi^1 *^
Harmonic 2-2 Cmi 7 * 5 C* 7
Harmonic 3-3 Cma 7 * 5
m
Harmonic 4-4 Cmi 7 ^ 5 C* 7
i m F
Harmonic 5-5 Cft!l] Cftl]
Harmonic 6-6 Cma 7 ^?]
n i
i
•
»j i i
Harmonic 7-7 C° 7
i ft

58. CHORD ALTERATIONS AND TONALITIES
One of the favorite ways a jazz player personal-

izes an arrangement or an improvisation, is to alter the
type of chord. This is different from substitutions be-
cause you are not altering the root of the chord.or
exchanging one chord for another, however, you are
tinkering with the coloration of the chord.
say that a major chord which comes from the

Let's
Major Scale, sounds "yellow". By changing the chord to
a minor seventh flat five (also known as a Half Dimin-
ished), we are feeling the Locrian Mode or the Locrian
sharp 2 mode. Now, for example's sake, let's imagine
that the color has changed from "yellow" to "magenta"
(purely speculative of course). This does show the tie
in between chords and scales or modes, or what like to I
term, "Tonality".
Whenever read a chord

I a fake book, think
in I
"tonality". This allows me a great deal of freedom to
voice chords and to create melodies which work with that

tonality. Therefore, a tune is literally "swimming" in a
constantly shifting tonal "sea". Every time we flat a ninth

or sharp a fourth, we change the scale. This in turn,
entirely changes the feeling of the music.
It is common
a jazz player to totally alter the
for
feeling of a tune through these kinds of chord/scale
alterations. you practice the Modal Exercise or "Stop
If
on the Chord", you can experience the fun of changing

chords and tonalities.
The following example will show you some pos-

sible alterations. Consult with the Examples on Major
Scale Modes, the Melodic Minor Modes, the Harmonic
Minor Modes, the Whole Tone Scale, the Diminished
Scale and the Pentatonic Scales to find which Tonality
matches the chord. Remember, you can also make up
your own Tonalities. Have fun and experiment.

Notice that the chord alterations have been set up
off of the II, V, I exercise. You can practice these
alterations by playing the II, V, I exercise altering any
combination of the II, V, and/or I. You can also practice
playing the chords in the hand and improvising over
left
the chords in the right hand. To do this, you will have to

discover which tonalities or scales fit the alterations.
You can practice "Stop on the Chord" if It will help you to
become familiar with the tonalities.
Finally, insert these alterations into your arrange-

ments and improvisations. There is a new world of
sound and emotion to discover. Keep at it!
59. SCALES FROM CHORDS
One creative way to construct a scale is to

play a chord, any chord. Then, simply in the notes fill
between the chord tones. There will be several note

selections available to you and you can try them all.
Once you have discovered your "new" scale, write out it
and especially note the intervals from note to note. This

will enable you to play the scale in all keys. You might
try Chord Structures using your scale and also might try
creating melodic triads out of the new scale.
When
you are improvising with solo lines,
you can also come up with some instantaneous scales
by filling in the notes between the chord tones.

EXAMPLE 6-25 SOME POSSIBLE ALTERATIONS OF THE II MINOR CHORD
13 9 9 9 13 b 5
llmi 9 llmiS Ma7 llmi^ Ma7 6/^9 llmi
7
1 1 mi llmi
EXAMPLE 6-26 SOME POSSIBLE EXTENSIONS OF THE V DOMINANT CHORD
*1I 11
4

EXAMPLE 6-27 SOME POSSIBLE EXTENSIONS OF THE CHORD (MAJOR, MINOR, AUG. &
I DIM.)

Advanced Theory - Review
CHORD SUBSTITUTIONS
1 ) Do you understand the basis of the Tritone Sub-

stitution? (Section 43, Page 177 & Example 6-1 Page ,
178) Completed: Date.
2) practiced
around? (Example 6-2, Page 179) Completed: Date.
3) Have you Dominant

practiced the VI, II, V
I,
Turnaround in all keys? (Example 6-3, Page 180) Completed: Date.
3) Here's a big one! Have you practiced the vari-

ations of the Tritone Substution in all keys? This will take
a long time. (Example 6-4, Page 181) Completed: Date.
4) Can you solo over the variations of the Tritone

Substitution? Use the V, as a basis for improvisation.
II, I
Also use the Modal Improv. Completed: Date.
DIMINISHED SCALE
5) Can you play the three Diminished Scales with

either hand and with both hands? (Example 6-5, Pages
185 and 186) Completed: Date.
6) Do you know the Color Chord "Families"? (Ex-

ample 6-7, Page 187) Completed: Date.
7) Have you mastered the Color Chord Exercise?

