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The Aebersold JAZZ HANDBOOK
For years, Jamey has given away a booklet called the "Jazz Handbook" FREE OF CHARGE. This resource is
great for jazz fans and students of all levels. Now, he's decided to make most of it available online for
download. Note that in the interest of quicker downloads, some of the graphics-heavy pages will not be quite as
sharp and clean as an actual hard copy of the handbook.
You can always call 1-800-456-1388 and leave your request for a complete HARD COPY to be mailed to
you anywhere in the world - (don't forget to give your name, address, and request for the "free jazz
handbook").
Choose the articles you want to download below - the approximate size of the file to download is listed for each
one.
They all are in Adobe Acrobat (.pdf) format. If you need the free Acrobat reader, go to:
https://www.adobe.com/products/acrobat/readstep.html
GENERAL INFORMATION, 17kb download
Valuable Jazz Information, 19kb
SOLOING by Jamey Aebersold, 16kb
Jazz: The Natural Music, 46kb
Suggested Listening - Jazz Artists, 20kb
Historically Significant Recordings, 23kb
Tips For Learning A New Tune - PLUS - Practice Procedures For Memorizing Scales and Chords to Any Song,
16kb
Practice Procedures - Musical Examples, 87kb
SONG LIST for Beginners, 16kb
SCALES, 57kb
The SCALE SYLLABUS, 547kb
NOMENCLATURE, 520kb
The Dominant 7th Tree of Scale Choices, 17kb
Ten Basic Exercises - TREBLE CLEF, 167kb
Ten Basic Exercises - BASS CLEF, 151kb
TREBLE CLEF SCALES, 187kb
BASS CLEF SCALES, 180kb
Ear Training, 16kb
Interval Chart, 18kb
Basic Keyboard and the Chromatic Scale, 108kb
The Circle or Cycle of Fourths - PLUS - Scales/Modes Based on the Major Scale, 60kb
HOW TO PRACTICE by Jerry Coker - PLUS - HOW TO PRACTICE by David Liebman, 17kb
Things That Create Interest When Soloing - PLUS - Starting A Phrase or Melody, 16kb
Jazz ARTICULATIONS, 78kb
Jazz RHYTHMS, 96kb
The BLUES SCALE and Its Use, 44kb
F BLUES and Bb BLUES PROGRESSIONS:
Aebersold JAZZ HANDBOOK Online
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For TREBLE CLEF C Instruments - PLUS - For Bb Instruments, 130kb
For Eb Instruments - PLUS - For BASS CLEF C Instruments, 132kb
PLAYING THE BLUES - PLUS - What Does "To Hear" Really Mean?, 98kb
VARIATIONS ON BLUES, 286kb
Values -- Plato Quote -- Bill Evans Quote, 37kb
BEBOP CHARACTERISTICS by David Baker, 21kb
Short List of Bebop Players - PLUS - BEBOP SCALES, 6kb
Transposition Chart - PLUS - Two Interesting Short Stories, 19kb
Jamey's JAZZ THEORY ASSIGNMENTS, 93kb
II/V7/I Progression with Emphasis On The 7th Resolving To The 3rd, 111kb
PIANO VOICINGS:
Blues Voicings, 136kb
Major and Dominant 7th Voicings, 128kb
II/V7/I Voicings, 424kb
Jamey's POINTS TO REMEMBER, 34kb
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Call 1-800-456-1388 in the U.
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Aebersold JAZZ HANDBOOK Online
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GENERAL INFORMATION
This booklet is designed to give you the basics which you will need in order to learn the art
of improvising in music.
Many feel that people who improvise or play jazz are special. If they are
special, it is because they have spent their time wisely learning the tools of the trade. A few of the
tools are: scales, chords, patterns, licks, songs (standards and originals), training the ear, listening
to records of jazz greats and any other thing which they feel will contribute to the growth of a
well-rounded musician.
I feel it is good to establish a practice routine, especially for those of you who are new to
learning the language of jazz. To play jazz requires discipline, and discipline is good for all of us.
The language of jazz or the jazz idiom is in a constant state of flux.
In order to be a part of
the jazz movement one must accept change. Jazz has changed greatly over the past 85 years
and is presently in transition. Each generation of jazz musicians contribute their own unique
ideas, feelings, and sound to the music and this is what creates the change. If you equip yourself
well, you may be one of those people who influence others and set new trends in jazz.
If you want to get it all together, I suggest reading each of the pages in this booklet very
carefully. Mark with pen or pencil points that you feel are important so when you flip through the
pages In the future your eye will catch them.
Listen, listen, listen carefully to anyone playing
jazz or improvising. You can learn much from live performances as well as records. Start a
record collection and listen to what has been recorded over the past 70 years. You are in for a
treat!
Spend your practice time wisely. Don't play things over and over that you can already
play. This is great for the ego but does little to advance your musical progress.
Be patient with
yourself. Don't expect everything to come at one setting. They say that things come to us when
we are ready to accept them. A healthy mental state is also responsible for progress when
practicing.
Gradually train your ears to really HEAR music and all of the components that make the
final product. Read the pages on Ear Training carefully and institute a daily routine to improve
your perception.
There are also other pages that help spell out an excellent practice routine.
Since most of us do not have a good rhythm section at our disposal, I recommend practicing
and soloing with the play-a-long records. Each volume contains a book and one or two
recordings. Many professionals use these recordings to warm-up, keep in shape, practice new
patterns or licks, or to learn new songs and improvise on the chord/scale progressions.
During the past ten years, many private teachers as well as high school and college
teachers have made the recordings part of their daily or weekly teaching assignments. It is good
to begin playing with a rhythm section as soon as possible and the better they are the more you
can benefit from the experience.
Playing jazz teaches self-esteem and independence.
I also highly recommend our SUMMER JAZZ WORKSHOPS which are offered in the U.S.
each summer. Some of the finest performers and teachers of jazz appear at these weeklong
workshops. Write care of Summer Jazz Workshops, P.
O. Box 1244, New Albany, IN 47151-
1244, or see our website at https://www.jazzbooks.com for more info.
Last but not least, play on the best instrument that you can afford and study with the finest
teachers available.
May your journey in music, and jazz in particular, be as enjoyable as it has been for me in
putting this booklet together for you.
Jamey Aebersold
Copyright © 2000 Jamey Aebersold Jazz, Inc. https://www.jazzbooks.com
The basic ingredients in music are SCALES, CHORDS, MELODY, RHYTHM, and HARMONY. Jazz education's purpose is to
give you the basics you need in learning to play jazz or to improvise. The jazz musician is an instant composer! The melodies which
come from their instruments are conceived in their mind just before they play them.
The difference between the improviser and the
traditional composer is this: that the "jazzer" has no eraser to instantly correct mistakes. They practice long and hard trying to make their
physical body and their mental frame of mind an appropriate vehicle to execute the ideas formulated in their mind.
The GOAL of every jazz musician is to play on their instrument (or vocally sing) what is heard in their mind. Practicing scales,
chords (arpeggios), exercises in all keys will help gain facility which will help unlock the ideas that are now being held prisoner in your
mind. As soon as possible, try playing what you HEAR mentally in your head! In other words, sing a short melody mentally, or sing with
your mouth, and then play those exact pitches and rhythms on your instrument. This is the same procedure the jazz player uses when
improvising.
To play requires discipline. It is good to establish a practice routine. Improvisation should be a part of your daily practice. Play
whatever you hear in your head. It could be something from TV, radio, or just some melodies that you hum to yourself. This is also a form
of EAR TRAINING.
You are training your inner ear to direct your fingers to the notes it hears, instantly. Gradually train your ears to really
HEAR music and all of the components that make the final product. Listen carefully to anyone playing jazz or improvising. You can learn
much from live performances as well as records and tapes. Start a record collection and listen to what has been recorded over the past
70 years. Write for FREE "Double-Time" Jazz discount catalog, P.
O. Box 146, Floyds Knobs, IN 47119-0146.
The old myth that says, "You either have it or you don't," is strictly a myth founded on ignorarice and the inability (or unwillingness)
of those who can play to share what they do verbally with those who think they can't learn.
The mind is the originator of ALL musical thoughts. The mouth (singing) usually can approximate the pitches, rhythms, and
nuances of what the mind hears better than actual instruments (sax, trumpet, etc.) can do.
