JAZZ FUNDAMENTALS

Jazz Piano, Theory, and More

Dr. JB Dyas
310-206-9501 • jbdyas@monkinstitute.org
 2

JB Dyas, PhD

Dr. JB Dyas has been a leader in jazz education for the past two decades. Formerly the Executive Director
of the Brubeck Institute, Dyas currently serves as Vice President for Education and Curriculum
Development for the Thelonious Monk Institute of Jazz at UCLA in Los Angeles. He oversees the
Institute’s education and outreach programs including Jazz In America: The National Jazz Curriculum
(www.jazzinamerica.org), one of the most significant and wide-reaching jazz education programs in the
world. Throughout his career, he has performed across the country, taught students at every level, directed
large and small ensembles, developed and implemented new jazz curricula, and written for national music
publications. He has served on the Smithsonian Institution’s Task Force for Jazz Education in America and
has presented numerous jazz workshops, teacher-training seminars, and jazz "informances" around the
globe with such renowned artists as Dave Brubeck and Herbie Hancock. A professional bassist, Dyas has
appeared with Jamey Aebersold, David Baker, Jerry Bergonzi, Red Rodney, Ira Sullivan, and Bobby
Watson, among others. He received his Master’s degree in Jazz Pedagogy from the University of Miami
and PhD in Music Education from Indiana University, and is a recipient of the prestigious DownBeat
Achievement Award for Jazz Education.
 3

Jazz Fundamentals

Text: Aebersold Play-Along Volume 54 (Maiden Voyage)

Also Recommended: Jazz Piano Voicings for the Non-Pianist and Pocket Changes

I. Chromatic Scale (all half steps)

C C# D D# E F F# G G# A A# B C
C Db D Eb E F Gb G Ab A Bb B C

Whole Tone Scale (all whole steps)

C D E F# G# A# C
Db Eb F G A B Db
___________________________________________________________________________________________________________
II. The Major Scale (all whole steps except between the 3rd & 4th and 7th & 8th notes)

1 W 2 W 3H4 W 5 W 6 W 7H8
C D E F G A B C (C major scale)

A B C# D E F# G# A (A major scale)

Eb F G Ab Bb C D Eb (Eb major scale)

note: all major scales go in alphabetical order; the first and last note are always the same (one octave apart)
___________________________________________________________________________________________________________
III. Key Signatures

C no sharps or flats

(Order of Flats: B E A D G C F) (Order of Sharps: F C G D A E B)

Mnemonic: “BEAD Greatest Common Factor” Mnemonic: “Fat Cats Go Down Alleys Eating Bananas”

KEY KEY
F 1 flat (Bb) G 1 sharp (F#)
Bb 2 flats (Bb, Eb) D 2 sharps (F# C#)
Eb 3 flats (Bb, Eb, Ab) A 3 sharps (F# C# G#)
Ab 4 flats (Bb, Eb, Ab, Db) E 4 sharps (F# C# G# D#)
Db 5 flats (Bb, Eb, Ab, Db, Gb) B 5 sharps (F# C# G# D# A#)
Gb 6 flats (Bb, Eb, Ab, Db, Gb, Cb) F# 6 sharps (F# C# G# D# A# E#)
Cb 7 flats (Bb, Eb, Ab, Db, Gb, Cb, Fb) C# 7 sharps (F# C# G# D# A# E# B#)
 4

IV. Major Scale Piano Fingerings (right hand)

“C” Fingering (1 2 3 1 2 3 4 5) -- Keys: C, G, D, A, E, B (right side of circle)

“Two-Black/Three-Black” Fingering -- Keys: F, Bb, Eb, Ab, Db, Gb (left side of circle)
note: The Key of B represents both fingerings.
___________________________________________________________________________________________________________

V. The Five Main Chord Qualities

Chord Chord Symbol Formula Notes in C Notes in A Notes in Eb

Major 7 C∆ 1357 CEGB A C# E G# Eb G Bb D

Dominant 7 C7 1 3 5 b7 C E G Bb A C# E G Eb G Bb Db

Minor 7 C- 1 b3 5 b7 C Eb G Bb ACEG Eb Gb Bb Db

Half Diminished CØ 1 b3 b5 b7 C Eb Gb Bb A C Eb G Eb Gb A* Db

Diminished Co 1 b3 b5 6 C Eb Gb A A C Eb Gb Eb Gb A* C

* technically, the b5th in the key of Eb is Bbb (B double flat)

Left Hand Chord Fingering: 5 3 2 1 Right Hand Chord Fingering: 1 2 3 5

___________________________________________________________________________________________________________

VI. The Ten Most Common Chord/Scale Relationships

Chord Scale Name Formula Scale Beginning On C*

C∆ Major major scale C D E (F) G A B C

C7 Mixolydian major scale with a b7 C D E (F) G A Bb C

C- Dorian major scale with a b3 and b7 C D Eb F G A Bb C

CØ Locrian notes from major scale ½ step higher C (Db) Eb F Gb Ab Bb C

Co Diminished (W/H) W H W H W H W H C D Eb F Gb Ab A B C

C-∆ Melodic Minor major scale with a b3 C D Eb F G A B C

C7alt Super Locrian notes from melodic minor scale ½ step higher C Db Eb Fb Gb Ab Bb C

C7b9 Diminished (H/W) H W H W H W H W C Db Eb E F# G A Bb C

C7#5 Whole Tone all whole steps C D E F# G# Bb C

C7 or C- Blues Scale 1 b3 4 b5 5 b7 1 C Eb F Gb G Bb C

* Three of these scales have “avoid tones” (indicated in parenthesis above), meaning they should not be included in the related chord.
That is, as a general rule, don’t include a 4th in a major 7 chord, don’t include a 4th in a dominant 7 chord (unless it’s a sus chord in
which the 4th replaces the 3rd), and don’t include a b2nd in a half diminished chord.
 5

Common Piano Voicings

Basic chord symbols are merely abbreviations for particular scales (the general horizontal sounds of the

symbols) from which the player may select notes to construct chords and/or improvise. These scales are by no

means the only ones that can be used for improvisation, however, they are the symbols’ most representative sounds.

The most common basic symbols are C, C7, C-, CØ, Co, C7b9, and C7alt, representing the general sounds of major,

dominant, dorian minor, half-diminished, diminished, dominant 7 flat 9, and dominant 7 altered, respectively.

The 3rd and 7th are the most representative notes of any chord or scale and “should” be included in every

voicing (except for a “sus” chord where the 4th is substituted for the 3rd). Common voicings usually contain at least

one other chord tone, extension, and/or alteration as well. Moreover, any or all notes from the related scale (except

for avoid tones*) may be used in the pianist’s chord voicing, depending on the player and the musical situation. A

typical C7 piano voicing, for instance, might be constructed Bb E A D G (b7 3 6 9 5) if the player is looking for a

relatively evenly spread two-handed chord or, perhaps, E A Bb D (3 6 b7 9) if looking for a left-handed close

voicing. Notice that all these notes come from C mixolydian, C7’s related chord scale. Also notice that the root is

not included. As the root is primarily the bassist’s responsibility, pianists and guitarists often omit the root when

comping to avoid redundancy. For unaccompanied solo piano playing, however, the root is included much more

often and generally voiced as the lowest note of the chord.

“Alt,” short for altered, refers to the raised and/or lowered 5th and 9th. In other words, the dominant 7

altered chord contains no regular 5th and no regular 9th, but instead, a flat and/or sharp 5th and a flat and/or sharp

9th. The difference between the dominant 7 flat 9 sound and the dominant 7 altered sound is that the former includes

the natural 5th and 6th while the latter does not. Thus, the related scale for C7b9 (half-whole diminished) is

comprised of the root, b9, #9, 3 #4, 5, 6, and b7: C Db D# E F# G A Bb C; the related scale for C7alt (super-locrian)

is comprised of the root, b9, #9, 3 #4, #5, and b7: C Db D# E F# G# Bb C (this scale is often enharmonically spelled

C Db Eb Fb Gb Ab Bb C, using the note names from its parent scale, Db melodic minor, of which C super-locrian is

the seventh mode). A C7b9 might be voiced Bb E G Db (b7 3 5 b9) while its C7alt counterpart would be voiced Bb

E G# Db (b7 3 #5 b9). Again, exactly which notes to use from these scales when constructing the chord is left up to

the player.

* Certain scales have “avoid tones,” meaning they should not be included in the related chord. For example, as a
general rule, don’t include a 4th in a major 7 chord, don’t include a 4th in a dominant 7 chord (unless it’s a sus
chord in which the 4th replaces the 3rd), and don’t include a b2nd in a half diminished chord.
 Piano Voicing Mnemonics 6

I. One-Handed Jazz Voicings for Major 7, Dominant 7, and Minor 7 Chords

A. Category A (3rd in the lowest voice)

Chord Quality Voicing Voicing in C Mnemonic

C∆ 3 7 9 &E wwwB D Look at root at the top and “spread out” (up a whole, down a half); 3rd in lowest voice

ww
&E bBb
C7 3 b7 9 w D Look at root at the top and “spread out” (up a whole, down a whole); 3rd in lowest voice

ww
&Ebb bBb
C- b3 b7 9 w D Look at root at the top and “spread out” (up a whole, down a whole); b3rd in lowest voice

B. Category B (7th in the lowest voice)

Chord Quality Voicing Voicing in C Mnemonic

C∆ 7 3 5 &B wwE G Look at triad and lower root a half step

w
C7 b7 3 6 &Bb wwE A Look at triad and “spread out” outer voices a whole step
bw
&Bb bEb
w
b ww
C- b7 b3 5 G Look at minor triad and lower root a whole step

Common LH Chord Fingering: 5 2 1 Common RH Chord Fingering: 1 3 5

(exception -- category B dominant 7 voicing: 1 2 5)
II. II V I Progression in Major

A. Chord Qualities
1. II chord is minor 7 (II-)
2. V chord is dominant 7 (V7)
3. I chord is major 7 (I∆)

B. Example in the key of C

& œ œ œ œ œ œ œ
1 2 3 4 5 6 7 1
1. C major scale: C D E C F G A B

1 2œ 3 4 5 6 7 1

2. II V I in the Key of C: D- G7 C∆

note: any 3 chords in a row progressing counterclockwise around the circle is a II V I in the key of the 3rd chord, e.g., C- F7 Bb∆ is a
II V I in Bb; F- Bb7 Eb∆ is a II V I in Eb; etc.

