Featuring:

ended Lines & Solos • Modal Riffs

Dillllillllisl1ted, entatonic & Altered Dominant Licks
Block Chord Styles
LftlDrtt Substitution & Advanced Voi,- · -
 torPiano
by frank feldman

gréat

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 ut lhe Author
Frank Feldman graduated magna cum laude, with honors in music, from
Brown University, and went on to study classical piano at the graduate level
at the New England Conservatory of Music. He is the composer of over 200
songs and instrumental compositions in a variety of genres, and the author
of Creating Coherent Jazz Melody-A Sourcebook For lmprovisers.

Frank has been a freelance pianist and private classical and jazz piano instructor
since 1979, and has performed at hundreds of venues throughout the country,
including Carnegie Hall. He is the president and founding member of The New
York Jazz Piano lnstitute, based in Lynbrook, New York.

Ackn
li<e t o thank Arthur o e d, a -..,e .to ks a Cherry Lane Music for their
ida ce, a d s p e ce of his piano teach ing; !lona Ross
d like to express my profoundest
:s:: :::- :::eepest usical tradition. Their inspira 'o
e countless hours of pleasure.
 CONT
7 .... Riffs ln The Style Of 15 .... 0rnamented ii-V-1 Riff
The Late Swing Era 15 ....Melodie Analogy
7 .... Tenths & Arabesques 16 .... Trademark Block Chords
7 ....Teddy Wilson-Style Arpeggios 16 .... Rising Arpeggios
17 .... Faux Block Chords
17.... Anticipated Arpegg ios
s.... Riffs ln The Style Of 18 .... Dorian Riffs
The Bebop Era
8 .... Passing Harmonies #1
8 .... Passing Harmonies #2
19.•.• Riffs ln The Styles
9 ....Tritone Substitution The '60s And BeYí
9 .... Chromatic Weaving 19 .... Herbie Hancock-Style i·-,-
1O.... ii-V-i ln Minor 19 .... Herbie's Melodie Mi o.. Ｚ ＱＺﾷ］ｾ＠
l O.... Bebop Double-Time Riff 20 .... Herbie's Hallmarks
11 .... Unresolved ii-V 21 .... Chick Corea-Style Lya· .... - - -
11 .... ii-V Tritone Substitution 21 .... Side-Slipping Riff
12 ....Thelonious Monk-Style Riff #1 22 .... Chick-Style Dorian Riff •
12 ....Thelonious Monk-Style Riff #2 22 .... Chick-Style Dorian Ri
23 .... Chick-Style ii-V-1
23 .... Diminished Scale Pa e
13•••• Riffsln The Styles Of Descending ln 3rds
The Post-Bop Era 24 .... Pentatonic Constr e ｲＺｾ＠ ｾ＠

13 .... The Two-Fisted Style Of George Shearing The Diminished Scale

13 .. ..The Block Chord Style Of Erroll Gar er 24 .... Keith Jarrett- S le

Cade za-like as ae
14 ....The Block Chord Style Of Red G ,. Ｍｾ＠ ,..
T · les
 , ro an-
-::: " .::.:: ::::-- -g e ords. Garner
p a}e e eat in an imme-
Bud Powell epitomized the highest d i ate ly r ecog ni zable and deft l y
aesthetic achievement of the bebop swinging way.
era. Passionate and imaginative, he
1

il NTR O D U CT 1O N exhibited a profound influence on Red Garland subscribed to the