Since the instrument we have chosen is a
learned device, it is the least able to reproduce the musical thoughts of our mind. It stands to reason that the person who is better
equipped technically will come closer to playing on their instrument the thoughts of their mind.
One of the reasons the jazz greats sound different than you is the fact they have so many sounds (scales, chords, patterns,
ideas) at their disposal. The SCALE SYLLABUS can help you uncover new sounds. Practicing, using the exercises found in this booklet
or in Vol. 1 "How To Play Jazz And Improvise" will give you a good foundation to play ANY style of music.
"JAZZ IS FREEDOM!" Thelonious Monk said this. Too often we refuse to take advantage of an opportunity which will allow us
a measure of growth and freedom in our musical expression. Listening to jazz greats is inspirational and rewarding. Keep this in mind:
practicing exercises, patterns, licks, scales, and chords should lead to more expressive creativity, not boredom.
HOW DO YOU BEGIN IMPROVISING? Many people begin by playing by ear (letting their inner musical ear guide their choice
of notes and rhythms). This is a hit-or-miss process that most jazz players (before 1965) had to use to learn their trade.
However, this
method strengthens the player's ear and is extremely valuable. Everyone should spend time each day playing by ear. The sooner you
train your ears to discern, the sooner they can HELP YOU in making music. By using your ear, and knowledge of the needed scales and
chords, you will feel much more comfortable with beginning improvisation.
IMPORTANT: Don't get hung up practicing exercises and more exercises without ever attempting to improvise. Avoid becoming
a person who plays great exercises, but delays using their creative energy until tomorrow .
DO IT NOW! -- IMPROVISE. Even if you only
use a few notes of the scale, begin right there. START! Don't put it off until tomorrow or until you have the scale under better control. DO
IT NOW! The longest journey begins with a single step. Today is the first day of the rest of your life. The longest musical phrase begins
with a single note.
Just because you practice scales, chords, patterns, and exercises doesn't mean you will sound stiff and mechanical, OR that
you will become a jazz great! But it's a means to an end. More than any other ingredient, the JAZZ TRADITION is based on LISTENING.
Listening to jazz records/tapes should be part of every musicians daily routine. Not only is it fun to listen to, but you can absorb many
musical ideas and incorporate them into your own solos. Recorded music contains most answers you seek.
Having "good ears" means having the ability to hear the roots to the various chords or scales that are being played; having the
ability to hear the quality of the chord or scale--major, minor (what kind of minor?), pentatonic, dim.
whole tone, etc.); it means having the
ability to tell what tone of the scale or chord is being played at any point in the solo--"ah, that note was a #4 resolving to the 6th and then
resolving to the 5th!"; it means hearing the piano, bass, soloist, drums, etc. individually as well as collectively.
There are many levels of hearing. Some people hear. Other people can really HEAR! And some can seem to hear and identify
almost anything that is being played.
They can seem to sing or play back portions of solos right after the performer has played. How can
they HEAR, and we can't seem to find the roots, scale, qualities, or what time signature the piece is in? They have worked hard at
identifying all the various sounds they hear daily. Since they want to improvise, they take the time to apply on their instrument the things
they are hearing. They also use their mind and their free time to figure out things harmonically, melodically, and rhythmically. Using a
small chromatic pitch pipe is real helpful in identifying pitches when you are not at a piano or don't have your instrument. You can carry
it with you and train your ear "on the go.
" No one knows or could truly imagine the amount of thought each jazzer has put into their art/
craft.
PRACTICE SUGGESTIONS
1 . Play with good sound/tone. Wind players -- support your sound. Don't play staccato.
2.
Make phrases flow naturally; even when playing scales and exercises.
3. Mentally sing the exercises, scales, patterns as you play them.
4. If an exercise is hard, slow it down. Then gradually increase the tempo.
5. Listen to every note you play. Match your mind's ideas.
6. Be patient. You're not the first to make mistakes.
7. Use jazz articulations on exercises and scale/chord practice.
8. Improvise some every day. That's the REAL YOU. Play what you hear in your head.
9. Make a habit of practicing in all twelve keys. Volumes 21 and 24 are excellent.
10. Learn the Blues in Bb & F concert keys.
11.
Memorize everything you can. Know what it is you are trying to play.
If we all waited until we were perfect musicians before we played an instrument, there would be no music in the world. . Play on
the best instrument you can afford and study with the finest teachers available who will give you guidance in jazz and traditional music.
Use your imagination.
Experiment- take chances! You deserve to be creative! Treat yourself.
VALUABLE JAZZ INFORMATION
by Jamey Aebersold
Copyright © 2000 Jamey Aebersold Jazz, Inc. https://www.jazzbooks.com
Soloing: by Jamey Aebersold
1. Keep your place - don't get lost.
If you do get lost LISTEN to the rhythm section. The drummer
will often give a little crash at the beginning of new sections. If you hit a note that is not what you
intended, move it up or down a half-step and you'll probably be back in the scale (or chord).
Remember, jazz music usually moves in two, four and eight bar phrases. You're never far from a
new phrase beginning.
2.
Play right notes. This really means play the notes you hear in your head...the notes you
would sing with your mouth. Having the scales and chords in front of you on a piece of paper is
merely a guide.
They don't provide the actual music that's going to be played. THAT comes from
YOUR imagination. If you've got the scales, chords, and chord/scale progression MEMORIZED
it provides courage to your imagination and allows you to operate from a more creative natural
basis. It allows you to take some chances. It helps remove FEAR.
3.
Using REPETITION and SEQUENCE is natural in music. It's found in all types and styles of
music. The novice improvisor often feels that if they repeat an idea, everyone knows they are
going to repeat it, so why do it; plus it's not original enough for your EGO so you don't play it.
WRONG! The listener needs to hear some repetition and sequence or else they can't remember
anything you play. Repetition and Sequence are the glue that holds solos together. The usual
number of times something is repeated depends on you but the average is 2 or 3 and then your
mind will tell you when to repeat and/or when to use sequence.
It's a part of the way we hear
music played by others.
4. CHORD TONES (the 1, 3, 5, & 7 of a scale) are great notes to begin and end a phrase with.
Just sing a phrase and see if you don't follow this simple rule. Our ears HEAR chord tones first
so it's natural to begin and end there. Plus, it gives us and the listener what we're listening for -
harmonic stability.
5. SOUND: Be sure that you are getting a good, full sound on your instrument (or voice). Don't
let the scales and chords or the progression or tempo intimidate you. Sound is foremost and is
the FIRST thing a person latches onto when you sing or play. It leaves a lasting impression. So,
be yourself and let your voice or instrument ring out.
It's the main ingredient of your musical
personality.
6. LISTENING: There's no way anyone is going to play jazz or improvise well without listening
to those musicians who have come before. Through listening alone you can find ALL the answers.
Each musician is a result of what they have listened to. It's easy to determine who people
have listened to by listening to them play.
We all tend to use imitation and it's good to do this.
Some feel that if they listen to others they'll just sound like them. This is not true but your ego will
try to convince you it's true. The ego hates competition or what it preceives to be competition.
Don't let it fool you. If no one listened to anyone else, why play music? Music is for everyone and
truly is a Universal Language.
7. Everyone has the ability to improvise - from the youngest child to the senior citizen. You
have to have desire and set aside time to work at it until moving your fingers becomes automatic
and the distance between your mind and fingers grows smaller and smaller to where you think an
idea and your fingers are already playing it. It's not magic. If it is, then magic equals hard work
and perseverance. When asked, "What is the greatest obstacle to enlightenment?" the Buddha
replied, "Laziness.
" I agree!
Copyright © 2000 Jamey Aebersold Jazz, Inc. https://www.jazzbooks.com
JAZZ: THE NATURAL MUSIC
Improvising, playing jazz, is the most natural way to make music. Long before the printing press was invented
people played music on various instruments and all were thought to be creative musicians. Through the ages
the art of improvising on a musical instrument gradually lost favor to the printed page.
In the twentith century the
art of improvising has been kept alive by the jazz musician.
Today's jazzer is not the same as the musician of the thirties, forties or fifties. The influence of jazz education,
sound recordings, videos and jazz festivals has allowed the music to reach many more people and to be experienced
by almost anyone who is willing to give it a try.
For years the myth "you either have it or you don't" was prevalent in music circles around the world. If you
wanted to play jazz you had better get adopted into a musical family or by the "luck of the draw" find the right
environment for your early years so by osmosis you could pick up on the hot licks and at the same time develop
a great jazz ear so that when you played your instrument, you would sound like a jazzer.