C. Good voice-leading: 3rd to 7th and 7th to 3rd

1. the 7th moves down a half step to become the 3rd of the next chord
2. the 3rd stays on the same note to become the 7th of the next chord

Note that to progress from a II- to a V7: only one note moves (the 7th of the II- moves down a half step to become the 3rd
of the V7); the other two notes remain the same
 Example 1: Category A to B to A 7
KEY OF C

±
w ww ww
&Eww
II- V7 I∆ D-
D- G 7G7 C C∆

w EB w
W
9 6 W 9 H
W D
b7 H 3 7 C H H
B
b3 b7 H 3 F F H E

KEY OF F

II- V7 I∆ G-G - CC7

7 F ± F∆
& ww ww ww G
bw bw w E
9 6 W 9 A H
A WW
b7 H 3 7 F H E H
b3 b7 H 3 Bb Bb H A
___________________________________________________________________________________________________________

KEY OF Bb

±
B b Bb∆
w w ww
II- V7 I∆ C- C - F7

&Db b ww
F7

bDAww w
W
9 6 W 9 H W C
b7 H 3 7 Bb H H A
b3 b7 H 3 Eb Eb H D

___________________________________________________________________________________________________________

Example 2: Category B to A to B
KEY OF C

II- V7 I∆ D-
D- G 7G7 C± C∆

& ww ww ww
5
b3
9
b7
W
H
5
3 wA
F H
A WW
F HH w
G
E w
b7 H 3 7 C H B B
___________________________________________________________________________________________________________

KEY OF F

± F∆
w b ww ww C
II- V7 I∆ G-G - CC7 F

& b ww
7

w w
W
5 9 W 5 D D HW
b3 b7 H 3 Bb H
Bb H A
b7 H 3 7 F H E E
___________________________________________________________________________________________________________

KEY OF Bb

II- V7 I∆ C- C - F7
F7 ±
B b Bb∆
&G b ww bEbGww ww
bw w w
5 9 W 5 WW F
b3 b7 H 3 Eb H
HH D
b7 H 3 7 Bb H A A
 8
IV. One-Handed Jazz Voicings for Half Diminished and Dominant 7 Altered Chords

A. Category A (3rd in the lowest voice)

Chord Quality Voicing Voicing in C Mnemonic

w C
b b wwBb
& Gb
CØ b3 b5 b7 R Eb
bw m7b5 chord in first inversion (b3 on bottom, root on top)

C7alt 3 #5 b7 b9 b bBb
E G# ww Db
& # ww think category A dominant 7 voicing, lower 9th (and add #5 which is a
whole step below the b7)

B. Category B (7th in the lowest voice)

Chord Quality Voicing Voicing in C Mnemonic

& bC b Eb
ww Gb
b ww
CØ b7 R b3 b5 Bb m7b5 chord in third inversion (b7 on bottom, “point” to root)

C7alt b7 b9 3 #5 & Db# wEw G#

Bb
b b ww think category B dominant 7 voicing, lower 6th (and add b9 which is a half
step above the root)

Common LH Chord Fingering: 5 3 2 1 Common RH Chord Fingering: 1 2 3 5

note: for Category B half diminished chord, use 5 4 2 1

V. II V I Progression in Minor

A. Chord Qualities
1. II chord is half diminished (IIØ)
2. V chord is dominant 7 altered (V7alt)
3. I chord is minor (I-)

B. Example in the key of C minor: DØ G7alt C-

C. Good voice-leading: 3rd to 7th and 7th to 3rd

1. from the IIØ, find the whole step interval in your voicing and “spread out,” i.e., the higher note moves up a half step
and the lower note moves down a half step (the other two notes remain the same), then you’re automatically on the V7
alt chord
2. from the V7alt, the b7 moves down a whole step; all other voices move down a half step
 9

ø
Example 1: Category A to B to A
KEY OF C MINOR

w b # wwwD#w b wwwD
& b Dwww
IIØ V7alt I- DDØ G 7G7alt
alt -
CC-

b wBb
H H
H H
R H b5 H 9 H HH
b7 H 3 H b7 C H B WH
b5 b9 H 5 Ab Ab H G
b3 b7 W b3 F F W Eb

ø
KEY OF G MINOR

IIØ V7alt I- AAØ DD7alt

7alt -
GG-

& b Awww # b #A#

www wwA
w w b wwF
H H
R H b5 H 9 HH H
H
b7 H 3 H b7 G H F# H
H
W
b5 b9 H 5 Eb Eb H D
b3 b7 W b3 C C W Bb

ø
Example 2: Category B to A to B
KEY OF C MINOR

IIØ V7alt I- DDØ G 7G7alt

alt -
CC-

& b Ab
ww bw
# wwwAb wG
ww b b wwEbw
b5 b9 H 5 H
WH
b3 b7 W b3 F H
H F HW
H
R H #5 H 9 D H D# H D
b7 H 3 H b7 C H B H Bb

ø
KEY OF G MINOR

b w bw b wwwDw
www # #Ebwww
IIØ V7alt I- A
AØ D
D7alt
7alt -
GG-

& Eb
H
W
b5 b9 H 5 H HH
H
b3 b7 W b3 C C H
W Bb
R H #5 H 9 A H A# H A
b7 H 3 H b7 G H F# H F
 5
10
Common Two-Handed Piano Voicings
(two notes in the LH, three notes in the RH)**

Symbol Scale Name Scale Two-Hand Voicings* Mnemonic 5

& 5 www
A
C D E(F)G ACommon Two-Handed Piano
A D GVoicings
œ œ
C Major BC A 3 6 9 5 R (E C) RH pinky on the root, come down in 4ths
&avoid tone:œ4thœ(F)œ
œ œ œ
(two
( )
notes in the LH, three
R notes in the RH)**
in both hands

A 3 6 9w
? 63 w5 7 (E A D G B)
avoid tone: 4th (F) 9
Symbol Scale Name Scale Two-Hand Voicings* Mnemonic
same as above - just lower top note � step5
C Major C D E(F)G A B C A 3 6 9 5 R (E A D G C) RH pinky on the root, come down in 4ths
Common
avoid tone: 4th (F)
Two-Handed Piano
B 7 3 6 9 5 (B E A D Voicings
G) RH pinky on the 5th, come down in 4ths
in
in both
both hands
hands
A three notes in the RH)**
(two notes in the LH,

Symbol Scale Name Scale & www

A 3 6 79 5 7Voicings*
Two-Hand
5
(E A D G B) same
Mnemonicas above - just lower top note � step

? 6 ww Piano Voicings
C7 Mixolydian C D E(F)G A Bb C A 3 b79 9 5 R (E Bb D G C) RH pinky on the root, come down in 4ths5
C Major
5th mode of maj C D E(F)G
avoid tone: A
4thB(F)
C A 73 36 69 95 5R (B
B (E E
AADD
G G)
C) RH
RH
in RH;
pinky
pinky on the 5th,
3 &onb7thein root,
come down in 4ths
LH come down in 4ths
Common
avoid tone: 4th (F) Two-Handed in both hands
3 in both hands
(two notes in theBLH, b7 3three 6 9 5notes
(Bb EinAthe D G)RH)** RH pinky on the 5th, come down in 4ths

ww
A 3B6 9 5 7 (E A D G B) in
sameRH;asb7 & 3 in
above LHlower top note � step
- just
7 pinky on the root, come down in 4ths5

& w
C
Symbol Mixolydian
Scale Name C D E(F)G A Bb C
Scale A
Two-Hand 3 b7 9 5 Voicings*
R (E Bb D G C) RH
Mnemonic
5
5th mode of maj avoid tone: 4th (F) B 7 3 966 9 5 (B E A D Voicings
G) in
RHRH; pinky3 &onb7thein 5th,
LH come down in 4ths

w
Common Two-Handed RPiano

? w
C-
C Dorian
Major Eb F GAABBb
C D E(F)G CC A 3b36b7 9 59R5 (E (Eb
A DBbG C) D G C) RH pinky
in both hands on the root, come down in 4ths
2nd mode of maj avoid tone: 4th (two
(F)notes in theBLH, b7 3three 6 9 5notes
(Bb EinAthe D G)RH)** RH pinky on the 5th, come down in 4ths
3 RH ; hands
in both b3 & b7 in LH
7 in RH; b7 & 3 in LH
Symbol
7 Scale Name Scale Two-Hand Voicings* Mnemonic
C Mixolydian C D E(F)G A Bb C B b7 b3
A 3 6b799557R(E(EABb 5 R 4 (Bb DGEb G
D B)
G C)C F) “point”
same
RH pinkyas to R inthe
above
on -RH
just and
root, lowergo up
come top anote
down4thinand step
�4ths
5th mode of maj avoid tone: 4th (F) down
in RH; a 4th; b7
3 &onb7the & b3
in root, in LH
LH come down in 4ths
C
C- Major
Dorian C D E(F)G
Eb F GA ABBbCC A 3b36b7 9 59R5 (E R (EbA DBbG C) D G C) RH pinky
avoid tone: 4th (F) B 7 3 6 9 5 (B E A D G) RH pinky on the 5th, come down in 4ths 5
2nd mode of maj in both; hands
RH hands
b3on& the
b7 in LHcome down in 4ths
B b7 3 6 9 5 (Bb E A D G) in
RHbothpinky 5th,
ø
C Locrian C(Db)Eb F Gb Common Two-Handed
Ab Bb C R b5 b7 b3 b6 Piano
(C Gb
GVoicings
Bb Eb Ab) in RH;
think A b7 & 3
voicing in ofLH dominant 7 chord up a

ww
B 3b76A
A b39 557R(E A DEb
4 (Bb B)
G C F) same
“point” as toaboveø -RH
R in justand lower topanote
go up 4th and� step

œ bœ œ &
7th mode of maj avoid tone: b9th (Db)
(two notes in the LH, three notes in the RH)** raised 5th (C = Ab7)
&Cœ D œE(F)G )A œBb C
œF G( œ4th
w
7 down a 4th; b7 & b3 in LH
C Mixolydian A Bb C A 3 b7R 9 5 R (E Bb D G C) RH pinky on the root, come down in 4ths
B 7 3b7 6 9 55(B E ABb D G) RH pinky on the 5th, come
comedown inin4ths
4thsa5
R 459b79b3