(Section 41, Pages 184 & 185) Completed: Date

1
8) Can you play the Diminished Scale Exercise?

9) Can you play some Modal Improvisations using

the Diminished Scales and Color Chords? Completed: Date
10) Can you insert the diminished scale into your

improvisation on Autumn Leaves? Completed: Date
ADVANCED CHORD VOICINGS
1
1 Have you learned the "So What"chor6? Can you
)
play up and down the Major Scale? Can you play as

it it
a melody of a tune? (Examples 6-9, 6-10 & 6-11,

Pages 191-1 92) Completed: Date.
1 2) Can you do the above exercise using Example 6-

12, Page 194 and also making up your own Advanced
Chord Voicings? This will take a long time. Completed: Date
13) Do you see these voicings entering into your

improvisations and comping on tunes? Completed: Date.
CHORD STRUCTURES
1 4) Have you played the Chord Structures Exercise

using different intervals? Can you play these structures
in all keys? (Example 6-13, Page 195) Completed: Date.
15) Have you tried to arpeggiate the structures in
different melodic order? (Example 6-13, Page 195) Completed: Date
MELODIC CHORDS
1 6) Can you harmonize a melody of your choice

using all major triads in the root position? (Melody Completed: Date

,
note is the fifth of of the triad.) (Example 6-14, Page

197) Completed: Date
17) Can you harmonize a melody your choice

of
using all majortriads in the first inversion? (Melody note
is the root of of the triad.) (Example 6-15, Page 197) Completed: Date
18) Can you harmonize a melody your choice

of
using all majortriads in the second inversion? (Melody
note is the third of of the triad.) (Example 6-16, Page
197) Completed: Date
19) Can you harmonize a melody of your choice

mixing and matching major triads in the any position?
1 9) Can you harmonize a melody of your choice in

Open Voicings, mixing and matching major triads in the
any position? (Example 6-18, Page 198) Completed: Date
20) Can you harmonize a melody of your choice

mixing and matching Minor, Augmented and Diminished
triads in the any position? (Example 6-18, Page 1 98) Completed: Date
SCALE CONSTRUCTION
21) Have you tried to construct different Tetra-

chords? Can you playtheminallkeys? (Example 6-20,
22) Have you tried to combine Tetrachords to create

new scales? Completed: Date
PENTATONIC SCALES
23) Have you tried to construct different Pentatonic

Scales? Can you playtheminallkeys? (Example 6-21

3
24) Have you tried to combine Pentatonic Scales to

create new scales? Completed: Date
WHOLE TONE SCALES
25) Have you learned the two Whole Tone Scales?

Can you use them in improvisation? (Example 6-22,
MELODIC MINOR SCALE
26) Have you thoroughly learned the Melodic Minor

Scales 'm all keys? This will take a long time. (Example
6-23, Page 211) Completed: Date
27) Have you explored all the Modes of the Melodic

Minorand the Chords that they match? (Example 6-23,
28) Have you found places in tunes which use the

Melodic Minor Scale and Modes and practiced "Stop on
the Chord"? Completed: Date
26) Have you practices Chord Structures using the

Melodic Minor Scale? Completed: Date
HARMONIC MINOR SCALE
27) Have you explored all the Modes of the Harmonic

Minor and the Chords that they match? This will take a
longtime Example 6-24, Page 21 1 ) Completed: Date
28) Have you found places in tunes which use the

Harmonic Minor Scale and Modes and practiced "Stop
on the Chord"? Completed: Date.