Time has proven that these ideas which were very popular are not true.
They never were true but many
musicians thought they were and that's what gives an idea it's longevity. Once people from non-musical backgrounds
in non-jazzy environments began playing the music and playing it well, everyone had to take another
look at what goes on when someone stands up and improvises a good solo over a standard chord progression
such as Green Dolphin Street, Confirmation, or the blues.
Here are several ingredients that go into making a good jazz soloist/improvisor:
1. Desire to improvise
2. Serious listening to jazz via recordings and live performances
3. A method of practice - what and how to practice!
4.
A rhythm section with which to practice and improvise (via live group or play-a-long recordings)
5. Self-esteem, discipline, and determination.
When I was a teenager, I wondered if I'd ever be able to play on my instrument the melodies I was hearing in my
head. I didn't have a jazz teacher so I would listen to the radio or records and try to take off the ideas of the jazz
greats such as Coleman Hawkins, Charlie Parker, Dizzy Gillespie, Sonny Stitt, Sonny Rollins and many others.
If I were to start again here's how I would do it:
I would begin by playing on my instrument simple little melodies such as Happy Birthday, Twinkle, Twinkle Little
Star, and Row, Row, Row Your Boat. I would pick a note in my middle register say, G#, and begin playing one
of these songs.
When I finally played it correctly ONE time, I would pick a new starting note say, Eb and play the
same song beginning on that note. Do this over and over beginning on different tones until you can play the
song starting on different notes without mistakes. Then try a different song and get so you can play it starting on
any of the twelve notes of the chromatic scale. This is an excellent way of conditioning your fingers and mind to
work together to produce the sounds you are hearing in your head. It shortens the distance from mind to fingers.
Jazz musicians have always played the music of their mind-what they hear in their head.
They aren't special,
gifted people who were born with more talent than others. They just had more desire and discipline than others.
Their ability to mentally hear an idea and then play it comes from practice.
When you run out of ideas to practice you listen to other musicians. The joy of listening to others, coupled with
your imagination, will lead to fresh musical ideas. The answer to every musical question may be found on
recordings.
That is why listening is so important for the beginning improvisor.
Usually, we begin improvising on songs like blues in Bb or F, Satin Doll, Maiden Voyage, or Summertime. Songs
like these don't contain tricky rhythms or difficult harmony (scales and chords). This makes it easier to make
sense of the song and feel relatively good about improvising over the harmony. These songs (and many more)
are on the Vol. 54 "Maiden Voyage" play-a-long.
Here are several exercises every professional jazz musician has probably played at one time or another. Play
these over the harmony (changes, chord/scales) to whatever song you are working on. Do this before you try to
improvise.
1. Play the first five notes to each chord/scale.
2.
Play the triad (notes 1,3, and 5 of the scale).
3. Play the entire scale from the root (first note) to the 9th and back down.
4. Play the 7th chord up and down (1,3,5,7,5,3,1).
5.
Play the 9th chord up and down (1,3,5,7,9,7,5,3,1).
6. Play the scale up to the 9th and then come back down the chord.
7. Play the chord up to the 9th and then come back down the scale.
8.
Play the scale in thirds up and down.
If you were to take numbers 1, 2, and 3 from above and apply them to the first four bars of an F blues, it would
look like this:
I once heard trumpeter Woody Shaw warming up before a concert in the above manner. It impressed me
because I thought only beginners used this type warm-up. After thinking about it, I realized it was the most
practical way to approach any new song. When you do this you are conditioning your mind and fingers to the
scales and chords which you will in turn improvise over. It makes good sense!
You should be able to do this to the chord/scale progression to any song you are going to improvise over.
This
is standard practice and has been for some time...know your scales and chords before you play. Memorize
them, too! Memorizing melodies, scales and chords gives courage to your imagination.
Now, some will feel that to play jazz, you don't study or practice scales and exercises,"you just play.
" I ask, what
does that mean? Who can "just play" over Giant Steps, Tune Up, Confirmation, Star Eyes, the blues or a
thousand other tunes with interesting chord progressions? The famous alto saxophonist Charlie Parker in his
own words said there was a period of 3 to 4 years where he practiced 11 to 15 hours a day. If Charlie Parker
was, as many say, a genius, he got that way by practicing. I have a recording of him saying this in an interview
with Paul Desmond. I also have a recording of him saying at age 16 (after having gotten laughed off the
bandstand for not knowing you're suppose to play the same song the band is playing!), "I never stopped to think
about there being other keys or nothin' like that." So, he began like most of us but eventually discovered that HE
was master of his own ship. He took the bull by the horns and dove into the marvelous world of jazz-the world
of improvisation, harmony, rhythm, melody, creativity, imagination and life.
If you've ever wondered why teachers begin students with fingerings, tone production (wind instruments) and
scales, I feel it's to form a strong foundation for the students' creativity. Your instrument reflects your musical
personality.
Transcribing solos or portions of solos off recordings is one of the best ways to find out what the professional is
doing to make things sound so good. By analyzing a solo you can find important facts:
1. What note of the scale do they begin phrases with?
2. What note of the scale do they end their phrases with?
3.
Do they use a wide or narrow range, (tessitura)?
4. Do they use chord tones in their phrases?
5. Do they use scales or bits and pieces of scales?
6. Do they have favorite licks that pop up over and over?
7. Do they use chromatics (notes outside the basic chord/scale)?
8. Do they use passing tones?
9.
Repetition: do they use it and how...rhythmically, melodically, harmonically?
10.Do they use space, rests, silence? How often? Is there a pattern?
11.Do they build their solo? Does the solo seem to tell a story or go somewhere?
12.
Do they tend to place chord tones (1,3,5) on beats 1 and 3 (in 4/4 time).
13.Do they incorporate substitute scales over the basic chord/scales?
14.Do they double-time any phrases (this usually means playing in 16th notes)?
15.Do they use the blues scale? How often?
16.Do they use sequences in their playing?
Having spent over 35 years working with musicians of all levels, I find that one of the fundamental needs is to
express themselves in an improvisatory manner on their instrument.
Playing jazz, in this century, has been the
route those musicians have taken.
Creativity and use of imagination is essential to our well-being as humans on the planet Earth. We are creative
beings. With a little guidance everyone can learn to improvise and enjoy the fruits of self-expression in music.
There's really nothing to be afraid of. Life is exactly what you make it to be.
-- by JAMEY AEBERSOLD
Copyright © 2000 Jamey Aebersold Jazz, Inc. . https://www.jazzbooks.com
SUGGESTED LISTENING-JAZZ ARTISTS
1. TRUMPET
Freddie Hubbard, Clifford Brown, Miles Davis, Dizzy Gillespie, Woody Shaw, Lee Morgan, Blue Mitchell, Clark Terry, Kenny Dorham, Roy Eldridge, Don Cherry,
Fats Navarro, Johnny Coles, Chet Baker, Virgil Jones, John McNeil, Tom Harrell, Wynton Marsalis, Terumaso Hino, Wallace Roney, Phillip Harper, Scott
Wendholt, Roy Hargrove, Bobby Shew, Kevin Dean, Art Farmer, Tim Hagens, Barry Ries, Harry Edison, Buck Clayton, Booker Little, Thad Jones, Nat Adderley,
John Swana, Nicholas Payton, Kenny Wheeler, Joe Magnarelli
2. ALTO SAX
Charlie Parker, Sonny Stitt, Lou Donaldson, Phil Woods, Cannonball Adderley, Charlie Mariano, Lee Konitz, Paul Desmond, Jackie McLean, Ornette Coleman,
Roscoe Mitchell, Eric Dolphy, Herb Geller, Art Pepper, Lennie Niehaus, Bud Shank, Lanny Morgan, Richie Cole, Eric Kloss, Bunky Green, Bobby Watson, Kenny
Garrett, Greg Osby, Frank Morgan, John Jenkins, Jim Snidero, Paquito D'Rivera, James Spaulding, Gary Bartz, Arthur Blythe, Steve Coleman, Steve Wilson,
Craig Bailey, Jimmy Greene
3.