? ww
b
C-
Symbol Dorian
5th mode
Scale Nameof maj C D Eb
avoid
Scale tone: (F) b5 b3
A
Two-Hand R(Gb(Eb
Voicings* C F Bb DG C)
Eb) RH
in pinky
RH;
think
Mnemonic &onb7the
B3hands
voicing inofroot,
LH dominant down
7 chord up
2nd mode of maj avoid tone: 4th (F) in both ø
ø raised
in RH 5th
; b3 (C
& b7= Ab7)
in LH
C
C
Locrian
Major
C(Db)Eb F Gb
C D E(F)G A B C
Common
Ab Bb C Two-Handed R
B b5
A
b7b7b3 b6Piano
3b76339659R5(E
(C Gb
(Bb A ED A
BbVoicings
GD
Eb Ab)
C)G)
think A voicing of5th,
RH pinky onøthe root,come
dominantdown 7 chord up a
come downinin4ths 4ths
7th mode of maj avoid tone:
avoid tone: 4th (F) (two
b9th notes
(Db) in the LH, three
B b7 b3 5 R 4 (Bb Eb G C F) notes in the RH)** raised
in RH;
“point” 5th
b7 (C
& 3 =
in Ab7)
LH
to R in RH and go up a 4th and
C 7 Mixolydian C D E(F)G A Bb C A 3 b7 9 5 R (E Bb D G C) in both hands
RH pinky on the root, come down in 4ths

ww
o Diminished C D Eb F Gb down a 4th; chord
b7 & b3 in on
LHthe bottom;
C
Symbol 5th mode
Scale Nameof maj avoid
Scale tone: 4thAb(F)A B C aTwo-Hand
b5tritone R B 4 b7in b3
each hand
Voicings*
(Gb C Fwith a
Bb Eb) start
in RH;on
Mnemonic
think B3any & b7 inofLH
voicing tone
dominant 7 chord up a

w
A 3 6 3rd9 5between
7 (E A D G B) same aas above - just it, lower
thentop note � step

&
(whole-half) minor hands play
raised tritone
5th
øabove
(C the= Ab7) skip a minor
C- Dorian C D Eb F G A Bb C A b3 b7 5 9 5 R (Eb Bb D G C) RH pinky on root, come down in 4ths
Cø Major C D E(F)G A B C (e.g.,
B
A b7
3 6C399Gb
65 9R A
5(E Eb)
(Bb A ED AG DC)G) 3rd
RH between
pinky on hands;
the 5th,
root,thencomeplay
come a tritone
down
down inin 4thsin
4ths

w
C 2nd mode of maj
Locrian C(Db)Eb F Gb Ab Bb C R b5 b7 66b3 b6 (C Gb Bb Eb Ab) in RH
think A ;b7
b3 &3the
voicingb7inofin LHcome down
dominant 7 chord up a

? bw
avoid tone: 4th (F) B 7 3 9 5 (B E A D G) RH
the
in pinky
RH
RH; on
& 5th,
LH in 4ths
in
in both
both5th hands
hands ø
7th mode of maj avoid tone: b9th (Db) 3 raised (C = Ab7)
Co Diminished C D Eb F Gb Ab A B C B
a tritone b7 b3 b7 in5 each
R 4 (Bb handEbwithG Ca F) “point”
start on to anyR chord
in RHtone and on go the
up abottom;
4th and
(whole-half) A
minor 3 6 3rd9 5between
7 (E A D G B)
hands same
down
play aas
a above
4th;
tritoneb7 -&just
above b3 lower
in
it, LH
then top note
skip � step
a minor
C7sus4
C- Dorian
Mixolydian CD Eb FGGAABb
D(E)F BbCC b5
b7 b3
A R
4 64b79b759b35 R(Gb
(Bb F(EbACBb
DF G)
Bb
DG Eb)
C) think
RH B
A voicing
thinkpinky on theof
voicing
ø
dominant
ofroot,
minor come 7 chord
down
7 chord upin aup
4thsa
5th
7 2nd modeof
Mixolydian ofmaj
maj C D E(F)G (e.g., C Gb A Eb) 3rd
raisedbetween
5th (C hands;
= Ab7) then play a tritone in
C 5th mode avoid tone: A 3rdBb(E)C A 3 b7 9
B 7 3 6 9 5 (B E A D G)5 R (E Bb D G C) RH
in
RH
(C7 RHpinky
sus4; b3
pinky on the
& the
= on
G-)b7 in root,
5th, come down
LHcome down in 4ths in 4ths
5th mode of maj avoid tone: 4th (F) the RH
in both
RH; 3hands
& b7 in LH
ø in
C Locrian C(Db)Eb F Gb Ab Bb C R b5 b7 b3 b6 (C Gb Bb Eb Ab) think A voicing of dominant 7 chord up a
B
4 b7 b79b35 R5 (F R 4Bb (BbDEb G C)G C F) “point”
think B to R in
ø RH
voicing and go7 up
of minor a 4th
chord upand a 5th
o
C7sus4 7th mode
Diminishedof maj avoid tone: b9th
C D Eb F Gb Ab A B C (Db) B b7 3 6 9 5
a tritone in each hand with a(Bb E A D G) raised
RH
down ona5th
pinky
startsus4 any(C =&Ab7)
onchord
4th; b7the 5th,
b3tone come
in LHthe
on down in 4ths
bottom;
Mixolydian C D(E)F G A Bb C b7 4 63rd9 5between
(Bb F Ahands D G) (C7
think = G-)
C7 (whole-half)
Mixolydian C D E(F)G minor in
playRH;aAtritone
voicing
b7 inofLH
& 3above minor
it, come7 chord
then skip aup
minora 5th
C 5th mode of maj avoid tone: A 3rdBb(E)C A
b5 3R b74 9 5b3R (Gb
b7 (E Bb C FDBb
G C)Eb) RH
think pinky
sus4
B on theofroot,
voicing dominant down
then play a tritone ina
7 chord in up4ths

ww
5th mode of maj avoid tone: 4th (F) (e.g., C A Gb A Eb) (C7
3rd
in between
RH; 3 =& G-)
hands;
b7 in LH
b œ CCœ
ø

A œBbAœCBb
&
ø raised 5th (C = Ab7)
& œ
the RH
b œ
w
C Locrian C(Db)Eb EbFEFGF# GbGAb Bb R b5“diminished”
b7 b3 b6 (C Gb Bb Eb Ab) think A any
voicing of tone
dominant 7 chord up a
œ
Diminished C
C Db any voicing D from start on onchord but the rootin(i.e.,
œ
C7b9 Dorian D Eb b39b7 9 (F
5 RBb (Eb Bb G C) RH pinky
C- A
4B b7 R5 R D G C) think B øtheof
voicing root,
minor come down
7 chord up a4ths
5th
7th mode of
(half-whole) maj avoid tone: b9th (Db) any b7 3
chord
5 6 9 5
tone (Bb
but E
theA D
rootG) RH
raised
3, 5,pinky
b7,5thoron
(C the
b9); = 5th,
Ab7)
play a come
tritonedown
above in 4ths
it,

? b ww
b
2nd mode of maj 9 in RHsus4;b7
b3 &
e.g., 3 b7 b9 5 (E Bb Db G) (C7
in
thenRH;skip =a& 3b7ininLH
G-)
minor 3rdLHbetween hands; then
Co7sus4 Diminished
Mixolydian CD Eb FGGb
D(E)F A AbBb ACBC ab5
b7tritone 4 64b7
R in
9b7 each
5 b3
(Bb Fhand
(Gb AC DFwith
G) a
Bb Eb) start
play on
think any
Atritone
aB chord
voicing thetone
in of RHon7the
minor
dominant 7 bottom;
chord
chordup aup5th a
(whole-half)
5th mode of maj avoid tone: 3rd (E) B
minor b7 b3 b3 5between
3rd R 4 (Bbhands Eb G C F) “point”
play a
sus4 to R in
tritone RH and
øabove it, go up
then a 4th
skip and
a minor
raised
(C7 5th= (C
G-) = Ab7)
C7b9
C- Diminished
Dorian CD DbEb EbFEGF# AG BbACBb C (e.g.,
anyb3
A Cb7Gb9 5AREb)
“diminished” (Ebvoicing
Bb D from
G C) down
3rd
RH ona 4th;
startbetween
pinky b7the&root,
hands;
anyonchord b3tone income
then LH
play
but thearoot
downtritone in
in(i.e.,
4ths
(half-whole) any chord tone but the root the
3, RH
5, b7, or b9); play a tritone above up it,
ww
C7alt 2nd
Supermode of maj
Locrian C Db Eb Fb Gb Ab Bb C 4A b7 3 b7 9 5#9R #5 (F b9
Bb(EDBb G C)
D# G# Db) in RHA
think B; b3
voicing
& b7of in minor
LH 7 chord
dominant 7 chord aand
5th
o e.g., 3 b7 B b9 5 (E Bb Db G) thensus4
skip a minor 3rd between hands; then

& w
C ø 7th mode of mel min C D Eb F Gb Ab A B C
Diminished aRtritone in each hand with a �����
start
(C7 RHany
on =up � steptone on the bottom;
chord
G-)
C Locrian C(Db)Eb F Gb Ab Bb C B b5 b7
b7 b3 4 b3 b6 (C Gb Bb Eb Ab)
5between
R 4 (Bbhands Eb G C F) play
think
“point”aAtritone
voicing
to R in inRHthedominant
of RH go up7achord
and 4th and up a
(whole-half) minor R
3rd play a tritone øabove it, then skip a minor

bw
7sus4 7th mode
Mixolydianof maj avoid tone:
C D(E)F G A Bb C b9th (Db) b7 4 6 59#55 (Bb F A D G) raised
think 5th (C = Ab7)
C 3rd between hands; then play a tritone 5th
A voicing of minor 7 chord up a

