Hip to

Jazz

Improvisation
Lesson and
Play-Along CD

Hip to Jazz
Introduction
The San Jose Jazz Society welcomes you to its new high-school jazz education program, Hip to Jazz. This program is designed to introduce participants to the fundamentals of jazz performance. The key concept explored
in Hip to Jazz is improvisation, one of the fundamental elements of jazz.
Up to this point your musical training has likely prepared you to read, memorize, and perform music "as written. This kind of work is demanding and time-consuming, requiring the development of many skills. Now it is
time for you to take the next step. Improvisation will allow you to draw on your very own personal expression
of music.
This will be your introduction to some of the most sophisticated yet intuitive ideas in all of music. You will
learn to listen to other performers, and to have them listen to you. You will learn how jazz encourages your
own voice to emerge through your instrument.

How to Use This Lesson Guide

The material in this booklet follows the lesson plan of the Hip to Jazz education program and is intended to be
used as an outline and a study guide to the program. The Hip to Jazz program, along with this guide, introduces
the art of improvisation in a straightforward manner, starting with lessons that explore the harmonic structure
of "Take the A train," a jazz standard made famous by Duke Ellington and written by Billy Strayhorn. Later lessons use this composition to explore the relationship between the harmonic structure and improvisation. For
further study, the CD and the guide include additional lead sheets and performances of a few well known jazz
standards.
Learning to improvise is a challenging, but rewarding endeavor. We believe that if students follow the
examples and listen carefully to the accompanying CD tracks, he or she will be ready to play music as it is felt
and will be able to communicate those feelings to others who are listening.

About the San Jose Jazz Society

The San Jose Jazz Society is committed to celebrating jazz through education and performance. Throughout the
year we sponsor performances of top caliber jazz musicians and educate elementary, middle and high school
students through a number of diverse programs. Hip to Jazz is a new program that is oriented towards high
school students who have mastered the fundamentals of their instrument and who have the desire to communicate with their own voice

Keep the Music Alive

One of the important messages that the San Jose Jazz Society brings to its education programs is that smoking
is harmful to everyone, especially musicians. The Healthy Neighborhoods Venture Fund has been a strong supporter of the San Jose Jazz Society's education and outreach programs, and we are proud to take part in their
effort to reduce smoking among young people. Throughout this lesson you will notice healthy messages and
anti-tobacco statements. We want all young musicians to remain a vital force in the continued development of
jazz music, so steer clear of cigarettes and keep the music alive!

Table of Contents
I.

Listen & Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

II. Learning the Major Seventh Chord. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

III. Learning the Minor Seventh Chord . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
IV. Learning the Dominant Seventh Chord. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
V.

Major, Minor, Dominant Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

VI. The ii-V-I Progression. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

VII. ii-V-I Continued . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
VIII. Available Tensions & Altered Dominants . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

Hip to Jazz Play-Along CD

1. Take the "A" Train (Head)
2. Major Seventh Vamp
3. Call & Response-Major
4. Rhythmic Improvisation
5. Major-Minor
6. Minor Seventh Vamp
7. Call & Response-Minor
8. Major Seventh-Minor Seventh Vamp
9. Major-Minor-Dominant
10. Call & Response-Dominant
11. Dominant Seventh Vamp
12. Musical Conversation
13. ii-V-I Root Movement
14. ii-V-I Vamp
15. ii-V-I, 2 Key Areas
16. ii-V-I, All Keys
17. Take the "A" Train
18. Samba De Orpheus
19. Bluesette
20. My Little Suede Shoes
21. Don't Bet Your Life on a Cigarette

Hip to

Jazz

CD

Nate Pruitt- Voice

Kris Strom- Saxophone
Dave Gregoric- Trombone
Rob Roman- Piano
Tim Volpicella- Guitar
Scott Sorkin- Guitar
John Shifflett- Bass
Wally Schnalle- Drums

II

I. Listen & Review

This lesson will use the jazz standard*, Take the A Train, as a platform to teach jazz theory and improvisation.
The lesson requires that you know the structure of both the major scale and major and minor chords. If you are
not fully comfortable with these prerequisites, you might want to review them before you begin this lesson.
Lets begin by listening to Take the A Train.