TENOR SAX
Lester Young, Walt Weiskopf, Coleman Hawkins, Stan Getz, John Coltrane, Sonny Rollins, Gene Ammons, Joe Henderson, Wayne Shorter, George Coleman,
Harold Land, Azar Lawrence, Dewey Redman, Steve Grossman, John Klemmer, Dave Liebman, Pharoah Sanders, Ben Webster, Benny Golson, Dexter Gordon,
Wayne Marsh, Zoot Sims, Charles Lloyd, Hank Mobley, Sonny Stitt, Bob Berg, Billy Pierce, Joe Farrell, Mike Brecker, Archie Shepp, Bud Freeman, Von Freeman,
Chico Freeman, Clifford Jordon, Rick Margitza, Branford Marsalis, Larry Schneider, Bill Evans, Joe Lovano, Eric Alexander, James Moody, Don Braden, Joshua
Redman, Gary Campbell, Ralph Lalama, Illinois Jacquet, Paul Gonsalves, Eddie "Lockjaw" Davis, Johnny Griffin, Stan Turrentine, George Adams, Chris Potter,
George Garzone, Jerry Bergonzi, Benny Wallace, Bob Mintzer
4. BARITONE SAX
Gerry Mulligan, Pepper Adams, Harry Carney, Sahib Shihab, Serge Chaloff, Leo Parker, Charles Davis, Pat Patrick, Ronnie Cuber, Nick Brignola, Gary Smulyan
5. TROMBONE
Milt Bernhardt, Jimmy Cleveland, Jack Teagarden, Bill Harris, Phil Wilson, J.J.Johnson, Kai Winding, Frank Rosolino, Carl Fontana, Curtis Fuller, Grachan
Moncur, Garnett Brown, Bill Watrous, Roswell Rudd, Steve Turre, Robin Eubanks, Hal Crook, Urbie Green, Conrad Herwig, John Fedchock, Ray Anderson,
Steve Davis
6. FLUTE
Hubert Laws, James Moody, Herbie Mann, Frank Wess, Jeremy Steig, Roland Kirk, Yusef Lateef, David Liebman, Eric Dolphy, Joe Farrell
7.
CLARINET
Benny Goodman, Artie Shaw, Tony Scott, Buddy DeFranco, Woody Herman, Pee Wee Russell, Jimmy Guiffre, Eric Dolphy (bass clarinet), Russell Procope,
Eddie Daniels, Paquito D'Rivera, Phil Woods, Art Pepper, John Carter
8. GUITAR
Charlie Christian, Django Reinhardt, Wes Montgomery, Kenny Burrell, Barney Kessel, Herb Ellis, Joe Pass, Jim Hall, Tal Farlow, Attila Zoller, Pat Martino, Mick
Goodrick, Larry Coryell, John McLaughlin, Grant Green, George Benson, Jerry Hahn, Jimmy Raney, Doug Raney, Emily Remler, Earl Klugh, Peter Bernstein,
Steve Erquiaga, Peter Leich, Vic Juris, Joshua Breakstone, Chris Flory, Joe Cohn, Scott Henderson, Dave Cliff, Howard Alden, Pat Metheny, Dave Stryker, John
Scofield, Bill Frisell, Charlie Hunter, Mike Stern
9. PIANO
Bill Evans, Chick Corea, Herbie Hancock, Oscar Peterson, Lennie Tristano, Mulgrew Miller, James Williams, Mary Lou Williams, Thelonius Monk, Hampton
Hawes, Roland Hanna, Al Haig, Art Tatum, Oscar Peterson, Joe Zawinul, Victor Feldman, McCoy Tyner, Keith Jarrett, Paul Bley, Wynton Kelly, Red Garland,
George Cables, George Duke, Denny Zeitlin, Bud Powell, Phineas Newborn Jr., Ahmad Jamal, Kenny Drew, Tommy Flanagan, Horace Silver, Kenny Barron, John
Lewis, Michel Petrucciani, Ronnie Mathews, Makoto Ozone, Michel Camilo, Cedar Walton, Hal Galper, Larry Goldings, Benny Green, Lynne Arriale, Mike
LeDonne, Dan Haerle, Mark Levine, Dave Brubeck, Andy LaVerne, Harry Pickens, Kenny Werner, Erroll Garner, Hank Jones, Ray Bryant, Bobby Timmons,
Harold Mabern, Andrew Hill, Geri Allen, Joey Calderazzo, Danilo Perez, Brad Meldhau, Jacky Terrasson, Gonzalo Rubalcaba, Geoff Keezer, Benny Green, Bruce
Barth
10. BASS
Ray Brown, Scott LaFaro, Oscar Pettiford, Charlie Mingus, Paul Chambers, Richard Davis, Ron Carter, Rufus Reid, Eddie Gomez, Monk Montgomery, Chuck
Rainey, Miroslav Vitous, George Mraz, Stanley Clarke, Bob Cranshaw, Jimmy Garrison, Percy Heath, Steve Swallow, Buster Williams, Cecil McBee, Jimmy
Blanton, Red Mitchell, Mike Moore, Sam Jones, Israel Crobsy, Jaco Pastorius, Milt Hinton, Slam Stewart, George Duvivier, Todd Coolman, Larry Grenadier, John
Patitucci, Lynn Seaton, Bill Moring, Denis Irwin, John Goldsby, Kenny Washington, Peter Washington, Christian McBride, Bob Hurst, Charles Fambrough
11. DRUMS
Elvin Jones, Max Roach, Tony Williams, Philly Joe Jones, Kenny Clarke, Art Blakey, Connie Kay, Jack DeJohnette, Roy Haynes, Paul Motian, Billy Higgins, Billy
Cobham, Louis Bellson, Buddy Rich, Grady Tate, Micky Roker, Ed Blackwell, Bobby Moses, Joe Chambers, Alphonse Mouzon, Shelly Manne, Stan Levy, Danny
Richmond, Billy Hart, Lenny White, Al Foster, Ed Soph, Terri Lyne Carrington, Steve Davis, Peter Washington, Bill Stewart, Billy Drummond, Art Taylor, Jimmy
Cobb, Tootie Heath, Roger Humphries, Roy Brooks, Idris Muhammed, Kenny Washington, Jeff "Tain" Watts, Marvine "Smitty" Smith, Ralph Peterson, Joey
Baron, Dave Weckl, Brian Blade, Joe Farnsworth, Adam Nussbaum, Tony Reedus
12.
VIBES
Milt Jackson, Gary Burton, Dave Friedman, David Samuels, Roy Ayers, Lynn Blessing, Lionel Hampton, Red Norvo, Bobby Hutcherson, Steve Nelson, Cal Tjader,
Terry Gibbs, Dave Pike, Jay Hoggard, Stephen Harris, Joe Locke
13. ORGAN
Jimmy Smith, Larry Young, Jack McDuff, Richard "Groove" Holmes, Jimmy McGriff, John Patton, Hank Marr, Larry Goldings, Mike Ladonne, Charles Earland,
Joey DeFrancesco, Barbara Dennerlein
14. BIG BANDS
Duke Ellington, Count Basie, Woody Herman, Stan Kenton, Buddy Rich, Don Ellis, Gerald Wilson, Thad Jones-Mel Lewis, Bill Watrous, Francy Boland, Louis
Bellson, Gil Evans, Rob McConnell, Maynard Ferguson, Bob Mintzer, Airmen Of Note, Bill Holman, Bob Florence, Dizzy Gillespie, Charles Mingus, George
Russell, Maria Schneider, Sun Ra, Toshiko Akiyoshi, Lew Tabackin, Mingus Dynasty Big Band, Bob Mintzer, Conrad Herwig's Latin Big Band, Randy Weston, Tito
Puente, Eddie Palmieri, Carla Bley, Monday Night Vanguard Orchestra, Wynton Marsalis,
15. VOCALISTS
Jon Lucien, Roy Kral, Frank Sinatra, Mel Torme, Lou Rawles, Ray Charles, Mose Allison, Billy Eckstine, Leon Thomas, Grady Tate, Joe Williams, Sarah Vaughn,
Carmen McCrae, Peggy Lee, Rosemary Clooney, Billie Holiday, Ella Fitzgerald, Jackie Cain, Dakota Staton, Johnny Hartman, Chris Connor, June Christy, Anita
O'Day, Betty Carter, Chet Baker, Dinah Washington, Eddie Jefferson, Diana Krall, Kevin Mahogany
16. SCAT SINGERS
Clark Terry, Denis DiBlasio, Chet Baker, Louis Armstrong, Dizzy Gillespie, Ella Fitzgerald
17. VIOLIN
Joe Venuti, Stuff Smith, Ray Nance, Jean-Luc Ponty, Stephane Grappelli, Michael White, Jerry Goodman, John Blake, Randy Sabien, Fiddler Williams, Joe
Kennedy Jr.