? bw
B b7 3
(e.g., C Gb A Eb) b9 b5 (Bb E G# Db Gb) down
think Ba 4th; b7
voicing &of b3 in
dominant LH 7 chord and
in
5th mode of maj avoid tone: 3rd (E) ����� sus4
C7b9
7alt Diminished C Db Eb E F# G A Bb C any b3
“diminished” voicing from (C7
the
startRHonRH = down
any G-)
chord � tonestep but the root (i.e.,
Super Locrian C Db
andEb in Fb Gb Ab Bb C C7+9b5 = 3R b74b7b7 b3
#5 (Gb
#9tone b9 C Bb
F Bb
D# Eb) think B A voicing of dominant 7 chord up anda
C
Note: In the Jamey Aebersold books
(half-whole) ������ �������, A
any C7alt
chord but(Ethe root G# Db) 3, 5, b7, or b9);
ø play a tritone above it,
ø 7th mode of mel min raised
����� RH5th (C
up � = Ab7)
step
C Locrian C(Db)Eb F Gb Ab Bb C 4
R b7
e.g., 9 5 R
b53b7b7b3b9b65(C(F Bb(E GbD G
Bb Bb C)
DbEb G)Ab) think B voicing
A a minor 3rd
then skip of minor
dominant 7
between chord up
7 hands;
chord up a 5th
a
then
7sus4 7th mode of maj avoid tone: b9th (Db) play
(C7
raisedsus4
a tritone
5th=
ø
G-)
(C in
= the
Ab7) RH
C Mixolydian C D(E)F G A Bb C b7 4 6 9
b7 chords 5 (Bb
3 #5 b9have F
b5 (BbA D G) think A voicing of minor 7 chord up a 5th
* “Category A” chords have the 3rd in the lowest voice; “Category B B” the E
7thG#inDb
theGb) think B voicing of dominant 7 chord and
lowest voice.
5th mode of maj avoid tone: 3rd (E) (C7
����� sus4
RH = down
G-) � step
**o All voicings
C have five notes withC the
Diminished D Eb exception
F Gb AbofAthe BC diminished and
ab5tritone dominant
in each 7b9
hand
R 4 b7 b3 (Gb C F Bb Eb) voicings
with a which have fouron
start
think B(two
any notes
chord
voicing ofintoneeach
dominant onhand)
the7 bottom;
chord up a
Note:
7alt In the Jamey Aebersold
(whole-half) books and in ������ �������, C7+9 =
minor C7alt3rd between hands play a tritone ø above it, then skip a minor
C7b9
C Diminished
Super Locrian C Db Eb E F# G A
Fb Gb Ab Bb C Bb C any
4A b7 “diminished”
3 b7 9 5#9R #5 (F b9 voicing
Bb(EDBb from
D# G# Db)
G C) start
raised
think B
think on
A5thany chord
(C = of
voicing
voicing Ab7)
of tone
dominant
minor but
7 the root
7 chord
chord up(i.e.,
aand
5th
(half-whole)
7th mode of mel min (e.g.,
any chordC Gbtone A Eb)but the root 3rd
3, between
5,sus4
����� b7,
RHorupb9);hands;
� playthen
step play aabove
a tritone tritone it, in
e.g., 3 b7 b9 5 (E Bb Db G) (C7RH
the
then skip=aG-)minor 3rd between hands; then
* “Category A” chords have the 3rd in the lowest voice; “Category B” chords have the 7th in the lowest voice.
o b7 3 #5 b9 b5 (Bb E G# Db Gb) play
think aBtritone
voicing in of
thedominant
RH
** All voicings
C have five notes withC the
Diminished D Eb exception
F Gb AbofAthe BC diminished B and dominant
a tritone in each 7b9 handvoicings
with a which have fouron(two
start any notes
chord intone
each the7 bottom;
onhand) chord and
����� RH down � step
 C
Symbol MajorName
Scale C D E(F)G A B C
Scale A 3 6 9 5 RVoicings*
Two-Hand (E A D G C) RH pinky on the root, come down in 4ths5
Mnemonic
C7 Mixolydian C D E(F)G
avoid tone: A 4thBb (F)C B 3b7b7b3955RR4(E(Bb
A BbEbD G C)C F) “point”
RH pinky to on
R intheRH root,andcome go updowna 4thinand 4ths
B b7
7 3 36 6 9 9 5 5(B(BbE EA DA G)
D G) in
RH
downboth a3hands
pinky 4th;onb7
b7 the&5th,
b3 in come
LH down in 4ths
C- 5th mode of maj
Dorian
Major avoid
C D Ebtone:F
C D E(F)G ACommon G4th
A Bb
BC (F) C A
Two-Handedb3
A 3 6 9 5 R (E b7 9 5 R (Eb
Piano Bb D
C)G C)
A D GVoicings in
RH
RH RH;
pinky
pinky & on
on in
the LH
root, come down in 4ths
C RH;
in both b7
hands& 3the in root,
LH come down in 4ths
2nd mode of maj (two (F)notes in theALH, 5
avoid tone: 4th 3 6 three 9 5 7 (E notesA DinGtheB) RH)**in
in RH
samebothas; hands
b3 & b7- just
above in LH lower top note � step

& b b ww
B b7 3 6 9 5 (Bb E A D G) RH pinky on the 5th, come down 11 in 4ths
C œTwo-Handed
BbCC b œ
&C(Db)Eb Gbb œAbb œBb
b œF Gœ(two
ø
F Common Piano Voicings
D( b œEb
in RH;Ab7 & 3 in LH
œD
bw
C Locrian R b5
b7 b7b3 b3 5 b6R 4(C Gb
(Bb Bb
Eb GEbG
C Ab)
F) think
“point” voicing of5th,dominant 7achord up a
Symbol
C-
C7
Scale Name
Dorian
Mixolydian
Scale
C
C E(F)G
)tone: A ABb B
Two-Hand
A b3
A 733 3b7
6b7 69b6 Voicings*
99595575R(B
R
(E EBb
(E(Eb
A A D
DBb
GD G)
D
B)
G C)C)
Mnemonic
RH as to
samepinky
RH pinky
R in
on
above
on øthe-RH
the root,
just and
root,lower
go up
come
come
cometopdown
down 4thininand
note
down in�4ths
4ths
step
4ths
7th mode of maj avoid b9th notes in the LH,
(Db) threeb3 notes in the RH)** raised
down 5th
a hands (C = Ab7)
4th; b7 & b3 in LH

? b ww
2nd mode of maj
5th mode of maj avoid tone:
avoid tone: b9th
4th(Db)(F) in both
RH ;3b3&&
in RH; b7b7ininLH LH
C Major C D E(F)G A B C A 37 63 96b759 R 55(B(E E AA DD G G)
C) RH
RH pinky
pinky on on the 5th,
root,come comedown downinin4ths 4ths
C-
Symbol Dorian
Scale Name C D Eb F G A Bb C
Scale
B
A
Two-Hand
b5 b3
R 4b7b7 b5 b3
9Voicings*
R(Gb(EbC Bb DG
F Bb C)
Eb) RH
thinkpinky
Mnemonic B voicingon thetheofroot,
dominantcome down7 chord in up4thsa
avoid tone: 4th (F) in both hands
ø 2nd mode of maj B b7 3b3R659R5 4(Bb (BbE Eb
AD G G)
C F) “point”
RH
in RHpinky
; to
b3 R&in
on øthe
b7 RH 5th,
in and
LH go up
come downa 4thinand 4ths
C7 Locrian C(Db)Eb FAGb AbCBb C R b5 b7 b3 b6 (E (C Gb Bb raised 5th (C = Ab7)
Mixolydian
Major CCDDE(F)GE(F)G A BBb C AA 336b79 59 R5 R (E A Bb D GDC)GEbC)Ab)
RH
think
RH
down
in RH; A
pinky
pinkyab7 voicing
4th;
onon
&b7 3the
the &ofroot,
in b3
LH dominant
income
LH down 7 chord in up4thsa
C ø root, come down in 4ths

bw
7th
5th mode of maj avoid tone: b9th 4th (Db)
(F) A 3 6 9 5 7 (E A D G B) same
in RH;as
raised 3above
5th &(Cb7 =in - Ab7)
just
LHlower top note � step

& b ww
avoid tone: 4th (F) B b7 b3 5 R 4 (Bb Eb G C F) in“point”
both hands to R in RH and go up a 4th and
C7o Mixolydian C D E(F)G A Bb C A 3 b7 9 5 R (E Bb D G C) RH
down pinky
a 4th;onb7 the&root,
b3 income LH down in 4ths
ø 7b7 b3
C
C- Diminished
Dorian
5th mode of maj
Locrian C D Eb
avoid
C(Db)Eb tone: Gb
F FG AAb
4th
Gb Bb(F)ACBb
Ab B CC aBtritone
b5
A R 3b7
b3 36b7
4b7 b7 999b3
6in 5each
55(B(Bb
R(GbEhand
(EbEABb
C D G)
Fwith
A D
Bb a C)
D G)
Eb)
G start
think
RH
in RH; on
B
pinky any
3voicing
&onb7chordinof
the 5th,
tone come
dominant
root,
LH come down
on the 77bottom;
chord
down inin4ths
up
up aa
4ths
C AR b5 b3 b6
(E (CA Gb GBbB)Eb Ab) think A voicing of dominant chord

w
(whole-half)
2nd mode of maj 3
minor 3rd 6 9 45 7between Dhands same
in both
playRH;
raised as
a above
hands
tritone
b7
5th &
(C
ø - just lower top note � step
ø3above
=in LH
Ab7) it, then skip a minor

? bw
7th mode of maj avoid tone: b9th (Db) in RH 5th
raised ; b3(C & b7 in LH
= Ab7)
ø (e.g.,
B b7C3 R Gb6 9A Eb) E A D G)
5 (Bb 3rd
RH between
pinky onhands; the 5th,then comeplaydowna tritone
in 4ths in
C Locrian C(Db)Eb F Gb Ab Bb C BR 7b53 b7 6 b59b35 b6 (B (C E Gb
A DBb G)Eb Ab)
RHthink
the A
pinky
RH voicing
on the of
5th, dominant
come down 7 chord
in 4ths up a
b5 b7
B R 4b3b75b3 R 4(Gb (BbCEb GC
F Bb F)
Eb) in RH;
“point” b7
to &
R in 3
ø RHin LH and go up7achord 4th and
7 7th mode of maj
Dorian avoid
C D Ebtone:F Gb9th
A Bb (Db)
C b3 b7 9 5 R (Eb Bb D C) inthink
G C) RHboth
raised B5th
pinky
voicing
hands (C
onb7 = of
øthe Ab7)dominant
root,
up a
C-
Co
C Mixolydian
Diminished C
CDD E(F)G
Eb F Gb A AbBb A CBC A
A
a tritone 3 b7 9in5each R (EhandBb D G
with a RH
startpinky
down
raised ona5thanyon
4th; the
(Cchord root,
=&Ab7)b3tone income
LHthedown
come
on down
bottom;
in
in 4ths
4ths
2nd modeof
5th mode ofmaj
maj avoid tone: 4th (F) in RH; ;3b3&&
RHa tritone b7b7 ininLH LH
(whole-half) minor
b5 R 3rd
4b7 between Chands play above it, then skip a minor
C-7sus4
C Dorian
Mixolydian D Eb FGGAABb
C D(E)F BbCC A
b7
(e.g., b3
4 6C 9b7
Gb 59b3 5AR(Gb
(Bb F(Eb
Eb) A DF G)
Bb Bb
DG Eb)
C) think
RH
think B
A voicing
pinky
3rd between voicing theof
onøhands; dominant
ofroot,
minor
then come 7 chord
down
7 chord
play up
a tritonein aup
4ths a
5th
in
C7ø
B œCC œ
& bw
Mixolydian
2ndmode
modeofofmaj
maj Cavoid
D E(F)G A Bb C A 3 b7 9 5 R (E Bb D G C) RHraised
pinky 5th on(C the = Ab7)
root, come down in 4ths
bAb
œ An œBb
5th tone: 3rd (E) B b7 3
b3 6 59 R5 (Bb
4 (BbE A
Eb D
G G)
C F) RH pinky
sus4
“point” = on
to R&inthe
b7RH 5th, and come
go updown 4thinand
7achord 4ths
&avoid b œ œ b9thb œ (F)
in
the
(C7 RH
RH ; b3 G-) in LH
Co
C Locrian C(Db)Eb F FGb
GbAb R b5 b7 b3 b6 (ChandGb Bb Eba Ab)
inthink A voicing in&of dominant up a
œ œ tone:
Diminished
5th mode of maj C D Eb tone: 4th a tritone in each with start
RH; ona3b7any
&& b7chord LH tone in on
LHthe bottom;
w
in
downRH; 4th; ø3 in
b7 LH
b3
7th mode of maj
(whole-half) avoid (Db) minor 3rd between hands raiseda 5th
play tritone(C above
= Ab7)it, then skip a minor