.
29) Have you practiced Chord Structures using the

Harmonic Minor Scale? Completed: Date
CHORD ALTERATIONS AND TONALITIES
30) Have you explored all the Chord Alterations and

Tonalities by using the II, V, I Exercise. Can you play
them keys and inversions? This
in all will take a long
time. (Example 6-25, Page 208) Completed: Date
31 ) Have you tried to use these alterations and to-

nalities in the tunes in which you are working? Completed: Date
SCALES FROM CHORDS
28) Have you experimented with creating scales

from any chords of your own construction? Have you
catalogued your favorites in your workbook? Completed: Date
29) Have you tried to create modal improvisations

using these chords and scales? Completed: Date
Note:
/ hopeChapter hasn't worn you out. This

this
represents the ongoing nature of the study of music in
general and jazz in particular. As we continue, we add
new concepts and music theories into our subconscious '
and through the process of language begin to express

ourselves. It is always fun to develop this self expres-
sion. Carry on . .

Final Thoughts
I'm sure you will agree that this book is not

easy. The main the assimilation of
difficulty lies with
what I fee! is basic information which must reside in your
subconscious. Improvisation by its very nature is hard
to teach because each person will want to improvise in
his own way. The main book is to get you
job of this
started and to give you the means to keep on going, until
you are happy with the results.
Therefore, it is my hope that you do not

give up. Given the years that you have spent studying
and profound
the piano, to be able to interpret beautiful
music, should bear good fruit for you if you keep trying.
Remember the analogy that "music is a language" and
keep trying to speak music.
happen in a void,
Improvisation does not
and is highly advised that you spend a great deal of
it
time listening to the kind of music that you want to

improvise. A great deal of emphasis in this book is
placed on you listening critically and then trying to copy
the style and phrasing of the improviser. Also, would it
be very very helpful if you had an opportunity to play for

others, either in a professional situation or in a practice
band. It is important to have the constant "conversation"
between other musicians in the band and also with the
audience.
would be good for you to try to

Also, it
compose music also. Composition demands more

commitment and more depth of thought than improvisa-
tion and you will develop into your own style this way. I
Final Thoughts 215

hope that you will try new things. Experiment
fervently
Rules and labels get in the way of creativity. Try to just
experience your improvisations and compositions with-
out judgement.
This book purposely did not present you

with written out improvisations. The reason was that you
can already find many written jazz arrangements in
books written for that purpose. Also, you are encour-
aged to purchase a jazz fake book, such as the "Real
Book" as a source of tunes. Also, the Jamey Aebersold
record series is a marvelous way to learn new tunes.
Look primarilly forthe records which contain standards.
Then after awhile, branch out into the jazz tunes. The
records not only teach you the melody and chord
changes of the tunes but give you unlimited practice at
soloing with a rhythm section. Start a collection of your
memorized tunes in your workbook so that if you go on
a job or sit in a jam session, you will know the tunes that
you can play comfortably.
Keep on filling your workbook with tunes

and ideas. You will watch grow. Also you will develop
it
confidence as your knowledge grows.
THE VIDEO
The video which is the companion for this

book will help you greatly because you can see and hear
demonstrations of the written word. The study of im-
provisation really needs ateacher because so much has
to be demonstrated. Study the video examples carefully
and really try to get into the thinking of the improviser.
and most importantly, this book is

Finally,
dedicated to the enjoyment of music. Good luck, and
keep trying!

Further Study
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Aebersold, Jamey.
A New Approach to Jazz Improvisation (Records), New Albany, IN: Jamey
Aebersold, 1978.
Baker, David.
isation Vols. 1 - 4 Chicago,
, III: Maher Publications
1971.
Baker, David.
Advanced Im provisation. Chicago. Ill: Maher Publications, 1974.
Bellson, Louis.
Modern Reading Text in 4/4. New York: Henry Adler, Inc., 1 963.
Bishop, Walter.
A Study in Fourths NY: Caldon Publishing Co., 1976.
.
Burswold, Lee
Practice Routines: Chords in Fourths. Extended Dominants and Augmented
Elevenths Lebanon, In: Studio 224, Studio P/R, Inc., 1983.
.
Burswold, Lee.
Topics in Jazz Piano Improvisation Lebanon, . In: Studio 224, Studio P/R, Inc.,
1980.
Carubia, Mike.
The Sound of Improvisation . Port Washington, NY: Alfred Publishing, Co., Inc.,
1976.
Further Study 217

Coker, Jerry, Jimmy Casale, Gary Campbell, & Jerry Greene.
Patterns for Jazz Lebanon, In: Studio 224, Studio P/R, Inc., 1977.
.
Coker, Jerry.
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PrinciDl . Paris: Editions Salabert, 1930
Dallin, Leo.
jiio_n. 2nd ed. Dubuque, Iowa: Wm. C
Brown Co. Publishers, 1964
Giesking, Walter and Carl Leimer.