, Darol Anger
Copyright © 2000 Jamey Aebersold Jazz, Inc. . https://www.jazzbooks.com
Historically Significant Recordings
If you want to learn to play jazz you have to listen, listen, listen. But many times students don't have any idea what
recordings to buy. So we have created this list of many of the most important recordings in jazz.
Most of the recordings listed are from the 40's, 50's & 60's Bebop era. This is due to the strong influence this
particular period of music has had on our current "Modern Jazz" scene today. We have purposely omitted a number of very
early recordings because 1) many of those early recordings had very poor sound quality, 2) the artists recorded lots of
material, and so they are represented by later recordings elsewhere on this list, and/or 3) the early recordings are not
currently available on CD. If you have a turntable, you should start checking out yard sales and thrift stores-often you can
find classic jazz recordings on vinyl for next to nothing.
For each record listed, you can see the artist name followed by the name of the album. All of these recordings are
available on CD (at presstime) from "Double-Time Records.
" The number to the left of each listing (eg-cd #7951) indicates
the "Double-Time" catalog number of that CD. Make a copy of this sheet and check off each recording as you add it to your
collection. To check on prices, to order, or for a complete catalog of over 6000 jazz CD titles, contact:
____ cd #1 CANNONBALL ADDERLEY - SOMETHIN' ELSE
____ cd #63 HERBIE HANCOCK - MAIDEN VOYAGE
____ cd #350 CLIFFORD BROWN - STUDY IN BROWN
____ cd #30 JOHN COLTRANE - BLUE TRAIN
____ cd #9958 CANNONBALL ADDERLEY - & COLTRANE
____ cd #141 WAYNE SHORTER - SPEAK NO EVIL
____ cd #1126 HORACE SILVER - SONG FOR MY FATHER
____ cd #7948 DIZZY GILLESPIE - SONNY SIDE UP
____ cd #458 MILES DAVIS - KIND OF BLUE
____ cd #417 JOHN COLTRANE - GIANT STEPS
____ cd #1716 J. J. JOHNSON - THE EMINENT, VOLUME 1
____ cd #33 ERIC DOLPHY - OUT TO LUNCH
____ cd #340 OLIVER NELSON - BLUES & THE ABSTRACT TRUTH
____ cd #1820 LEE MORGAN - THE SIDEWINDER
____ cd #97 HANK MOBLEY - SOUL STATION
____ cd #463 MILES DAVIS - MILESTONES
____ cd #3805 WES MONTGOMERY - SMOKIN AT THE HALF NOTE
____ cd #109 LEE MORGAN - CORNBREAD
____ cd #9653 LARRY YOUNG - UNITY
____ cd #601 SONNY ROLLINS - SAXOPHONE COLOSSUS
____ cd #421 JOHN COLTRANE - MAINSTREAM 1958
____ cd #172 MCCOY TYNER - THE REAL MCCOY
____ cd #316 JOHN COLTRANE - A LOVE SUPREME
____ cd #2434 DIZZY GILLESPIE - JAZZ AT MASSEY HALL
____ cd #5 ART BLAKEY - A NIGHT AT BIRDLAND VOL. 1
____ cd #45 BILL EVANS - UNDERCURRENT
____ cd #3523 GENE AMMONS - BOSS TENORS
____ cd #460 MILES DAVIS - 'ROUND ABOUT MIDNIGHT
____ cd #471 ERROLL GARNER - CONCERT BY THE SEA
____ cd #578 MILES DAVIS - RELAXIN' WITH MILES
____ cd #538 WES MONTGOMERY - INCREDIBLE JAZZ GUITAR
____ cd #67 JOE HENDERSON - PAGE ONE
____ cd #2377 FRANK ROSOLINO - FREE FOR ALL
____ cd #557 WES MONTGOMERY - FULL HOUSE
____ cd #2562 ART FARMER - MODERN ART
____ cd #558 SONNY ROLLINS - TENOR MADNESS
____ cd #7 ART BLAKEY - MOANIN'
____ cd #459 MILES DAVIS - IN A SILENT WAY
____ cd #541 THELONIOUS MONK - WITH JOHN COLTRANE
____ cd #31 CHICK COREA - NOW HE SINGS, NOW HE SOBS
____ cd #560 BILL EVANS - SUNDAY AT VILLAGE VANGUARD
____ cd #3806 CHARLIE PARKER - NOW'S THE TIME
____ cd #3605 STAN GETZ - FOR MUSICIAN'S ONLY
____ cd #7951 CHARLIE PARKER - BIRD & DIZ
____ cd #3019 JOE HENDERSON - LUSH LIFE, STRAYHORN MUSIC
____ cd #583 BILL EVANS - WALTZ FOR DEBBY
____ cd #9999 KENNY DORHAM - UNA MAS
____ cd #7946 LESTER YOUNG - THE PRESIDENT PLAYS
W/THE OSCAR PETERSON TRIO
____ cd #5436 JOE HENDERSON - IN 'N OUT
____ cd #322 JOHN COLTRANE - & JOHNNY HARTMAN
____ cd #5433 NANCY WILSON - WITH C.
ADDERLEY
____ cd #559 MILES DAVIS - COOKIN'
____ cd #592 RED GARLAND - GROOVY
____ cd #1059 MILES DAVIS - STEAMIN' WITH MILES DAVIS
____ cd #59 JOHNNY GRIFFIN - A BLOWIN' SESSION
____ cd #318 JOHN COLTRANE - BALLADS
____ cd #912 CARL FONTANA - THE GREAT FONTANA
____ cd #1418 ART BLAKEY - UGETSU
____ cd #6 ART BLAKEY - A NIGHT AT BIRDLAND VOL. 2
____ cd #1738 FREDDIE HUBBARD - HUB TONES
____ cd #3683 BUD POWELL - THE GENIUS OF
____ cd #9974 MILES DAVIS - BITCHES BREW
____ cd #8015 JOHN COLTRANE - THE COMPLETE
VANGUARD SESSIONS
____ cd #2450 LEE KONITZ - SUBCONSCIOUS-LEE
____ cd #3612 STAN GETZ - STAN GETZ & BILL EVANS
____ cd #588 MILT JACKSON - BAGS MEETS WES
____ cd #154 JIMMY SMITH - BACK AT THE CHICKEN SHACK
____ cd #596 SONNY ROLLINS - PLUS FOUR
____ cd #1753 JOE HENDERSON - INNER URGE
____ cd #80 WOODY HERMAN - KEEPER OF THE FLAME
____ cd #2607 BUD POWELL - THE AMAZING - VOL 1
____ cd #3745 CLIFFORD BROWN - BROWN/ROACH INC.
____ cd #68 JOE HENDERSON - MODE FOR JOE
____ cd #149 HORACE SILVER - BLOWIN' THE BLUES AWAY
____ cd #678 CLIFFORD BROWN - MORE STUDY IN BROWN
____ cd #27 SONNY CLARK - LEAPIN' AND LOPIN'
____ cd #5600 MILES DAVIS - MY FUNNY VALENTINE
____ cd #3748 CHICK COREA - LIGHT AS A FEATHER
____ cd #62 HERBIE HANCOCK - EMPYREAN ISLES
____ cd #1336 SONNY ROLLINS - NEWK'S TIME
____ cd #1952 HORACE SILVER - CAPE VERDEAN BLUES
____ cd #4318 HERBIE HANCOCK - THE PRISONER
____ cd #5601 MILES DAVIS - SEVEN STEPS TO HEAVEN
____ cd #2683 BILLIE HOLIDAY - LADY DAY: BEST OF VERVE YRS
____ cd #3922 CHARLES MINGUS - MINGUS AH UM
____ cd #2210 DEXTER GORDON - HOMECOMING, LIVE AT V.V.
____ cd #8 ART BLAKEY - THE BIG BEAT
____ cd #1038 CANNONBALL ADDERLEY - IN SAN FRANCISCO
____ cd #9922 MILES DAVIS - MILES SMILES
____ cd #7458 JOHN COLTRANE - LIVE AT BIRDLAND
____ cd #588 MILT JACKSON - BAGS MEETS WES
____ cd #8302 FREDDIE HUBBARD - STRAIGHT LIFE
____ cd #597 MILES DAVIS - BAG'S GROOVE
____ cd #413 ORNETTE COLEMAN - SHAPE OF JAZZ TO COME
____ cd #5321 STANLEY TURRENTINE - UP AT MINTON'S
____ cd #418 JOHN COLTRANE - MY FAVORITE THINGS
____ cd #1271 MILES DAVIS - NEFERTITI
____ cd #12704 WOODY SHAW - LITTLE RED'S FANTASY
____ cd #44 ELLINGTON, MINGUS, ROACH - MONEY JUNGLE
____ cd #5092 DIZZY GILLESPIE - ROY AND DIZ
____ cd #7854 BENNY CARTER - FURTHER DEFINITIONS
____ cd #3930 JOHNNY GRIFFIN - TOUGH TENOR FAVORITES
____ cd #5443 COUNT BASIE - THE COMPLETE ATOMIC BASIE
"DOUBLE-TIME RECORDS" . PO Box 146 . Floyds Knobs, IN 47119-0146 . PH (800) 293-8528 . FAX (812) 923-1971
https://www.doubletimejazz.
com . E-mail: info@doubletimejazz.com
You may also find many CD's at "TheMusicResource.com"
https://www.themusicresource.com .