? b ww
4B b7 b79b35 R5 (F R 4Bb (BbDEb G C F)
G C) “point”
think B to R in RH
voicing and go7 up
of minor a 4th
chord upand a 5th
o Diminished C B(e.g.,
b7 3C 6Gb A(Bb
9 5each Eb) E Awith
D G)a RH3rd between
pinky hands;
on chord
the 5th, then
come play
down abottom;
tritone
in 4thsin
C
C7sus4 Mixolydian CDD(E)F Eb FGGb A AbBb A CBC ab7tritone
b5 4 64 9b7
R
in
5 b3(Bb(Gb Fhand
AC DF G)
Bb Eb)
start
down
(C7
think
on
sus4
A
B
any
a 4th;
= b7 &
G-)
voicing of b3tone
minorin on
dominant LH7 the
chord
7 chordup a 5th
C- ø Dorian
(whole-half)
Locrian C D Eb F FGGb
C(Db)Eb A Bb CBb C A
minor b3b7 b7
3rd b39between
5 R(C (Eb Bb
BbDEbGAb)
hands inthe
C) RHRH;
play RH b7
pinky
aA &on3 the
tritone in LH
øabove root, it, come down
then skip in up
a minor 4ths a
C 5th mode of maj avoid tone: 3rd Ab (E) R b5 b6 Gb think
(C7 sus4
raised 5thvoicing
= (C
G-) = of
Ab7) dominant 7 chord up a
2nd mode of maj (e.g., C Gb A Eb) 3rd
in between
RH ; b3(C &øhands;
b7 in LH then play a tritone in
7th mode of maj avoid tone: b9th (Db) raised 5th = Ab7)
ø the RH
C7sus4 Locrian
Diminished C(Db)Eb
CC EF F#
GbGAb Bb C R b5“diminished”
b7 b3 (F b6 (C Gb BbDC)Eb Ab) think A voicing of tone
dominant 7 chord aup a
C7b9
C- Dorian CDDb EbEb FG A
A BbBb A C Bb C
C Aany
4 b7 b3
4 b7 69b395 95R55(Bb
R Bb
(Eb voicing
DBb G Gfrom
C) RHstart on
B any
pinky on chord
voicingthe root,
of minor comebut
7 the
down
chord rootin (i.e.,
up 4ths 5th

ww
C Mixolydian D(E)F G b7
B b7 F(Bb
R 4(Gb A D
Eb G)GC F) think
“point” A to Rb9);
in
ø RH and go up7above
achord
4th and
o (half-whole)
7th
2nd mode
mode of
of maj
maj avoid tone: b9th (Db) b5
any Rchord 4 b7 tone b3 but CtheFroot
Bb Eb) think
3, 5,
raised B5th
b7,
sus4 voicing
or (C = of
play
Ab7)dominant
a tritone up a
it,
C 5th mode of maj
Diminished avoid
C D Eb tone:
F Gb 3rdAb(E) ABC a tritone in each hand with a RHsus4
instart
(C7 ;ab3
on =&
any b7
chord
G-) in b3LH
tone on LHthe bottom;

& w
œ
down 4th; ø &
b7
(C7 = G-) 3rdinbetween
œ b œ
e.g., 3 b7 5 b9 5 (E Bb Db G) raisedskip
then 5th a(Cminor = Ab7) hands; then
C7sus4 (whole-half)
Mixolydian & œ œ (œ) œ œ
C D(E)F G A Bb C minor
b7 4 6 3rd
9 5 between
(Bb F A hands
9 b3 (Gb C F Bb Eb) D G) play
think aAtritone
voicing above
of it, then
minor skip aup
7 chord minoraup5th

w
B b5 R
b7 b3 4 b75 R 4 (Bb Eb G C F) play
think
“point” aB tritone
tovoicing
R in in
RH the
of and RH
dominantgo up 7a chord
4th and a
(e.g., C Gb
6
4 b7 9 5 R (F Bb D G C) A Eb) 3rd
thinkbetween
B voicing hands; then
ø of minor 7 chord up play a tritone a in
5th

? w
b
5th mode of maj avoid tone: 3rd (E) sus4
raised
(C7 5th = (C
G-) = Ab7)
ø Diminished Cavoid tone:
Db Eb E F# 3rd (E) GAbA BbBb C any down
the RHa 4th; b7 & b3 in LH
C7b9
C
Co Locrian
Diminished C(Db)Eb
C D Eb F FGb GbAb A B CC R b5“diminished”
a tritone b74b3 b6 (Chand
intone
each
voicing
Gb Bb Eb from
Ab) start
think
(C7
on
A any
sus4 voicing
= G-)
chord of tone
dominant but the root (i.e.,
on the7above
chord up a
(half-whole) any chord b7 but thewithroot a start
3, 5, on
b7,any chord
or b9);ø play tone a tritone bottom; it,
C 7alt 7th mode
Super of maj
Locrian
(whole-half) avoid
C Db Eb tone:Fbb9th
Gb Ab (Db) Bb C 4A b7
minor3 b793rd5#9Rbetween
(F b9
#5 Bb(EDhands
BbG C)
D# G# Db) raised
think
play aB
A 5th
tritone(C above
voicing = ofAb7)minor
dominant
it, 7 chord
then 7
skip up
chord
a minoraand5th
e.g., 3 b7 b9 5 (E Bb Db G) then skip a minor 3rd between hands; then
øo
7sus4 7th mode of mel min (e.g., C Gb A Eb) �����
3rd
(C7 sus4
RH
between =up G-)� step
hands; then play a tritone in
C Diminished
Locrian C D(E)F
D Eb F Gb
C(Db)Eb A Ab A BC a b5
tritone inb6each Fhand DFwith aAb) play
start AaAtritone
on any inofof
chord thetone RHon7the bottom;
CC
C7b9 Mixolydian
Diminished C Db EbFG
C EGb F# Ab
Bb
GA Bb
C BbCC Rb7any
b5 b7 64 9b3
4R“diminished”
b75between
(Bb
b3 (C
(Gb GbA Bb
voicing
Chands Ebfrom
G)
Bb Eb) think
think
start
think
the RHon voicing
voicing
any
Btritone
voicingchord ofdominant
minor
tone
dominant 77chord
chord
but the root
chord up
up(i.e., aa
aup5th
(whole-half)
5th
7th modeofofmaj
mode maj avoidtone:
avoid tone:b9th3rd (E)
(Db) minor 3rd play
raised a
sus4
5th (C
ø above
ø= Ab7) it, then skip a minor
(half-whole) any chord tone but the root 3,
(C7 5, b7, or
= b9);
G-) play a tritone above it,

ww
B b7 C
(e.g., 3 #5Gbb9 A b5
Eb)(Bb E G# Db Gb) raised
think B5th
3rd between (Chands;
voicing = ofAb7)dominant
then play7achord tritoneand in

&
e.g., 3 b7 b9 5 (E voicing Bb Db G) then
����� skip
RH adown
minor �3rd stepbetween hands; then

w
C7b9
C 7alt Diminished
Super Locrian C Db Eb E F#
C Db Eb Fb Gb Ab Bb C G A Bb C any
A 3 “diminished”
b7 #9 #5 b9 (E Bb D# from
G# Db) start
the
thinkRHon
A any
voicingchord of tone
dominant but the7 root
chord (i.e.,
and
Note: b5
C7+94any R 4
b7chord b7 b3
9 5R Rtone (Gb C F
(F Bb DtheG rootBb
C) Eb) think
play
think B
a voicing
tritone
B voicing inofthedominant
of minorRH 7
7 chordchord up
up it, a 5tha
C7sus4In the Jamey Aebersold books
(half-whole)
Mixolydian and in G
C D(E)F ������
A Bb�������,
C b7= 4C7alt 6 95 5 (Bb but F A D G) 3, 5, b7,
think or b9);
A voicing ø play
of minor a tritone
7 chordabove up a 5th