the pianists who followed him. harder swinging and funkier notions
P 1 ANO of East Coast post-bop piano
Thelonious Monk was the most origi- p laying. He worked with the M iles
ex amples found in this nal pianistic voice of the era . While Davis unit from 1955 through 1958.
::, ... ｡ｾ･＠ co posed in the styles of others strove to adapt the virtuoso His single-note li nes combined
ｾ＠ :;-ea j azz pianists. Attempting lines of the period's great horn play- the innovations of the beboppers
e· a ievements into tidy lit- ers for the piano, Monk played with the new, more bluesy aesthetic
boxes is an inadequate sparse, angular solos, full of silence, of the hard bop school. Red , in
'?..-= ｳｾ＠ e ·cial approach-the lines surprise, and references to the tune's h is unique style of block chord
::O."' ect their work are not simply melody. His musical language was p laying, struck the left-hand chord
_·cal. As you come to appre- abstract and dissonant, yet full of wit, (often a four-note, rootless ninth
e ork of more and more of verve, and droll humor. chord) simu ltaneously with eac h
l..iS·c's great est figures, the sub- melody note in the right hand. The
:. e p.:-::is of influence, from one artist The bebopfers' repertoire consisted right hand consisted of the melody
e , will become clear. primarily o improvisatory-sounding, note in the pinky, doubled at the ,
ornate, deftly syncopated melodies octave by the thumb, plus the note a
e Late Swing Era And based on the chord progressions fifth (or diminished fifth, depending
of popular songs of the day, such as on the tonal context) above the
The Style Of "I Got Rhythm," and, of course, thumb's note. The resulting series
Teddy Wilson the perennial 12-bar blues. The o f slightly "off" parallel fifths was
musicians considered their music an the hallmark of Garland's block
" lson' s approach to the art form, intended for attentive , chord style.
_ ::-=e ed vastly from that of his informed listening.
=-::J:::i aries . He exploited the Bill Evans brought new depths of
--==es th at the new electronic harmonic and melodie richness to
_-=::::i1r1 e offered him: playing
The Varied Piano Stylings jazz piano playing . Although his
ines full of precisely artic- Of The Post-Bop Era b iggest early influence was Bud
int ri cate arabesques . Powell, Evans' temperament was
hi s left hand often George Shearing, always a gentle more sensitive, subtle, and introvert-
::_-ed a stride action, it had and elegant player, favored the cool, ed. He was a ruthless self-critic with a
- == - e brutish accents charac- laid-back West Coast sound during rigorously analytical mind . Bi l l
= ot the period. At times, he the post-bop era of the 'SOs. He was employed the rich resources of the
,..... _ Ｍ］ｾ＠ s in the left hand with no "modernized" by listening to Bud European classics in his playing to an
--=es ·n register. Though his har-
-- .:: oalette was not large, his dis-
Powell and other disciples of the
new music. Shearing enjoyed great
extent previously unknown in jazz.
His trios displayed remarkable con-
- = -ed e lega nce presaged later, comm e rcial success adapting Milt trapuntal interplay between bass ,
--= s..;btle developments in the art Buckner's style of locked hands play- drums, and piano. A deep inner hon-
:- :=r piano. ing to medium tempo ballads. ln this esty and integrity imbued the beauty
style of b lock c hord playing, the and lyricism of his playing. No other
melody is played by the thumb of pianist since Bud Powell has had a
e Role Of The Piano the left hand and doubled one greater influence on his contempo-
uring The Bebop Era octave higher in the pinky of the raries and on those who followed
right hand, leaving the lower num- him than Bill Evans.
_ ｾｯ･ｲＭｸ ｴ･ｮｳｩｯ＠ of the chord, such bered fingers and thumb of the right
,,_- · ths, #1 1ths, and 13ths, as well hand free to play chord tones. Evans contributed greatly to Kin d
ｾ＠ a ered notes, such as the b5 and Of Blue, Miles Davis's groundbreaking
f dom inant seventh chords, Erroll Garner was an entirely self- album of 1959. lts fresh moda l
.:;egan to appear in small combo taught, brilliantly playful maverick of conception dispensed with frequent
- -s·c of the late swing era. The the piano. Much of his musical lan- cho rd changes, and encou raged
ｾ＠ st began to take over the duties g u age was characteristic of the the soloist to flights of melodie spon-
.::.:: - e pianist's left hand. Tem po s bebop era, though his strummed, ta neity, unhampered by the need to
t;egan to increase. Pianists of t he era guitar-l ike left-hand chord s-wi th acc ommodate rap idly chan ging
ＺＭｾ＠ e to incorporate th e virtuosic their four-to-the-bar feel-harkened harmonies. The impact of that album,
-"ovations of the great alto saxo- back to the swing era . ln his right and of Bill's contribution to it, was
::: onist Cha rlie Parker into their hand, he often played block chords tremendous.
The Jazz Piano Styles Of
The '60s And Beyond
During the 1960s a confusing variety
of styles, schools, and individuais,
along with some grim economic reali-
ties, created an identity crisis in jazz
which has not abated to this day.
Hence, we'll focus on three of the
strongest, most influential players of
the period: Herbie Hancock, Chick
Corea, and Keith Jarrett.