E-mail: info@themusicresource.com
Copyright © 2000 Jamey Aebersold Jazz, Inc. . https://www.jazzbooks.com
PRACTICE PROCEDURES FOR MEMORIZING
SCALES AND CHORDS TO ANY SONG
1. Play root/tonic note of each chord/scale
2.
Play first 2 notes of each scale
3. Play first 3 notes of each scale
4. Play the first five notes of each scale
5. Play triad of the scale (1, 3, and 5 of the scale)
6. Play 7th chords (1, 3, 5, and 7th tones of the scale)
7. Play 9th chords (1, 3, 5, 7, and 9th tones of the scale)
8.
Play the entire scale up and down
9. Play 6th chords (1, 3, 5, and 6th tones of the scale)
10. Play up the scale to the 9th and back down the chord tones
11. Play up the 9th chord and then come back down the scale
12. Play the scale in broken thirds up and down (1, 3, 2, 4, 3, 5, 4, 6, 5, 7, etc., up & down)
The above approach can be used when learning the scales and chords to ANY song, or, when learning any new
scale.
You may want to use a metronome when the tempo on the recording is too fast for you. You'll want to play
these exercises UP and DOWN. If you feel you need further practice with any particular scale/chord there are many
more patterns and exercises available from various practice books.
Once you become familiar with the various scales and chords and gain adequate facility you won't have to practice
these type exercises any more. Remember, the exercises are merely to help you MAKE MUSIC.
TIPS FOR LEARNING A NEW TUNE
1.
Listen to the song over and over.
2. Memorize the melody in your mind. Be able to sing it.
3. Listen carefully to the bass line and the harmony in general.
Get an overall sense of how
the song is put together.
4. Try playing the melody from memory, slowly at first.
5. Then play the melody along with the recording. Copy inflections, articulations, slurs, phrasing,
dynamics, etc.
6. Learn the scales and chords in the order as they appear in the song. Make sure you've got
the right changes (chord progression). Get them from a reliable source, such as the playa-
long books.
7. Improvise over the harmony, keeping in mind the original melody as a frame of reference.
8. Emphasize the thirds and sevenths of scales in your soloing.
9. Memorize both melody and chord/scales if you haven't already. Know where the chord
tones are ON YOUR INSTRUMENT.
10.
Improvise your original melodies based on what your mind HEARS. Let your mind guide
your choice of notes, phrasing, rhythms, articulations, etc...
11. Listen constantly to the original recording of the song to further stir your imagination.
Incorporate
ideas of the recording into your solos.
12. Learn the lyrics if the song has any. Mentally sing the lyrics while playing the melody.
13. Fall in love with the melodies to songs.
Play them like YOU wrote them.
"I've always tried to recreate melodies even better than the composers who wrote them. I've always tried to come up
with something that never even occurred to them. This is the challenge: not to rearrange the intentions of the
composers but to stay within the parameters or what the composers have in mind and be creative and imaginative
and meaningful." -- tenor saxophonist Joe Henderson
(Taken from Jamey's volume 1 book: "How to Play and Improvise")
Copyright © 2000 Jamey Aebersold Jazz, Inc. . https://www.
jazzbooks.com
SONG LIST for BEGINNERS
Advanced Songs
Stella by Starlight, Bb or G (15, 22, 59, 68) [entire tune]
Star Eyes, Eb (34, 59) [bars 4, 5, & 6]
Invitation, C- (34, 59) [entire tune]
Have You Met Miss Jones?, F (25, 74) [bridge]
I Got Rhythm, Bb & F (7, 8, 16, 47, 51)
Giant Steps, Eb (28, 68) [entire tune]
All The Things You Are, Ab (16, 36, 43, 55) [entire tune]
Most ballads
Wayne Shorter tunes (33), Horace Silver tunes (17, 18), John Coltrane tunes (27, 28), Benny Golson tunes
(14) and thousands of other songs
Intermediate Songs
Four, Eb (7, 65, 67) [F#- B7]
Perdido, Bb (12, 65, 67) [bridge]
All Blues, G (5 0, 8 1) [D7+9, Eb7+9, D7+9]
Groovin High, Eb (43) [A- D7]
Yardbird Suite, C (6, 69) [bridge]
Softly As In A Morning Sunrise, C- (40) [bridge]
On Green Dolphin Street, Eb (34, 59)
Misty, Eb (41, 49, 70) [A- D7/ C- F7 in bridge]
Just Friends, F (20, 34, 59) [Ao or Ab-]
Killer Joe, C (14, 70) [bridge]
Sweet Georgia Brown (39, 67, 70, 84)
Indiana (Back Home Again In) (6, 61, 80, 84)
Girl From Ipanema, F (31, 70, 90)
Beginning Songs
Blues in Bb & F (1, 2, 21, 35, 42, 50, 53, 54, 69, 70, 73)
Footprints, C- (33, 54)
Satin Doll, C (12, 54, 66)
Doxy, Bb (8, 54)
Autumn Leaves, G- (20, 44, 54, 67)
Impressions or So What, D- (28, 50, 54)
Summertime, D- (25, 54)
Song For My Father, F- (17, 54)
Maiden Voyage, A- (11, 54, 8 1)
Silvers Serenade, E- (17)
Cantaloupe Island, F- (11, 54)
Sugar, C- (5, 49, 70) (called Groovitis)
Watermelon Man, F (11, 54)
Here are songs which everyone should eventually know-they are good jam session songs. I am listing
the key(s) they are most often played in followed in parenthesis by the play-a-long volume number(s)
where you can find them. Most of the beginning songs are on the Volume 54 "Maiden Voyage" play-a-long
book/recording set. It's excellent for learning jam session tunes.
Memorize the melody
Memorize the chord progression
Memorize the various scales/chords
troublesome spots = [ ]
Be discriminate in your listening.
Remember, you're training your MIND!
Choose your music like you would your friends.
Think of how many friends' voices you can recognize over the telephone after they say only
one word. The qualities of scales (major, minor, dom.7th, dim.,etc.) will become just as familiar
and easy to recognize with practice.
Copyright © 2000 Jamey Aebersold Jazz, Inc. . https://www.jazzbooks.com
Copyright © 2000 Jamey Aebersold Jazz, Inc. . https://www.jazzbooks.
com
INTRODUCTION to the SCALE SYLLABUS
Each chord/scale symbol (C7, C-, C)+4, etc.) represents a series of tones which the improvisor
can use when improvising or soloing. These series of tones have traditionally been called scales. The
scales listed here are the ones I most often hear musicians play. I have listed the Scale Syllabus in the
key of C Concert so you can have a frame of reference and can compare the similarities and differences
between the various chords/scales.
This SCALE SYLLABUS is intended to give the improvisor a variety of scale choices which may
be used over any chord-major, minor, dominant 7th, half-diminished, diminished and sus 4.
Western
music, especially jazz and pop, uses major, dominant 7th, dorian minor and Blues scales and chords
more than any other. Scales and chords used less often are the half-diminished, diminished and sus 4.
If we agree on these five chord/scale families as being the most predominant, then we can set them up
as categories and list substitute scales beneath each heading...see the Scale Syllabus page.
You
should also check out Volume 26 " The Scale Syllabus" for more help with scales.