? b ww
7th mode of mel min 9 b9 5 (E Bb Db G)
�����
raised RH
5th
sus4 up
(C � = step
Ab7)
Co Diminished
5th mode of maj C D Eb
avoid F Gb
tone: 3rdAb(E) ABC e.g.,
a tritone3 b7 in each hand with a (C7
then
start
(C7sus4
skipany
on =aG-)
minor
= G-) chord 3rd tonebetween hands; then
on the bottom;
7sus4
C7alt (whole-half)
Mixolydian C D(E)F G A Bb C minor
b7 b7
B 4 63 9#53rdb7 between
5 b9
(Bbb5F (Bb hands
A DEG) G# Db Gb) play
play
think Ba
a tritone
tritone in the
above
A voicing of dominant RH
it, then
minor 7 chord skip
7 chordaupminoraand5th
* “Category Super
C Locrian
A” chords have the 3rdC Db
in theEblowest
Fb Gbvoice;Ab Bb“Category
C A 3 b7
B” chords 4#9 #5 b9
have (E
theBb7thD#in G#
the Db) think
lowest voice. A voicing of dominant 7achord and
o 5th mode of maj avoid tone: 3rd (E) (e.g.,
4 b7 C
9 5Gb R A
(F Eb)
Bb D G C) 3rd
�����
thinkbetween
sus4
B RH down
voicing hands; �
of then
step
minor play
7 chord tritone
up a in
5th
** All voicings 7thhave
mode of notes
five mel min
with
CCDtheEbexception AbGofAAthe Cdiminished and dominant 7b9 voicings
with afromwhich have (C7
����� RH = G-)
upchord
� step
CC7b9 Diminished
Diminished Db Eb E F#
F Gb BBb
Note: In the Jamey Aebersold books and in ������ �������, C7+9 = C7alt
C aany “diminished”
tritone in each hand voicing thefour
start
start on
RHon
sus4
(two
any
any notes
chord intone
tone eachonbuthand)
thethebottom;
root (i.e.,
(half-whole) any (C75,ab7, = G-)
C7alt (whole-half)
Super Locrian C Db Eb Fb Gb Ab Bb C A 3chord
minor 3rd#9between
b7 tone
#5 b9 but(E the
Bbroot
hands D# G# Db) 3,
play
think tritone or
A voicing b9);
above play it,athen
of dominant tritone
skip7above
a minor
chord it,and
4e.g.,
B
(e.g., b7
b7 C3 93b7
Gb5#5Rb9 A(F5Eb)
b9 Bb
b5(E DG
(Bb
Bb E C)
G#
Db G)Db Gb) think
3rd
then B voicing
between
skip a hands;
minor of3rdminor
dominant
then 7 chord
play
between 7
a chordup aand
tritone
hands; in5th
then
7th mode of mel min RH up � step
�����sus4
C œ C7+9b7
b œ“Category
& b ww
CœBb
�����
play RH
(C7RHa tritone
the down
= G-)in the RH� step
&C # œ œ�������,
7sus4
b œ n œ
*C “Category Mixolydian
A” chords have the 3rd C in the lowest Gvoice; chords haveF the
A D7th G)infrom
the lowest voice.
b œ
D(E)F G A Bb B”4C7alt6 9 5 (Bb think A anyvoicing of tone
minor but7 the
chord up(i.e.,
a 5th
œ
C7b9
Note: Diminished
In the Jamey Aebersold books Db
andEb in E F#
������ A any
= b7“diminished” voicing start on chord root
** All voicings5thhave
modefive
of notes
maj with the
avoid exception
tone: 3rd of
(E) the diminished B and 3 #5
dominant b9 b5 (Bb
7b9
5 tone but the root
E G#
voicings Db Gb)
which havethink
four B
sus4 voicing
(two ofindominant
notesplay each hand)7 chord and

? b ww
(half-whole) any chord b9
(C7
3, 5, b7, =
or G-)
b9); a tritone above it,
����� RH down � step
7alt In theMixolydian
C7sus4 Diminished CC Db e.g., 63b79b7 b9
#55b9F(EA Bb Db G) then skip a minor 3rd between 7 hands; then
CC7b9
Note: Super Locrian
Jamey Aebersold books andEb
CD(E)F
Db EbinGE
Fb AF#BbGAb
Gb
������ CA Bb Bb C
�������, C C7+9 b7 any “diminished”
A=43C7alt #9
5 (Bb
b7
voicing
(E DBbG) D#from
G# Db) start
thinkA
think on any
Avoicing
voicingchord tone
ofofminor
dominant but the
7 chord root
up (i.e.,
chord a and
5th
* “Category5th A” chords have
(half-whole) the 3rd in the lowest voice; “Category 4
anyb7
B” 9
chords
chord 5 R (F Bb
have
tone but D
the
theG
7thC)in
root the lowest think
play
voice.
3, 5, aBtritone
b7, voicing
or b9); in of
the
play minor
RHa 7 chord
tritone above up it, a 5th
7thmode
modeofofmaj
mel minavoid tone: 3rd (E) 3 (C7 sus4
����� RH = up
G-) � step
** All voicings have five notes with the exception of the diminished and3 dominant
e.g., b7 b9 5 (E 7b9
Bbvoicings
Db G) which have then
(C7 sus4
four (two
skip =aG-)notes in
minor 3rdeach hand)hands; then
between
b79chords
35 #5 b9have
b5 (BbtheGE G#inDb
theGb) play a tritone
thinkBBvoicing in the
voicingofofminor RH
dominant 7 chord
* “Category A” chords have the 3rd in the lowest voice; “Category
7alt 4Bb7 B” R (F Bb D 7th
C) lowest voice.
think 7 chord up a and 5th
C
** All voicingsSuper
haveLocrian
five notes withC the
Db exception
Eb Fb Gb of Abthe Bbdiminished
C 3 b7dominant
A and #9 #5 b97b9 (E Bb D# G#which
voicings Db) have think
�����
four A RH voicing
(two notesof
down �indominant
step
each hand) 7 chord and

bw
sus4
Diminished
C7b9 In the Jamey
Note: 7th mode of mel min
Aebersold C Db
books andEb in E F# G �������,
������ A Bb C C7+9any = C7altA
“diminished” voicing from (C7
start
�����on RHany= G-)
up chord
� steptone but the root (i.e.,
Bbb œC œ
C7alt C&Db Eb Fb Gb bAb
œ bœ bœ bœ
œ b œ
& # # ww
(half-whole)
Super Locrian any
A 3chord b7 b9 #9tone
#5 b9 but(Ethe
Bbroot
D# G# Db) 3, 5, b7,
think or b9); play
A voicing a tritone7above
of dominant chordit,and
e.g.,
B b733b7 #5 b9
#5 b95b5(E(BbBb EDb G#G) Db Gb) then
thinkskip aupminor
B voicing of3rd between
dominant hands;and
7 chord then

? b ww
7th mode of mel min ����� RH � step
#9
* “CategoryDiminished
C7b9 A” chords have the 3rdC Db Eb E
in the F# G voice;
lowest A Bb C anyB”
“Category “diminished”
chords havevoicing
the 7th from start
play
�����
in the lowest voice. ona RHanydown
tritone chord �tone
in the RHbut the root (i.e.,
step
Note:
** All In the(half-whole)
Jamey
voicings haveAebersold
five notesbooks andexception
with the in ������of�������,
the diminished any=and
C7+9 B b7
chord
C7alt tone but thevoicings
b7 b9 b57b9
3dominant
#5
root
(Bb E G# Dbwhich
3, 5,
Gb) have
b7,(two
four
think
or b9);
B voicing notes play aeach
ofindominant
tritone
hand)above it,
7 chord and
e.g., 3 b73 b9 5 (E Bb Db G) then skip a minor 3rd between hands; then
����� RH down � step
7alt In the Jamey play a tritone in the RH

b b ww
Note:
C Aebersold books
Super Locrian C DbandEb in Fb
������
Gb Ab �������,
Bb C C7+9A= 3C7alt b7 #9 #5 b9 (E Bb D# G# Db) think A voicing of dominant 7 chord and
* “Category 7thA” chords
mode ofhave min3rd in the lowest voice; “Category B”Bchords have the 7th in the lowest voice.
melthe ����� RH up � step

& #w
** All voicings have five notes with the exception of the diminished and dominant b5 7b9 voicings which have four (two notes in each hand)
b9
C*7alt

b ww
“CategorySuper Locrian
A” chords C Db
have the 3rd Eb Fb
in the Gb Ab
lowest Bb “Category
voice; C AB 3B” b7b7chords
3#9 #5 b9
#5 b9have
#5 b5(E BbE
the
(Bb D#
7thG#inG#
theDb)
Db think
thinkABvoicing
lowest voice.
Gb) voicingofofdominantdominant77chord chordand and

?
7th have
** All voicings modefive
of mel min
notes with the exception of the diminished and dominant 7b9 voicings which have �����four
����� RH (two
RH updown
�
notesstep�instep each hand)
3
Note: In the Jamey Aebersold books and in ������ �������, C7+9 = C7alt b7
B b7 3 #5 b9 b5 (Bb E G# Db Gb) think B voicing of dominant 7 chord and
����� RH down � step
Note: In the Jamey
* “Category Aebersold
A” chords books
have the 3rdand
in thein ������ �������,
lowest voice; C7+9 = B”
“Category C7alt chords have the 7th in the lowest voice.
** All voicings have five notes with the exception of the diminished and dominant 7b9 voicings which have four (two notes in each hand)

* “Category A” chords have the 3rd in the lowest voice; “Category B” chords have the 7th in the lowest voice.
** All voicings have five notes with the exception of the diminished and dominant 7b9 voicings which have four (two notes in each hand)
 12

Jazz Piano Pedagogy

Voicings Teaching/Learning Sequence*
I. Major
A. One-Hand Voicings
1. Category A: LH root / RH chord
2. Category B: LH root / RH chord
3. Alternate A-B beginning with A: LH root / RH chord
4. Alternate B-A beginning with B: LH root / RH chord
5. All of the above: chord in LH (RH tacit)
B. Two-Hand Voicings
1. Category A
2. Category B
3. Alternate A-B beginning with A
4. Alternate B-A beginning with B
II. Dominant 7
A. Repeat I with dominant chords
B. Play Bb Blues (first alone, then with play-along recording)
1. LH root / RH chord (start with both A and B; use best voice leading)
2. Chords in LH (RH tacit)
3. Chords in LH / head in RH
4. Two-Handed Voicings (start with both A and B; use best voice leading)
5. Chords in LH / related chord scales in RH (not in tempo)
6. Chords in LH / improvise in RH
C. Play Watermelon Man: follow steps II B 1-6 above
III. Minor
A. Repeat I with minor chords
B. Play Song for My Father: follow steps II B 1-6 above
C. Play Impressions: follow steps II B 1-6 above (also learn “So What” voicing)
D. Play Maiden Voyage: follow steps II B 1-6 above
E. Play Cantaloupe Island: follow steps II B 1-6 above (also learn two-handed “Cantaloupe Island” accompaniment figure)
IV. II V I in Major (II- V7 I)
A. Alternate A-B-A beginning with A: LH root / RH chord
B. Alternate B-A-B beginning with B: LH root / RH chord
C. A and B above: chord in LH (RH tacit)
D. A and B above: two-handed voicings
E. Play Satin Doll: follow steps II B 1-6 above
V. Half-Diminished - Repeat I with half-diminished chords
VI. Dominant 7 Altered - Repeat I with dominant 7 altered chords
VII. II V I in Minor ( IIø V7alt I-)
A. repeat IV A-D with minor II V I
B. Play Blue Bossa: follow steps II B 1-6 above
C. Play Summertime: follow steps II B 1-6 above
D. Play Footprints: follow steps II B 1-6 above
E. Play Autumn Leaves: follow steps II B 1-6 above
VIII. Diminished
A. Repeat I with diminished chords
B. Play Doxy: follow steps II B 1-6 above
IX. Dominant 7b9
A. Repeat I with dominant 7b9 chords
B. Repeat VII A, substituting V7b9 for V7alt (IIø V7b9 I-)
C. Play F Blues: follow steps II B 1-6 above