Herbie Hancock inherited a wonderful-

ly funky, laid-back approach from
Wynton Kelly, his predecessor in the
Miles Davis group. Herbie integrated
the sensual harmonic language of the
French impressionists into his jazz
playing in a very personal way. His
work as soloist and accompanist in
Miles Davis's great quintet of the
1960s was particularly outstanding.

McCoy T yner, who greatly influenced

Chick Corea, adapted for the piano
many of the pentatonic and modal
innovations of the tenor saxophonist
John Coltrane. Tyner played for long
stretches in the Dorian mode, favor-
ing percussive, drone-like Sths in the
bass, left-hand voicings in 4ths, and
virtuosic cascades of pentatonic digi-
tal patterns in the right hand. Corea
took elements of this style and adapt-
ed them to suit his own crisp, clean,
incisive musical temperament .
A trained classical pianist, he
also used many of the techniques
of twentieth-century "serious" music
in his improvisations.

Keith Jarrett is a law unto himself. He

relies more upon the inspiration of the
moment than upon predetermined
formulae or patterns. Notes are often
secondary to the romantic, effusive
sweep of his playing. Whether impro-
vising on a 32-bar song form or devel-
op i n g thematic material on a far
broader canvas, Jarrett has made the
piano sing a new song, ranging from
the deeply reflective to the breathless-
ly ecstatic. He is an archromantic who
will daringly and recklessly abandon
himself to the moment, as well as a
virtuoso who seamlessly incorporates
sophisticated, intellectual, European
classical techniques into his playing. ln
Keith Jarrett, improvisatory playing at
times attains an emotional depth it has
pe rhaps not had sin ce the time of
Chopin and Liszt.
 ea ily e courag e you to riff wou ld be effective and find a
;a e e materiais in th is book and tune that has severa! instances of that
•ory, a just, and recompose them to progression. lf you can, "compose" a
s i your need s, goals, and musical solo over the chord changes of a tune,
as e. Combine the riffs in novel then transpose the solo to severa! keys.
ways-perhaps one of the bebop riffs
rnight work well in the block chord style Don't hesitate to focus your studies on
o f George Shearing. ln any case, the players and periods that interest you
tran spose whatever you' re worki ng most. Love is always the best motivation.
on into a number of keys (a very effec- Encyclopedic knowledge is not the goal.
tive form of ear-training, by the You may, ironically, find that immersing
way), and use it at every opportunity in yourself in the style of a particular player
you r improvising. Also, learn to think or period opens your ears to other play-
a out harmony using Roman numerais. ers and periods that previously held no
T ey are the most effective way to allure for you.
grasp the underlying grammar
and architecture of phrases and Finally, don't over-rely on the notation!
son gs, and they make transposition Jazz is a music of infinite rhythmic sup-
easy. (lf you aren't Familiar with Roman pleness and subtlety. No one learns to
numeral analysis, consult a good har- speak a language without hearing it
mony textbook.) often. lf you make listening to jazz and
attending jazz events an integral part of
An even more gratifying way to prac- your life, your progress will be far
tice new riffs is to "plug" them into a more natural, enjoyable and rapid.
section of a song form . ldentify the sort
of harmonic progressions in which the Good luck!