Each category begins with the scale most closely resembling the chord/scale symbol given to
the left. The scales are arranged according to the degree of dissonance they produce in relation to the
basic chord/scale sound. Scales near the top of each category will sound mild or consonant and scale
choices further down the list will become increasingly tense or dissonant. Each player is urged to start
with the scales at the top and with practice and experimentation gradually work his way down the list to
the more dissonant or tension-producing scales. You should work with a new scale sound on your
instrument until your ears and fingers become comfortable with all the tones in the scale.
Also try
singing the scale with your voice. Improvise with your voice over the scale you are learning and then
play on your instrument what your voice sang.
Music is made of tension and release. Scale tones produce tension or they produce relaxation.
The improvisor's ability to control the amount and frequency of tension and release will in large measure
determine whether he is successful in communicating to the listener. Remember-you, the player,
are also a listener! Read pages 43 to 45 in Volume 1 " JAZZ: How To Play And Improvise" (Sixth
Edition) for a more detailed explanation of tension and release in melodic development.
Any of the various practice procedures and patterns listed in Volumes 1, 2, 3, 21, 24 or 84 can
be applied to the learning and assimilation of any of the scale choices listed in this Scale Syllabus.
Needless to say, any Scale you want to learn should be transposed and practiced in all twelve keys.
The column on whole and half step construction I listed for each scale on the syllabus should prove
helpful when transposing a scale to any of the twelve keys.
For additional information on scale substitution, I recommend " Scales for Jazz Improvisation"
by Dan Haerle, " Jazz Improvisation" by David Baker, " Patterns for Jazz" and " Complete Method
for Jazz Improvisation" by Jerry Coker, and " Repository of Scales & Melodic Patterns" by Yusef
Lateef. These books are available from Jamey Aebersold Jazz, Inc., PO Box 1244, New Albany, IN
47151-1244 U.
S.A., your local music store, or https://www.jazzbooks.com.
Several play-a-long sets offer you an opportunity to practice the various scales in all twelve
keys.
They are: Vol. 24 " Major & Minor"; Vol. 84 " Dominant 7th Workout"; Vol.21 " Gettin' It Together";
and Vol.16 " Turnarounds, Cycles & II/V7's." You might also check out the play-a-longs
which have tunes in all keys: Vol.
42 " Blues In All Keys"; Vol. 47 " Rhythm In All Keys"; Vol. 57
" Minor Blues In All Keys"; and two more volumes, Vol. 67 " Tune Up" and Vol. 68 " Giant Steps"-
each has several classic tunes in all twelve keys.
Scales and chords are the backbone of our music and the better you equip yourself, the more fun
you will have playing music.
Copyright © 2000 Jamey Aebersold Jazz, Inc. . https://www.jazzbooks.com
Copyright © 2000 Jamey Aebersold Jazz, Inc. . https://www.jazzbooks.
com
THE DOMINANT 7th TREE of SCALE CHOICES
The two most important notes in any scale are the 3rd and 7th. They tell the listener what the quality is
and indicate the harmonic motion. The 3rd tells us if it's major or minor. The 7th tells whether the sound is stable
(doesn't want to move to another chord) or if it wants to move on to a chord of resolution. Dominants typically
want to resolve to a chord up a perfect 4th (C7 wants to resolve to F, F-, F7 etc.).
The root or tonic is taken for
granted. If it wasn't there we wouldn't be able to identify the sound.
Any of these scales (qualities/sounds/sonorities) may be played when a dominant 7th chord/scale RESOLVES
to a chord/scale whose ROOT lies a perfect 4th (5 half-steps) above the root of the dominant 7th
chord.
EXAMPLE: || C7 | C7 | F | F | Ab7 | Ab7 | Db- | Db- ||
Embellish the measures with these chords: C7 and Ab7
The altered tones are in bold type. Those tones usually resolve by half-step to a scale or chord tone.
This amounts to tension then release.
It's a natural occurence in music. The 3rd's and 7th's are underlined.
SCALES
1. DOM.7th = C7 = C D E F G A Bb C This is the basic dominant 7th sound. Be careful
how you treat the 4th tone.
Use it as a
passing tone.
2. BEBOP = C7 = C D E F G A Bb B C Play B natural as a passing tone. It should
always appear on an upbeat never on the
downbeat.
3. LYDIAN DOM.
= C7#4 = C D E F# G A Bb C The #4 was/is a favorite note. It used to be
called a b5.
4. WHOLE-TONE = C7+ = C D E F# G# Bb C This scale only has 6 tones. It is a symetrical
scale used often in cartoon music and by
DeBussy and Ravel. [Has a #4 and #5]
5.
DIMINISHED = C7b9 = C Db D# E F# G A Bb C This scale has 8 different tones. It is
symetrical and is also used in cartoon music.
Michael Brecker is a master of this scale
sound. [Has a b9, #9 and #4]
6. DIM. WHOLE-TONE = C7+9 = C Db D# E F# G# Bb C This scale has four altered tones which help
create tension.
[Has a b9, #9, #4 and #5]
7. SPANISH or JEWISH SCALE = C7 (b9) = C Db E F G Ab Bb C This scale is used often when playing in a
minor key. It's the same as F harmonic minor.
[Has a b9 and b6]
8. CHROMATIC SCALE = C7 = C C# D D# E F F# G G# A A#B C
(the Musical Alphabet) C Db D Eb E F GbG Ab A BbB C
Any time there is a dominant 7th, you may want to experiment with these scales. The proper use of these
various scales is part of what makes jazz so appealing.
Endless variety in the hands of a master makes beautiful
music. Don't be afraid to try these sounds. It may take some time for your ears to become accustomed to the
sound and the fingerings. The book called Patterns For Jazz (Aebersold product code "P-T" for treble clef
instruments, "P-B" for bass clef) lists jazz phrases based on many of the scales above.
Copyright © 2000 Jamey Aebersold Jazz, Inc. . https://www.
jazzbooks.com
Copyright © 2000 Jamey Aebersold Jazz, Inc. . https://www.jazzbooks.com
PREPARATORY EXERCISES - TREBLE CLEF
Below are several exercises every musician should memorize and be able to play in all MAJOR, MINOR (Dorian minor), and DOMINANT 7th keys. These are
basic exercises which will help you gain speed and dexterity.
Begin by practicing slowly, then gradually increase speed. Strive for smoothness and slur each
exercise. Keyboard and string players should play legato. After you get the feel of several, consult the ARTICULATIONS article. These exercises are great for
warming up each day. You can apply these to ANY scale or chord, regardless of quality.
Due to space considerations, I have only listed three qualities.
Adults often have to fight their way back to intuition - George Bouchard
Copyright © 2000 Jamey Aebersold Jazz, Inc. . https://www.jazzbooks.com
PREPARATORY EXERCISES - BASS CLEF
Below are several exercises every musician should memorize and be able to play in all MAJOR, MINOR (Dorian minor), and DOMINANT 7th keys. These are
basic exercises which will help you gain speed and dexterity.
Begin by practicing slowly, then gradually increase speed. Strive for smoothness and slur each
exercise. Keyboard and string players should play legato. After you get the feel of several, consult the ARTICULATIONS article. These exercises are great for
warming up each day. You can apply these to ANY scale or chord, regardless of quality.
Due to space considerations, I have only listed three qualities.
Jazz is creative. Creation involves change. How much are you willing to change?
Copyright © 2000 Jamey Aebersold Jazz, Inc. . https://www.jazzbooks.
com
TREBLE CLEF SCALES
Your voice has been with you much longer than your instrument.
Use it to sing with, then transfer the music to your instrument.
TREBLE CLEF SCALES
Copyright © 2000 Jamey Aebersold Jazz, Inc. . https://www.jazzbooks.com
BASS CLEF SCALES
It doesn't hurt to think, to use your mind.
Of course your ego will tell you otherwise.
BASS CLEF SCALES
EAR TRAINING
When a person tries to develop his capacity to better hear the sounds going on around him, he
Is faced with several problems which aren't necessarily present when reading music or chord symbols
from the written page.
Having "good ears" means having the ability to hear the roots to the various chords or scales that
are being played; having the ability to hear the quality of the chord or scale ... major, minor (what kind of
minor?), pentatonic, dim.
whole tone, etc.; it means having the ability to tell what tone of the scale or
chord is being played at any point in the solo ... "ah, that note was the #4 resolving to the 6th resolving
to the 5th!"; it means hearing the piano, bass, soloist, drums, etc. individually as well as collectively.