Piano Technique NY: Dover Publications., 1972.
.
Gillespie, Dizzy.
, Garden City, NY: Doubleday and Co., Inc., 1979.
Gold, Arthur and Robert Fizdale.

Hanon Revisited, Contemporary Piano Exercises. New York: G. Schirmer,
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The Inner Game pf Mugic, Garden City, NY: Anchor Press, Doubleday, 1986.
Grove, Dick
rr angin . Studio City, CA: Dick Grove Publications,
1972.
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M ips, Studio City, CA: Dick Grove Publications, 1977

. .
Grove, Dick.
Advanced Mi rn Harmony, Studio City, CA: Dick Grove Publications, 1983
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F ,
Studio City, CA: Dick Grove Publications,
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Jm , Lebanon, In: Studio 224, Studio
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, Lebanon, In: Stu

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,
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. New York: Simon and Schuster, 1979
Keyboard Maq azine-

Cupertino, CA, GPI Publications.
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Lloyd, Ruth and Norman
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. Studio City, CA: Dick
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Boston, MA: Boston Music Co. 1913
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,
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»
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,
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, New York: W. W. Norton & Co., 1969
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isation . Lebanon, In: Studio 224, Studio P/R, Inc., 1977
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Musi* ing, Sherman Oaks, CA: Roerick Music Co., 1973.
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This Busine ss of Music. New York: Billboard Publications, 1977.
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The saurus Scales and Melodic Patterns
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Smith, Leland.
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Further Study 221

Martan Mann - Jazz Improvisation For The Classical Pianist - Text

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Jazz

Ibis bookjs lovingly dedicated as a tribute

who was always my greatest

I also want to thank many family and

Thank you to my wonderful Editors,

A very special thank you to Apple Com-

Chapter Three Technique for Improvisation 93

Chapter Four Foundations of Jazz Improvisation 115

Chapter Five Foundations of a Tune 155

Chapter Six Advanced Theory 177

47. Advanced Chord Voicings and Scales 189

Method books were the first way attacked I

theproblem. The methodsthey covered

Private lessons with several

Enter, Martan Mann.

Judge a performer by how he plays.

got to know Martan first

that most had only been studying

and found his techniques ideally suited to the classically

This book is the result o! MartarVsmany

you like jazz and if you want to improvise,

this method is the most natural, effective way to learn. It

This book, Jazz improvisation for th?

to one of my first piano lessons when, at age four, my

swagger stick) for placing the wrong finger on the right

phrasing, entire endings to Mozart piano sonatas, etc. it

this passion, this obsession with playing music my . . .

own way. (I know, can hear the gasps wafting through

all ol the music teachers in this world.) could never I

figure out why would she, the piano teacher, get SO

Oh well, after many rocky first years as a

my classical piano leacherthat should be banished. So I

she sent me to my first jazz teacher, a very understand-

was home. Even though Wilbert was an accomplished

teenagerthen, and for me this was more fun than being

me large doses of music

He taught me how to harmonize and how to

in different keys. Most of all. he helped me analyze

point out, that due to my then "advanced maturity", I was

an aside, that many years after not seeing Wilbert,

dropped in on him where he was performing in Concord,

direction. This book is dedicated, in large part, to

He suggested that begin lessons with a I

Saatman. Freddy, as he was called by his close

Bach, and Debussy as well as the more refined elements

many hours of deep analysis of music theory. Freddy

Brubeck, who Fred was actually his only

piano teacher (he said that he studied primarily

Freddy taught what he called the French

2 Jazz improvisation for the Classical Pianist

all learned to appreciate good tone and good phrasing.

He had many novel ideas on music theory and showed

contribute to my were playing

gigging around San Francisco. This book and my

We now segue, in this saga of unfolding

teachers, Harry Wilhelm and Peter Coraggio. I

studyed with Harry privately and with Peter at the Univer-

Following, my playing a Masters Recital at

San Jose State University, (I played Chopin and De-