(CD tracks of the examples are indicated in the black boxes)

 Tenths & Arabesques

• 06 E9 A9 D9

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t
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j\ ｾ＠

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1*- • r-

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Bb 0 7
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ｾ＠

--
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v-
Am7

..
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i----3---,
ｾ＠

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3

.....
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tbllt.·
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ｾ＠
ｾﾷＭＮ＠
V
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- -
ｾ＠ -.-

Teddy Wilson-Style Arpeggios

The sweeping arpeggios that abound in this example and the Bb9#5 chord are t ypical
Wilson's style.
F9 Bº7 FL:
8va - - - - - - - - - - _____ _ - - - - - - - - - - - - - - - - - - - - - - - - - - - - ___ __ __ ______ ___ ,

Ili

Bb7/F Eº 7 Bb9/F Bb9#5 Eb6/9

 e rog ession iim7-#iiº7- I (Dm7-D#º7-C in the key of C major) was one of many venerable swin
ra -tions preserved by the beboppers.

C6

assing Harmonies #2
- serve how the right hand continues to outline the chord of Bb6 even though the left hand introduces
assing harmonies (Cm7 & C#º7).

Cm7 C# º 7 Bb 6/D Fl3b9 Bb 6

 Tritone Substitution
The substitution of a dominant 7th chord a semitone above the tonic, for the one a fifth
tonic, is one of bebop's most famous musical innovations. Here Bb7 is followed by the s
chord, E7, which then resolves to the tonic Eb. This device, known as the tritone substituri
named because the substitute chord (E7) lies a tritone away from the V (Bb). (Note: The t - ｾ＠
has the sound of an altered V without the root; for example, the notes of the E7 chord (E G::
the bS, b7, b9 and 3 rd of the Bb7 chord.)

Fm7 Bb7 E7 Ebmaj7

Chromatic Weaving
Observe the chromatic line that weaves through the ii chord in this example: C (bar 1 bea _
3), to Bb (bar 2, beatl ). The Bb then resolves to the A of the F7 chord. Also note the b9th and -;;n -
in the F7 chord- common in the bebop vocabulary.

.. - ..
Cm Cm(maj7) Cm7 F7b9 , 11
, .,
/
.
'-'V
Ｎｾ＠
k
1

...- ., .,
- -
"" - ｾ＠
ｾ＠

"-
ｾ＠
r---
- - -
L
,_ L

' - - '
r---
ｾ＠ - - - -
-

--i::::::: - 1
- ·-
1 tJ 3
1

3 3
1

e Ｇ Ｍｾ.. ｦｲ＠ -
\
- I
.. --:- ·-'
"
V
" ｾ＠

_,
'
- --;:
ｾ＠ :=-
Ｍ

--
ｾ＠

Bbmaj7 B7 Bbmaj7
' 1
,.. -
1 1
.... 1 1

- -
J
ｾ＠ ... - --11
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1
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1

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 ii-V-i ln Minor
Notice the right hand's superimposition of an Ab minar chord o 'er the G7 chord (shown with arro\\'S
The notes-Ab, B(Cb), and E!?- are, respectively, the b9, 3 and 13 of the underlying harmony.

• ,, .
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1
ｾ＠
Ll.
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Dm7b5
h. 1.-
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3
G7alt.

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- blllt.
V
ｫｾ＠

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b.. b.
- k-
.._
ｾ＠

t
k-
ｖｾ＠

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t
1

ｾ＠ ｾ［ＺＮ＠
.. .
,.. :; ,,_
ｾＺ＠
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.....
t:::: ir-
.,
ｾ＠

-· ｾ＠ ｾ＠
" -
--
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Cm6/9 -
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ｾ＠ 1
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-ｾ＠ ,_
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k
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Bebop Double-Time Riff

Virtuosic double-time playing was a bebop specialty. This example is also full of chromatic passing
tones and neighbor tones, typical of the period. Study them carefully!

Fmaj7 Bbm7 Am7

C7# 11 Fmaj7
-e-
 Unresolved ii-V
The second bar of this example contains an unresolved ii- V in the Neapolitan (bll)-a device
used by Miles Davis ("Half ･ｬｳｯｮＮｾ＠ Four;' etc.). The arrows show a hidden step-wise line filling
interval between the F in bar 1 and the Bb in bar 5.