Here are some characteristics to keep in mind while you listen:

Is the song in a major or minor key?
What is the time signature of the song?
In what style is the song performed?
What is the form of the song?
Listen to the melody or the head several times until you can sing along with the recording.
Once you are comfortable singing the melody of the song, play it on your instrument.
Do the musicians play the melody exactly as it is written in the leadsheet?
Do you recognize the chord symbols on the leadsheet (e.g., CMa7)?
If you have never used a leadsheet before, read the brief description in the Tips &
Thoughts section on the opposite page.
In the next few pages you will explore each of the chords contained in this song. As you learn about each type
of chord, you will learn how it relates to a major scale. It is extremely important that you know all of the major
scales. As you learn from the examples in this packet, you should practice the exercises in all keys.
*Throughout this lesson, words appearing in bold type are defined in the vocabulary section.

Review

1.1

Half steps and whole steps are the building blocks of western music.
1.1 A half step is the next closest note up or down (based on chromatic intervals).
This is easy to see on a piano keyboard.

1.2

1.2 A whole step consists of two half steps.

1.3 A major scale is made from half steps and whole steps.
If you learn this formula you can make a major scale from
any root. Here is a C major scale. Notice the half step
between E & F and B & C.

1.3
1.4 A major chord consists of the root (1st), 3rd and 5th
notes of the major scale. When these notes are played
together they form a chord. Three note chords are
called triads.
1.5 To create a minor chord, just lower the third by
a half step.

1.4

1.5

Tips & Thoughts

Do you know how to read a
leadsheet?
A leadsheet is a composition
written in its simplest form.
It supplies the melody and
basic harmony.
A leadsheet is a guide for the
performer and is not meant
to be played exactly as written.
Jazz musicians are encouraged to create variations in
the rhythms, melody and
harmony.
How does a leadsheet differ
from an arrangement you
might play with your band?

Vocabulary
form The basic structure of
a composition.
head The written melody of
a composition, usually
played at the beginning and
end of a jazz performance
piece.
jazz standard A composition that has found a permanent place in the jazz repertoire.
Part of getting to know a tune is identifying its structure or form. In this tune, the first section (A) is
presented, then restated at (A1). The contrasting, or different section (B) occurs only once. Section A is then
restated again. We call this song form or AABA.

Nates Corner

Get to know the tune...

Take the A Train is one of the most famous and recognizable tunes in jazz history. It was the
signature tune of the Duke Ellington Orchestra, and was written by Ellingtons musical partner,
Billy Strayhorn. The songs title refers to the route by which New Yorkers of the 1920s and 1930s
would reach the jazz clubs and hot nightspots in Harlem. Duke Ellingtons partnership with Billy
Strayhorn produced some of the most significant jazz of the 1930s, 1940s, and 1950s.

leadsheet A simplified representation of a composition

containing the melody, the
basic chord progression and
lyrics.
root The tone name used to
identify a chord or scale.
triad A three-note chord.

II. Learning the Major Seventh Chord

Now that you have learned the melody to Take the ATrain, take a closer look at the harmony or chord
changes. The first chord in this progression is C major seventh. It is notated CMa7. The chord is named from its
root and is constructed by combining selected notes of the C major scale. These notes are the root, 3rd, 5th
and seventh.

2.1

Each note of the chord is named according to the distance or interval it is from the root. Notes contained in the
chord are called chord tones.

2.2

Tips & Thoughts

Learn to practice smart.
The way we practice jazz
improvisation is different
than how we would practice
other types of music. When
we practice improvisation,
we are building our skill at
creating music.
A good way to practice is to
set a goal to accomplish. If
you are practicing major
seventh chords, you might
practice improvising using
only chord tones (e.g., starting on the seventh, starting
on the third).
Setting parameters to practice within allows you to
better evaluate your
progress. This will help you
organize your time and lead
to more productive practice.
A good practice routine
should include:
learning scales & chords
learning jazz etudes
melodic variation exercises
learning tunes
transcribing
active listening

Practice playing notes 1, 3, 5, & 7 of the C major scale. When you play these notes up and down, you are
arpeggiating the chord or playing an arpeggio.
Now look at the melody of the first two bars of
Take the A Train.
Which notes of the melody are chord tones?