* All tunes above can be found in Jamey Aebersold’s Play-Along Volume 54: “Maiden Voyage” and can be ordered from
www.jazzbooks.com
13
14
 15

Tune Learning Order of Events

(Do in the following order for each new tune)

1. listen to the definitive recording numerous times

2. memorize the form
3. memorize root movement, play roots with definitive or play-along recording
4. memorize chord qualities, play chords (arpeggios in quarter notes) with play-along recording as follows:
• 1 3 5 7 9 for chords lasting two bars (have the 9th sustain for the second bar)
• 1 3 5 7 for chords lasting one bar
• 1 3 for chords lasting two beats
for II V I’s in major, play*

for II V I’s in minor, play*

5. play related scales in eighth notes (for chords lasting two bars, have the 9th sustain for the second bar; for
chords lasting two beats, just play 1 2 3 4
6. memorize head, play with play-along recording
7. improvise with play-along recording
8. transcribe phrases from definitive recording
9. improvise with play-along recording, incorporating phrases transcribed from definitive recording

* You may also have the final 7th in the penultimate measure resolve to the 6th in the last measure (i.e., practice ending the line on both the 9th
and 6th)
 16
Elements of Jazz
1. Syncopation the accenting of beats that are not naturally accented; the accenting of "upbeats"
2. Jazz Sounds 1. “jazz” instruments
2. the way each instrument is played
3. Improvisation spontaneous composition; composing the music as you are playing; extemporaneous
soloing; “musical conversing”
4. Rhythm steady beat; swing
5. Form the repeated and contrasting sections in the design of a composition; the tune’s
harmonic (chordal) “blueprint”

12-Bar Blues

I Bb7 I Eb7 I Bb7 I I

I Eb7 I I Bb7 I G7alt I

I C- I F7 I Bb7 G7alt I C- F7 I

"Song for My Father"

Form: A A B (24-Bar Tune)

A: I F- I I Eb7 I I Db7 I C7sus I F- I I

A: I F- I I Eb7 I I Db7 I C7sus I F- I I

B: I Eb7 I I F- I I Eb7 Db7 I C7sus I F- I I

Other Terms:
1. Chord two or more notes played at the same time; the music that accompanies the melody,
setting the mood (AKA "change," i.e., the "changes" of a song are the chords that
accompany the song)
2 Head the (written) melody
3. Chorus one time through the chords of a song; one time through the song’s form
4. Intro optional introductory music that comes before the first chorus
5. Coda optional ending music that comes after the last chorus
6. Vamp one chord (or a brief chord progression) which is played over and over

Thelonious Monk Institute of Jazz

Phone: (310) 206-9501 • E-mail: jbdyas@monkinstitute.org • Website: www.monkinstitute.org
 17

Common Forms
AABA
e.g., Take the A Train

A: I C I I D7#5 I I D- I G7 I C I D- G7 I
A: I C I I D7#5 I I D- I G7 I C I G- C7 I
B: I F I I I I D7 I I D- I G7 I
A: I C I I D7#5 I I D- I G7 I C I D- G7 I

ABAC
e.g., On Green Dolphin Street

A: I Eb I I Eb- I IF IE I Eb I Eb C7alt I
B: I F- I Bb7 I Eb I Bb- Eb7 I Ab- I Db7 I Gb I F- Bb7 I
A: I Eb I I Eb- I IF IE I Eb I Eb C7alt I
C: I F- F-/Eb I Dø G7alt I C- C-/BbI Aø D7alt I G- C7altI F- Bb7 I Eb I (F- Bb7) I

16-Bar Tune
e.g., Blue Bossa

I C- I I F- I I Dø I G7alt I C- I I
I Eb- I Ab7 I Db I I Dø I G7alt I C- I Dø G7alt I

12-Bar Blues
e.g., Billie’s Bounce, Now’s the Time, Straight No Chaser, etc.

I F7 I Bb7 I F7 I C- F7 I
I Bb7 I (Bo) I F7 I (D7alt) I
I G- I C7 I F7 D7alt I G- C7 I
 18

Uncommon Forms
Song for My Father

Form: A A B (24-Bar Tune)

A: I F- I I Eb7 I I Db7 I C7sus I F- I I

A: I F- I I Eb7 I I Db7 I C7sus I F- I I
B: I Eb7 I I F- I I Eb7 Db7 I C7sus I F- I I

Peace

Form: 10-Bar Tune

I Aø D7b9I G- C7 I B CøF7b9I Bb I B- E7 I A F#- I Ebø Ab7b9I Db I

I C7alt B7#4I Bb I

Stablemates

Form: A B A (14 bars--8 bars--14 bars)

A: I E- A7 I Eb- Ab7 I Db I C7alt I Ab- I Db7 I Gb I Gø C7altI

I F- I Bb7 I Eb- I Ab7b9 I Db I II
B: I F- I Gb7 I G7alt I C7 I B7 I Bb7 I A7 I Ab7 I
A: I E- A7 I Eb- Ab7 I Db I C7alt I Ab- I Db7 I Gb I Gø C7altI
I F- I Bb7 I Eb- I Ab7b9 I Db I II

Moments Notice

Form: A B A B´(6 bars) 8-bar Vamp

A: I E- A7 I F- Bb7 I Eb I Ab- Db7 I D- G7 I Eb- Ab7 I Db I Dø G7b9 I

B: I C- I Bb- Eb7 I Ab I Db7 I G- I Ab- Db7 I Gb I F- Bb7 I
A: I E- A7 I F- Bb7 I Eb I Ab- Db7 I D- G7 I Eb- Ab7 I Db I Dø G7b9 I
B ´: I C- I Bb- Eb7 I Ab I Db7 I G- C7 I F- Bb7 II
V: I Eb I F- I G- I F- I Eb F- I G- F- I Eb I I
Bb Pedal------------------------------------------------------------------
 19

Jazz History – Evolution of Styles

Style Dates* Basic Performance Practices Representative Figures

Ragtime 1896-1917 solo piano style, steady left hand/syncopated right hand Scott Joplin, piano

Early Jazz 1900-1928 collective improvisation, use of banjo and tuba Louis Armstrong, trumpet; Jelly Roll Morton, piano

Swing 1930-1945 big band, written arrangements, dance music Count Basie, piano; Duke Ellington, piano, Benny Goodman,
clarinet; Coleman Hawkins, tenor sax; Lester Young, tenor sax

Bebop 1940-1955 virtuosic, complex, rangy, jazz as art, small group, focus on the soloist Dizzy Gillespie, trumpet; JJ Johnson, trombone Thelonious Monk,
piano; Charlie Parker, alto sax; Bud Powell, piano;

Cool 1949-1955 relaxed feel, soft, incorporation of classical music elements Chet Baker, trumpet; Dave Brubeck, piano, Miles Davis, trumpet;
Paul Desmond, alto sax; Gerry Mulligan, baritone sax

Hard Bop 1951-1958 return to Afro-centric elements, complex and simple sub-styles Art Blakey, drums; John Coltrane, tenor sax; Miles Davis, trumpet;
Sonny Rollins, tenor sax; Horace Silver, piano

Free Jazz 1959-1970 avant-garde, no pre-determined chord progressions, atonal Ornette Coleman, sax; Cecil Taylor, piano

Fusion 1969-1990 blending of jazz and rock elements, electronic instruments Chick Corea, keyboards; Miles Davis, trumpet; Herbie Hancock,
keyboards; John McLaughlin, guitar; “Weather Report”

Smooth Jazz 1980-Today simpler, more commercial and accessible style of Fusion Chris Botti, trumpet; Kenny G, soprano sax; Dave Koz, saxophones;
Najee, saxophones; David Sanborn, alto sax

Contemporary Today blending of jazz with classical and world musics, hard bop Ambrose Akinmusire, trumpet; Brian Blade, drums; Dave Douglas,
sensibilities, and various pop and folk musics trumpet; Kenny Garrett, alto sax; Robert Glasper, piano/keyboards;
Roy Hargrove, trumpet; Dave Holland, bass; Keith Jarrett, piano;
Branford Marsalis, tenor sax; Christian McBride, bass; Brad
Mehldau, piano; Pat Metheny, guitar; Jason Moran, piano; Chris
Potter, tenor sax; Joshua Redman, tenor sax; Kurt Rosenwinkel,
guitar

* all styles of jazz from Early Jazz to Contemporary are still being performed and recorded today; all style dates given are approximations of when each respective style came to the forefront of jazz
and experienced its most concentrated development; of course, styles and dates overlap

For a complete course in Jazz History and further information on the elements and evolution of jazz styles, log onto the Jazz in America website at
www.jazzinamerica.org
 20
FIFTY-TWO ESSENTIAL JAZZ RECORDINGS

ARTIST(S) ALBUM LABEL/NUMBER DATE

Various Jazz – The Smithsonian Anthology (6 CD Set) Smithsonian/Folkways SI-146-2011 1899-2003