Bbmaj7 C#m7 F#7 Cm7

t t

F#m7 F7b5 Bbmaj7

j\ " 1'-
- - ｾ＠ ... bf/I..
.-
-
1
I

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ｾ＠

V
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-
ｾ＠
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ｾ＠

t
.. ｾＺ＠ ｾ＠ -
,.. ... " - .
"
-
ｾ＠

Ｍｾﾷ＠
- .,
;:;
-
\ V

; ,

ii-V Tritone Substitution

ln bar 2, Bm7 precedes the tritone sub, E7 (Bm7 and E7 are the ii and V in A); if you e.a::
the V, why not bring the ii along for the ride!

Fm7 Bm7 E7

Ebmaj7
.,,_
1 .-
ｪｾ＠
ｾ＠

V
1
.... ,_ ....
-
ｾ＠ ., .... ' - ｾ＠
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V
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f/I..· llf_

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 Thelonious Monk-Style Riff #1
The dissonant semitones beneath the melody note F, the dramatic use of register, the voicing in 4
of the F6/9 chord, and the humorous use of the whole-tone scale in bar 3, establish a Thelonio
Monk- like sound in this example.

li j\
.
Frnaj7 F6/9
...
==
--- --•. ...
I
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l
I
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... ...
k -

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"
ｾＩ＠ -:- -:- -; -;

ｾ＠ 1

.. -. . ....-· - - -.
....
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k
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ti
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C7b5 F#7b5

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L__3 __j

Thelonious Monk-Style Riff #2

Though other pianists might have chosen these substitute dominant chords, the lean, angular voicings
and sharp, jabbing dissonances are typical of Monk.

Bbmaj7 #9 D b 13#9 C 13#9 B7b5 Bbadd9

F#l 3 - ._._
B bmaj7

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 RIFFS IN THE STY E E POST-BOP ERA

The Two-Fisted Style of George Shearing

This example is in the style of George Shearing. Diminished 7ths occur frequently in t his s ..
rootless 7b9 chords, and as supporting neighbor and passing chords.

m G7b9 Cm6 F7b9 Bb6 G7b9

Cm6 F7b9

The Block Chord Style of Erroll Garner

Erroll Garner's dense orchestral style is demonstrated here. When the right hand s a.:-
2, beat 2), the thumb almost always plays two notes a step apart (most typically, e -
of the chord).

m
Cm6 D7alt. G7b5 Cm6 ｄ ｾ＠

ｾ Ｍ Ｍ Ｍ Ｍ Ｍ Ｍ Ｍ Ｍ Ｍ Ｍ Ｍ Ｍ Ｍ Ｍ Ｍ

C7b9 Gb9#1 I Fm6 D7b9 G7alt. Bm6 Cm6

8•U ------ ------- -------------- ------- -- ------ ---- ---- --------------------------------
 The Block Chord Style of Red Garland
The block chord style of Red Garland was unique and ｾＮ＠ e. ote the two unresolved II-V's:
Ebm9-Ab9 (ii9-V9 in Db major), and C#m9- F#9 (ii9-V9 in B a· r -typical of the harmonic style of
Miles Davis's mid-'50s ensemble.

F#9 Cm9 Fl3 b9 Bb6/9

Shifting Triplets
One of the hallmarks of Bill Evans' swinging style is his varied placement of eighth-note triplets. ln
this example, eighth-note triplets occur on beat 2(bar1), beat 3 (bar 2), and beat 1 (bar 3). (Riffs 16
through 23 are all based on the style of Bill Evans.)

Cm7 F7alt. Bb 6/9

Ornamented ·i-V- Riff
Check out the series of descending thirds in the melody-Ab-F- 0-Bb (shown with ｡ｲｯ ｷｳＬＭ Ｌｾ Ｎ｟＠
which is preceded by a cambiata-a combined lower neighbor/upper neighbor figure.