I have found that there are many levels of hearing. Some people hear. Some people can really
hear! And some people can seem to hear and Identify almost anything that is being played. They can
seem to sing or play back portions of solos right after the performer has played. How can they HEAR,
and we can't seem to find the roots, scale, qualities, or what time signature the piece is in?
I'm firmly convinced that if all students from the first grade (even kindergarten) through their last
year in college were exposed to simple ear training exercises that allowed them the opportunity to
identify what they were hearing on the radio, TV, records, jazz, opera, orchestra, chorus, band, etc., our
music scene in general would be much different! In my opinion, if simple ear training exercises, coupled
with simple music theory, were carried out in public school, the public would demand music of a much
higher calibre than they are presently consuming.
Why would they demand "better" music? Because
they would HEAR that the music they are being fed is too repetitious, trite, and banal to warrant our
attention, much less our money on the sales of records or concert attendance.
One of the reasons jazz music, especially the music from Bebop to the present, has never had a
big audience is due to the amount of thinking required to actually get to the essence of the music. The
average person today doesn't want to think about music, he just wants to enjoy it. And he usually will
settle for the same thing day after day. He feels life is too difficult to have to think about the music he is
listening to. Hence the gap between the performer and the listener in the world today.
I do not mean to
imply that listening to music intellectually is not enjoyable.
This would be an excellent time to read Jerry Coker's Listening to Jazz, published by Prentice-
Hall. This is a great book on how to listen to jazz and is accessible to the layman.
For ear training purposes, Volume 21 "Gettin' It Together" (2 CDs/Bk) of the Aebersold Play-along
series will give you much to work with:
I suggest beginning by simply putting the first track on and sing the roots. After singing the roots,
sing the first five notes of the scale. Then, try singing the triad, 1, 3, and 5 of the scales.
By this time you
can probably sing the entire scale. Don't forget to sing the 7th chord and the 9th chord, just like you are
doing with your instrument. Also, don't forget to isolate individual pitches and sing them, such as the 5th
or the 9th or the 3rd, etc.
Try starting in the middle of any of the tracks (begin with major) and see how long it takes you to
find the root. You may want to sit at the piano while doing this in order to occasionally check yourself.
After you find the root, can you sing the scale or even improvise?
All the time you are singing, be aware that each tone in the scale or chord has a number assigned
to it.
Be thinking these various numbers whenever possible.
Put the CDs on cassettes if you need to so you can play them in your car. Sing exercises,
patterns, and improvise. While doing so, be aware of the pitch you are singing. You may want to buy a
pitch pipe and keep it in your car to help identify the roots, 3rd's, 5th's, etc.
Being able to sing and identify intervals is a key part of ear training.
Experiment with singing or playing with the left channel of the recording only. Listen carefully to
the bass.
I have found it helpful to memorize a song title that begins with a certain interval. For instance,
the interval of a perfect 4th is the first two notes of Here Comes the Bride. By singing the first two notes
of Here Comes the Bride and realizing it outlines a perfect 4th interval you can begin to center in on
perfect 4th's whenever they are sounded. Or, it may help you to actually sing, or play on your instrument,
in tune, the interval of a perfect 4th.
I like to use an Interval Chart as a guide to identify correctly whatever interval is being played. I
made my chart by listing intervals and some songs that begin with that particular interval. Remember,
intervals ascend and descend.
Copyright © 2000 Jamey Aebersold Jazz, Inc. . https://www.jazzbooks.
com
INTERVAL CHART
I have found it helpful to memorize a song title that begins with a certain interval. For instance, the interval
of a perfect 4th is the first two notes of Here Comes the Bride. By singing the first two notes of Here Comes the
Bride and realizing it outlines a perfect 4th interval you can begin to center in on perfect 4th's whenever they are
sounded. Or, it may help you to actually sing, or play on your instrument, in tune, the interval of a perfect 4th.
I am listing intervals that correspond with standards or kiddie tunes of the past 40 years. If you are not
familiar with these songs, they probably won't help you in identifying intervals.
In that case, I suggest you write
down song titles that you are familiar with, such as current commercials on TV or radio, pop songs, religious songs,
or anything that begins with an interval you need to work on. It is usually harder to find songs that begin with
descending intervals.
Ascending Intervals Descending Intervals
HERE COMES THE BRIDE
HARK THE HERALD ANGELS
OH CHRISTMAS TREE
DOXY
'ROUND MIDNIGHT
MAIDEN VOYAGE
WE WISH YOU A MERRY CHRISTMAS
SUMMERTIME
GIANT STEPS
COME RAIN OR COME SHINE
BESSIE'S BLUES
WORK SONG
MINOR CHORD
CONFIRMATION
A FOGGY DAY
FROSTY THE SNOWMAN
WHAT IS THIS THING CALLED LOVE
500 MILES HIGH (C.COREA)
MISTY
MAJOR SCALE (ASCENDING)
HAPPY BIRTHDAY
RUDOLF, RED NOSE. . .
SILENT NIGHT
THERE WILL NEVER BE ANOTHER YOU
TENNESSEE WALTZ
MAJOR SCALE (DESCENDING)
O LITTLE TOWN OF BETHLEHEM
JOY TO THE WORLD
THE THEME (M.DAVIS)
OH COME, ALL YE FAITHFUL
VALSE HOT (NOT INTRO!)
YARDBIRD SUITE
SOFTLY, AS IN A MORNING SUNRISE
I DIDN'T KNOW WHAT TIME IT WAS
TWINKLE TWINKLE LITTLE STAR
THEME from 2001
WHISPER NOT (BENNY GOLSON)
FEELINGS
7 STEPS TO HEAVEN (M.DAVIS)
HAVE YOU MET MISS JONES?
3rd tone of MISTY (1ST TO 3RD TONE)
YOU'RE EVERYTHING (C.COREA)
PLEASE DON'T TALK ABOUT ME WHEN I'M GONE
MORNING OF THE CARNIVAL
CAST YOUR FATE TO THE WIND
CEORA
THEME from FANTASY ISLAND
A CHRISTMAS SONG (CHESTNUTS. . .
)
LET IT SNOW
SOMEWHERE OVER THE RAINBOW
McDONALD'S COMMERCIAL
I LOVE YOU (THE OTHER ONE!)
WILLOW WEEP FOR ME
NICE WORK IF YOU CAN GET IT
SAN FRANCISCO (LEFT MY HEART)
I REMEMBER YOU
I'M GETTING SENTIMENTAL OVER YOU
MARY HAD A LITTLE LAMB
DECK THE HALLS
AWAY IN A MANGER
YESTERDAY (BEATLES)
ON THE SUNNY SIDE OF THE STREET
FREDDIE FREELOADER
BLUE SEVEN (SONNY ROLLINS)
MAJOR TRIAD
OH WHEN THE SAINTS
I CAN'T GET STARTED
-2
M2
-3
M3
P4
#4 or b5
P5
#5 or b6
8va
(octave)
BYE BYE BLACKBIRD
WHAT'S NEW
JAWS
MY FUNNY VALENTINE
BODY AND SOUL
HEY JUDE
PETER GUNN
ALL THE THINGS
ORNITHOLOGY
SONG FOR MY FATHER
LOVE ME TENDER
AULD LANG SYNE
BAGS GROOVE
IT CAME UPON A MIDNIGHT CLEAR
DAYS OF WINE AND ROSES
TAKE THE "A" TRAIN
NBC
INCH WORM
SPEAK LOW
I LOVE YOU
DEL SASSER
BLUE BOSSA
YOU'RE A WEAVER OF DREAMS
M.A.S.H.
BLUE MOON
SATIN DOLL
TUNE UP
MY GIRL
THE FIRST NOEL
SOPHISTICATED LADY
STELLA BY STARLIGHT
THE LADY IS A TRAMP
SOLAR (M.DAVIS)
M6
b7
M7
MARIA (WEST SIDE STORY)
WATERMELON MAN (H.
HANCOCK)
LITTLE RED'S FANTASY (WOODY SHAW)
3rd tone of HONEYSUCKLE ROSE (1ST AND 3RD NOTE)
SOMEWHERE (WEST SIDE STORY)
THEME from STAR TREK
I'LL CLOSE MY EYES
GEORGIA ON MY MIND
MOONTRANE
THE IMPOSSIBLE DREAM
SOMEWHERE MY LOVE
I like to use the following table as a guide to identify
correctly whatever interval is being
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