Various Ken Burns Jazz: Story of America's Music (5 CD Set) Legacy/61432 1917-99
Various Jazz Classics 3 CD Set for Jazz Styles: History and Analysis ISBN-13: 978-0-13-600561-2 1917-2000
Louis Armstrong The Complete Hot Fives & Hot Sevens (4 CD Set) Sony 63527 1925-29
Bix Beiderbecke Vol. 1: Singing the Blues Columbia/CK 45450 1927-28
Sidney Bechet The Legendary Sidney Bechet RCA Bluebird/6590-2-RB 1932-41
Billie Holiday Strange Fruit: 1937-39 Jazztory/102423 1937-39
Count Basie The Complete Decca Recordings (3 CD Set) Decca Jazz-GRP/GRD3-611 1937-39
Benny Goodman Live at Carnegie Hall - 1938 Complete (2 CD Set) Columbia/Legacy 65143 1938
Duke Ellington The Blanton-Webster Band (3 CD Set) RCA Bluebird/ 5691-2-RB 1940-42
Coleman Hawkins Body and Soul Victor Jazz/09026-68515-2 1939-56
Roy Eldridge Little Jazz Columbia/CK 45275 1935-40
Dizzy Gillespie The Complete RCA Victor Recordings (2 CD Set) RCA Bluebird/07863-66528-2 1937-49
Charlie Parker The Complete Savoy & Dial Master Takes (3 CD Set) Savoy Jazz/17149 1945-54
Bud Powell Jazz Giant Verve/829 937-2 1949-50
Thelonious Monk The Best of Thelonious Monk: The Blue Note Years Blue Note/95636 1947-51
Woody Herman Thundering Herds 1945-1947 Sony 44108 1945-47
Miles Davis The Complete Birth of the Cool Capitol/94550 1948-50
Lee Konitz Subconscious Lee Fantasy/OJCCD-186-2 1949
Stan Getz The Roost Quartets Roulette/96052 1950-51
Stan Kenton New Concepts of Artistry in Rhythm Capitol/92865 1952
Charlie Parker Jazz at Massey Hall OJC/044 1953
Dave Brubeck The Essential Dave Brubeck (2 CD Set) Columbia/Legacy C2K 86993 1949-2002
Jay Jay Johnson The Eminent Jay Jay Johnson Vols. 1 & 2 (2 CDs) Blue Note/81505 & 81506 1953-55
Art Blakey A Night at Birdland Vols. 1 & 2 (2 CDs) Blue Note/46519/46520 1954
Miles Davis Round About Midnight Columbia/40610 1956
Sonny Rollins Saxophone Colossus Prestige OJCCD-291-2 1956
Ella Fitzgerald The Complete Ella in Berlin: Mack the Knife Verve/519 564 1960
Horace Silver The Best of Horace Silver Vols 1 & 2 (2 CDs) Blue Note/91143 & 93206 1964-72
John Coltrane Blue Train Blue Note/46095 1957
Miles Davis Milestones Columbia/40837 1958
Charles Mingus Mingus Ah Um Columbia/CK 40648 1959
Ornette Coleman The Shape of Jazz to Come Atlantic/1317-2 1959
Miles Davis Kind of Blue Columbia/CK 64935 1959
John Coltrane Giant Steps Atlantic/1311-2 1959
Wes Montgomery Incredible Jazz Guitar OJC/036 1960
Bill Evans Sunday at the Village Vanguard Fantasy/OJCCD-140-2 1961
John Coltrane Live at Birdland Impulse!-GRP/GRD-198 1963
Wayne Shorter The Best of Wayne Shorter: The Blue Note Years Blue Note/91141 1964-69
Herbie Hancock The Best of Herbie Hancock: The Blue Note Years Blue Note/91142 1962-68
Miles Davis Miles Smiles Columbia/CK 48849 1966
Miles Davis Bitches Brew (4 CD Set) Columbia/C4K 65570 1969-70
Chick Corea Now He Sings, Now He Sobs Blue Note/90055 1968
Cecil Taylor Silent Tongues Freedom/FCD-741005 1974
Keith Jarrett Staircase (2 CD Set) ECM/78118-21090-2 1976
Weather Report Heavy Weather Columbia/CK 65108 1977
Pat Metheny Bright Size Life ECM 1073 1975
Michael Brecker Michael Brecker MCA-Impulse MCAD-5980 1987
Kenny Garrett Songbook Warner Bros. 46551 1997
Brad Mehldau Art of the Trio Volume 4 – Back at the Vanguard Warner Bros. 47463 1999
Maria Schneider Allegresse Enja ENJ 9393/2 2000
Wayne Shorter Footprints Live Verve 314 589 679-2 2002
Vijay Iyer Accelerando Act Music & Vision 9524-2 2012
 21

Glossary
Axe Synonym for instrument

Basic Chord Symbol Symbol indicating the fundamental vertical (chordal) sound of its related scale; any note from the
related scale (except for any “avoid” tones) may be used in the pianist’s or guitarist’s chord voicing; the most common basic
chord symbols are C (major), C7 (dominant 7 AKA mixolydian), C- (dorian), CØ (half diminished AKA locrian), Co (whole-
half diminished), C7b9 (half-whole diminished), C7+5 (whole tone), and C7alt (diminished whole tone AKA super locrian);
(please note that C7alt is written as C7+9 in the Aebersold Play-Along and Pocket Changes books)

Bossa (Bossa Nova) Straight-eighth, medium tempo Latin groove that usually incorporates the underlying two-measure
repeated rhythmic pattern:

or variation thereof (e.g., Solar Flair/Blue Bossa, Song for My Father)

Change Synonym for chord (e.g., the changes of a tune = the chords of a tune)

Chops Synonym for technique

Chord Two or more notes played at the same time; the music that accompanies the melody, setting the mood (AKA "change,"
i.e., the "changes" of a song are the chords that accompany the song); harmony

Chorus One time through the chords of a song; one time through the song’s form

Coda Optional ending music that comes after the last chorus (see Ending)

Comp To play chords in a rhythmically interesting fashion, accompanying a melody (comes from the words accompany and
complement)

Contrafact a jazz tune based on an extant chord progression, usually of a standard; common examples include Oleo (based on
I Got Rhythm), Donna Lee (based on Back Home Again in Indiana), Groovin’ High (based on Whispering), Ornithology (based
on How High the Moon), Hot House (based on What Is This Thing Called Love), and Dig (based on Sweet Georgia Brown)

Ending Optional music that comes after the last chorus of a jazz performance providing a sense of finality (endings are either
written by the tune’s composer or decided upon and inserted by the performers)

Fakebook Book containing lead sheets of numerous tunes (see Lead Sheet)

Form The repeated and contrasting sections in the design of a composition; the tune’s harmonic (chordal) “blueprint;”
common forms include: 12-bar blues, e.g., Shuffle Time, Tootsie, Footprints; 16-bar tune, e.g., Watermelon Man, Cantaloupe
Island, Solar Flair/Blue Bossa, Summertime, Doxy; and AABA, e.g., Impressions, Maiden Voyage, Satin Doll; uncommon
forms include AAB, e.g., Song For My Father, and AABC, e.g., Autumn Leaves

Funk Straight-eighth, medium tempo rock groove incorporating syncopated sixteenth notes against a steady, underlying pulse

Gig Synonym for job

Head The written melody of a tune (previously composed, not improvised), usually played as the first and last chorus in a jazz
performance

Homonym A chord that has different names and functions depending on its root (e.g., the notes E Bb D G comprise a 3 b7 9 5
voicing of a C7 chord, a b7 3 #5 b9 voicing of a Gb7alt chord, a R b5 b7 b3 voicing of an Eø chord, and a 6 b3 5 R voicing of a
G-6 chord; therefore C7, Gb7alt, Eø, and G-6 are considered homonyms of each other)

Improvisation Spontaneous composition; composing the music as you are playing; extemporaneous soloing; “musical
conversing”
 22
Intro Optional introductory music that comes before the first chorus (intros are either written by the tune’s composer or
decided upon and inserted by the performers)

Jazz Waltz Medium to up tempo swing groove in 3/4 time, i.e., a feeling of three beats to the bar (please note that a tune does
not necessarily have to be written in 3/4 to be played as a jazz waltz; for example, Footprints is written in 6/4 but is generally
played with a jazz waltz feel, i.e., each 6/4 bar feels like two bars of 3/4); tunes in the jazz repertoire usually played as a jazz
waltz include All Blues, Black Narcissus, Bluesette, A Child is Born, Emily, Footprints, How My Heart Sings, My Favorite
Things, Someday My Prince Will Come, Up Jumped Spring, Valse Hot, West Coast Blues, and Windows

Latin Catchall term used by jazz musicians denoting any straight-eighth groove that incorporates bossa and/or samba rhythms
(or other Latin dance rhythms including Afro-Cuban, baion, beguine, calypso, cha-cha, conga, guaguanco, mambo, merengue,
paso doble, rumba, salsa, and songo)

Lead Sheet Sheet of music indicating the basic melody and chord symbols (i.e., head and changes) of an entire tune (e.g., the
way each tune is written in the Aebersold play-along books - or any fakebook - is considered a lead sheet)

Modal Tune Type of tune that is harmonically based on a small number of modes (scales), each lasting a long time (four or
more bars) rather than a progression of rapidly changing chords; examples of modal tunes include Impressions, Maiden
Voyage, and Cantaloupe Island

Real Book Fakebook (see Fakebook)

Rhythm Changes The chord progression (i.e., the “changes”) that accompanies the tune I Got Rhythm by George Gershwin;
the chords (including their many substitutions and variations) that accompany the tune I Got Rhythm and its many contrafacts

Shuffle Medium tempo swing groove incorporating a repeated pattern of dotted eighth/sixteenth notes on every beat (in jazz,
the dotted eighth/sixteenth note rhythm is interpreted with more of a triplet feel, i.e., a repeated pattern of triplet quarter note
/triplet eighth note on every beat)

Specific Chord Symbol Symbol indicating the specific notes to be included in a chord, e.g., Cmaj9 indicates that the chord
contains C E G B D, Cmi11 indicates C Eb G Bb D F, etc. (although a specific chord symbol is able to indicate the notes that
should be included in a particular chord, it does not indicate any particular voicing)

Straight-ahead Term used by jazz musicians to denote the style of jazz that is mainstream, i.e., bebop, hard bop, and cool
jazz; tonal, acoustic jazz with a repertoire of standards and jazz classics; (an example of one of the greatest straight-ahead jazz
groups of all time is the Miles Davis Quintet of the mid-1950s)

Straight-eighth Groove in which the underlying beat is comprised of non-swung eighth notes, i.e., eighth notes are even in
length (eighth notes played on downbeats or upbeats each receive exactly 1/2 of the beat), e.g., Cantaloupe Island, Maiden
Voyage, Solar Flair/Blue Bossa, Song for My Father, Watermelon Man

Swung-eighth Interpretation of eighth notes in which notes played on downbeats and upbeats receive 2/3 and 1/3 of the beat,
respectively, providing a rhythmic lilt (swing) to the music

Syncopation The accenting of beats that are not naturally accented; the accenting of "upbeats"

Tag Type of ending in which a III- VI7 II- V7 progression (or variation thereof) is substituted for the last chorus’ final I chord,
elongating or repeating the last phrase before culminating on the ultimate I chord

Tune Any song or composition that is part of the jazz repertoire

Turnaround A short melodic or harmonic passage usually comprised of a I VI II V progression (or variation thereof) that
returns (“turns around”) to the beginning of a section or top of the form (e.g., last two bars of Tootsie)

Vamp One chord (or a brief chord progression) which is played over and over (e.g., ending of Cantaloupe Island, Song for My
Father, and Summertime); a numerously repeated section of music, usually two or four bars in length (e.g., Track 15 of
Aebersold Play Along Volume 54)

Voicing The particular order of notes in a chord (e.g., E Bb D G is a 3 b7 9 5 voicing of a C7 chord)