Bb 13b9 Eb619

Melodie Analogy
Notice the melodie analogy between Eb- D-Db (bar 2) and G-Gb-F (bars 3-4). It is Ｍ ﾷｾ Ｍ Ｍﾭ
approach the b9 of V7b9 with the note a whole step above it. This note (here, the E.-
chord) is usually called the #9 of the chord, even though it is simply an upper neighb

Gm7 C13 ｃＷｾＱＳ＠ F6/9

Trademark Block Chords
Play the following close-position voicing of Dm7: AC D F. Drop the D down an octave and you will
have the first chord of this example. One of Bill Evans' pianistic trademarks was the block chord
treatment of seventh chords in this fashion.

Dm7 C0 7 G7alt. C6/9

Rising Arpeggios
Observe how the arpeggiation of Ebmaj9 in the first bar generates a succession of rising arpeggio
each a third higher than the one before it.

Eb6/9 Bb7bl3 Eb6/9 Bb 13# 11 Eb6/9

Faux Block Chords
Examine the characteristic use of quarter-note triplets here, as well as faux block chords, in whi
left hand's chords are struck simultaneously with almost every note in the right hand. The
and Dbmaj7 chords (bVImaj7 and bllmaj7) appear where one would have expected G7 (V7).

C6/9 A7alt. Dmll

L---3 -

l__3___J L__3___J L _ _ 3 --
Abmaj7 Db6/9 C6/9
Bva - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - · - - - - - - - - - - - - - - - - ,

Anticipated Arpeggios
ln bars 1-4, a progressively ascending six-note motive outlines the chords Cm9, Ebm9Cma·-
Abm9. Beginning in bar 3, the motive appears earlier and earlier in relation to ea
measure, intensifying rhythmic interest.

Cm9 Ab 13#11 Dm7b5

=
· - .li. '*

Ｎｮｾ ｾ＠
Cm6/9
ｾ＠ ｢ｾ＠ ....
li
,.,"' ,- ' ..
- -
t., _
,...
- ｾ＠

-
- J, ..
.. .....
ｾ＠
-

...
- .

ｾ＠
ｾ＠

'",;,I.. . ..L .L
- -" .ｾ＠
-
r

,, ﾷ ｾ＠
Dorian Riffs
This example is in G Dorian (G A Bb C D E F), the mode based on the second degree of the f rr:
scale (hence using the sarne key signature). The modal style was seldom "pure:' and often con --
references to bebop and the blues. For example, check out the F# lower neighbor tones in bars :
the bluesy Db's in bars 4 and 8, and the chrornatic neighbor and passing tones in bar 7.
Gm9 Am7/G Gm9 Am7/G Gm9 Am7/G
µ _._

::::::=::::
.-------

Gm9 D7#9/G
RIFFS IN THE STYLES OF THE '60S AND BEYOND

Herbie Hancock-Style ii-V-1

This example demonstrates one of Herbie Hancock's favorite left-hand voicings of the 13 cho
use of iº7 in bar 3 as a neighbor chord of Imaj7 is another common Herbie device. (Note thaL ｾ＠
in these examples often includes added major 7ths and 9ths, and other notes from the ｣ｦｵｾ Ｍｷ＠ ｾﾷＮＬ＠
scale.)
C13#1 I Bb 0 7 Bb 6/9

Herbie's Melodie Minor Modes

Herbie is fond of the melodie minor modes. ln this example, F melodie minor is ［･ｾ＠ - - - .n.:=--'1
Dm II b5, establishing the hip D Locrian ｾＲ＠ modality (O E F G Ab Bb C), and the G a.:. -
with the G altered dominant scale (G Ab Bb Cb Db Eb F), the seventh mode of

Dm l lbS G7alt.

Cº 7 Cm6
Herbie's Hallmarks
Many different harmonic devices we've studied are found in this example, including tritone
unresolved ii-V's in distant keys and melodie minor constructions. Study the subtle variations in -
bluesy inflections of bars 1 and 3, as well as the funky treatment of the 1 chord in bar 7.

013 Ab9 G9

L_ 3----'

013 Abm(maj7) Abm9

Om9 Omll C#m9 F#l3

j\
Fl3#9
- e ｾ＠
FI3# J l
- .
...
or ,
k
V - ｾ＠
-
..... .., ｾ＠

-
- -
1 ... r glissando
b_.! _.s:
,
'•
.. ｾ＠

V
.•
' .., ｾ＠

"' ..• '

ｾ＠
=
- .
Chick Corea-Style Lydian Ri
The superimposition of the F pentatonic scale (F G A C O) over the prevailing Eb major chord- a
Corea trademark-gives this example a bright, Lydian flavor (because of the ａｾ Ｍ ｴｨ･＠ #4 of .......
chord). Note the drone-like fifths in the bass, and the predilection for 4ths and 2nds in the lerr

Side-Slipping Riff
Check out the detour to Gb pentatonic in bars 2 and 4 (side slipping, shifting yo
lick up or down a half step, can be very dramatic and effective). Again, obsen "e
as well as the left-hand voicings in the 4ths.

F6/9 ''"tlfllt

F6/9
Chick-Style Dorian Riff #1
ln high-speed virtuosic playing, Chick often plays repetitive, easy-to-play digital patterns like th __
in the first two bars of this modal example. Note the contrary motion between the hands.

Chick-Style Dorian Riff #2

The brief detour to Db pentatonic in bar 6 provides additional tonal interest. ln the last bar one finds
the famous "So What" voicings, first heard on Miles Davis's Kind of Blue and played by count less
pianists on innumerable occasions since then.

Dm7 loco Db6/9

8va----- -- ---- -- ------- ------- ------- -- ----------- ---- ---- -- ---- ------ ---,

- Dm7

-
1\

°'"'V
b).,,_ ｾ＠ ,... 1
,.. ｾ＠
V ,_
- - ,.. -
k•
,...-
- - ｾ＠
ｾ＠
1
,,
ﾷｾ＠
-·
ｾＮ＠
1

-
l

v 1 \

.
...-_.
-,,...."..-..- .. hｾ
Ｎｾ＠
ｾ
..
ＮＬ＠
ＬＭＮ
,,,--.... ...-·
ﾷ＠
•
,_ ' ,,
ｾ＠
.,,
ｾ＠
=-
!-:
-·
,... •-
ｾ＠
"' '-,j :d "
 Chick-Style ii-V-
This example shows a Chie '- e ü- V-I progression; his use of carefully sel
pentatonics implies extend plied harmonies are in parentheses.) In bar ｾ＠
right hand plays notes from . - h function as the 175, 1713, 177 and #9 over the ·
A7 chord. ln bar 5 we find E V'-1.•l.aL.v•... o.- - e irnplied 06/9, establishing a Lydian flavor.

m (A7alt.)

Diminished Scale Pattern, Descending in 3rds

Like Herbie, Chick often treats the I chord initially as a diminished-seventh before fin
it. The five-note diminished scale pattern (shown in brackets) is sequenced in desce -
thirds; there is an analogous descent of the left hand's very typical voicing as welL

m Bb 0 7
J'
Bb6/9
 Pentatonic Constructs From The Diminished Scale
Observe the contrary motion (in successive minor 3 rds) between the hands in bars 2- 3. Examine
pentatonic formulations (shown in brackets) within this ascent: Ab pentatonic, B pentatonic.
pentatonic and Ab pentatonic, one octave higher than its original appearance in bar 2.

- .._
Gm9 D l3alt.
ｾ＠ ... _ ｾ＠
. - - .....
j 1 L -

- - - - - - ..,...- ,..
.. ...•
ｾ＠
,, -
,.. ｾ＠

-
ｾｖ＠ ｾ＠

,, 3
1 J
1 L
'

...
\
.....
,
: -..... -. ｾ＠
-
.... - .- .,
ｲｾ＠ -
71

"ｾ＠ " n
, , ·•
'4
ｾ＠

ｾＭ
- - .

Gm9
8va - - - - . - - ...•......... •.. ... . ______________ __ _____________ _____ ___ _______ _____ __ _,

, ｾ＠ﾷ
,, ｾ＠
1
"
1..-
......
... _ # ｾ＠
--
......
1..-
--
1..-
ｾＭ
-
t• - ｾＭ
-
jJ -
•
;:
,....
,..
-
,..
'
-.i 1 1 1 1
3 1 1 3 1

Ｃｾ＠
-...
'

1
, ..
"""'
:
.
- ., - ., == ! !
.. u
- ,
\

Keith Jarrett-Style Cadenza-Like Passage

There is much in the note selection of this example that might very well have been played by a
bebopper, which I leave for the reader to discover. Do note the Ab major triad in the right hand at the
very end of bar 2, a mild example of polytonality- a technique whichJarrett is fond of- as well as the
concluding maj7#5 chord-delicious and poignant, and often heard in his playing.

D7sus4 D7

G Gmaj7#5
8va ___ _____ _________ , loco
ﾷ ｾ｡Ｎ＠ til.
... - -- ,, -
,.... -
1
,, _,,.
,.... ·- ...._ #,.._ . # Ｍｾ ｾ＠ --
.... -

-
, ..- - ｾ＠
 Summary Solo
This extended solo, based on the chords frorn Charlie Parker's "Confirmation;· uses many of the r

and techniques we've been listening to and discussing. Bars 1-8 use materiais from the be ,. .
examples; bars 9-16 are in the style of Bill Evans; bars 17-24 are derived from the discussion of Her :=
Hancock's style; and bars 25-32 allude to the exarnples in Chick Corea's style (with a final, sl ,
from Thelonious Monk in the last 2 bars). See if you can identify them all, and be sure to think
exactly how and why they are effective at that particular mornent!

F6 Em7b5 A7alt. Dm7 C#m1 C -

,
•
..
"
ｾ＠

V
.. •
- ｾ＠
- - - -- ... ｾ Ｍ
., - -ｾ＠
-
ｾ＠
- "
"
lt. Ｎ ｾ＠ 1..- .Mo- #
- h-
li
_,.,--.__
.... ...
4! 1

.. -- . ＭＶＮｾＺ＠ ._ b... ｾ｡Ｎ＠

"' ｾ＠ .. ., .-
\
- I ｾ＠

V -
.,
-, .- .,
""'
.,
ｾ＠
., .. - .,
"
--
1

Bbmaj7 Bº7 F6/C D7 #1 I

G7#5 Gm7 C7# 11 Fmaj7

,
-
Ｎｾ＠
-- -.!__
ｾ＠ ,-3,-----i
.
-
ｾ＠

--V- 1

-
'

4!.
- V 1' .. - ｾ＠ ..-1
ｾ＠
- -
-
..J l i

1 - -
-J - .,...

--
1 l l
L..
ｾ＠ !

- ..
1 31

:. -- •
ｾＮＬＭＶ
.. ,...---._ ,..,.
" -
ｾ＠
- :.
\
/
; #.

A7alt. Dm6 Cm9 F13b9

 Bb6/9 Bb 13# 11 Al3b9 D7b5 D b6/9 Gbl3#Jl

L__3 _ _ J

Fmaj9 Db 13 Cmll F#m(maj7) Bl3

Bb6/9 Em7 Ebm7

-" ;;
'
ｾ＠
ｾ＠ b,-. 1*-
•
- ,_ .. _ - - -- -- --
1
V-

ｾＭ
1
"
"
-
ｾ＠
ｌｾ＠
"
-

-...i
.. _
VI""
- -
3

..... ｾ＠
ｾ＠
ｾ＠

-
- .,
V
ｾ＠

-
ｾ＠

<

ｾ＠ i t ｾ＠ ｾ＠ ｌ｢ｾ＠
1
\
ｾＭ
..
, ｾ＠

V
"
u
"
..
••
ｾ＠ ｾ＠

- ., V

-
r-

Ebmll Am(maj7) D13 Db 13 Gm9

 (A13b9)

(D6/9) (B6/9) (Bb6/9)

(D13b9) G9#ll F#7b5 F7#Llbl3

1 3---i

Writing this book has been a gratifying opportunity to reacquaint myself with the music of the grea::
artists represented in its pages. I hope it has been a worthwhile journey for you as well!
 Cherry Lane
Music
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