2.3

Listen to track 2 on your CD. This is a vamp on a CMa7 chord.

2.4

Play along with track 2 and practice arpeggiating the CMa7 chord.
Play each chord tone in whole notes.
Listen carefully to the sound of each chord tone.
2
Can you sing each of the chord tones?
Now practice playing the whole scale.
Try changing direction.
Can you combine the scale with an arpeggio?
Can you develop simple melodies?
Notice that some of the notes of the scale sound consonant
and some sound dissonant.
Do the chord tones sound consonant or dissonant?
Are there varying degrees of consonant and dissonant?

Call-and-Response Track 3*

*One of the important elements of jazz is the concept of call-and-response. In call

and response a leader performs certain melodies or ideas that are repeated,sometimes with variation, by a soloist or group. This technique is similar to how we learn
to speak.

2.5

Listen to the melodies played over the CMa7 vamp in track 3.

On which note does the melody begin: 1, 3, 5, or 7?
Imitate the melody exactly as it is played.
Practice singing, and then playing with this track several times.
Use track 2 and improvise on your own.
2
Use only chord tones at first.
Remember to begin your melodies on different chord tones.

Vocabulary
arpeggio The notes of a
chord played sequentially,
either ascending or descending.

Can you find another major seventh chord in Take the ATrain?
From what major scale is this chord derived? _____________
Can you spell the notes of this chord?
__ __ __ __

call and response A musical device composed of a

statement made by a soloist
and answered with a compatible statement.

Test Yourself
Once you learn the C major
seventh chord, it is important
to learn them all. Just as you
learned all of the major
scales you must practice
arpeggiating all 12 major
seventh chords. Use this
check list to make sure you
have learned them all.

chord tones The individual

notes that make up a chord.
chord changes A successive
series of chords.
consonant Less harmonic
friction between tones.
dissonant More harmonic
friction between tones.

Nates Corner

Fascinating Rhythm...
One of the most important elements to music is rhythm. Sometimes when we are beginning to
learn to improvise, we concentrate so much on chords and scales that we forget about rhythm. A
fun way to work on rhythm is to do a rhythmic improvisation. Listen to Nate do a rhythmic improvisation in track 4 on your CD.
Try your own rhythmic improvisation with Nate. Remember to use just one note and play many
different rhythms. As you find different rhythms tnat you like, write them down.

interval The distance

between two tones.
major seventh A chord
comprised of the root, 3rd,
5th and 7th of a major scale.
vamp - A repeated open section of a composition.

III Learning the Minor Seventh Chord

Another type of chord in the progression of Take the A Train is the minor seventh chord. It is notated DMi7.
This minor seventh chord is also derived from the key of C major. If we use the key signature of C major to
build a scale with D as the root, we create what is called a D dorian scale. Remember, it is only a C major scale
starting on D.
3.1

The D minor seventh chord is constructed by combining the root, 3rd, 5th, and 7th degrees of the D dorian scale.

3.2

3.3

You can also mechanically construct the minor seventh

chord and dorian scale. Start with the major scale and
major seventh chord you already know. Simply lower the
3rd and 7th by a half step each.

3.5

3.4

Listen to Track 5 on your CD. You will first hear the major seventh chord we studied in the previous unit. The
next chord you will hear is the minor seventh chord.
Describe the sound of the minor seventh chord.
5 How does it differ from the sound of the major seventh chord?
Listen to track 5 again. As you listen, can you identify which chords are major sevenths and
which are minor sevenths?
Now look at the melody in bar five of
3.6
Take the A Train.
What scale degree of D dorian does the
melody use?

Tips & Thoughts

To find the major key related
to a given dorian scale, start
on the root of the dorian
scale and count down one
whole step.
If you are improvising over a
GMi7 chord, the scale you
would use is G dorian. The
major scale associated with
G dorian is one whole step
down (F). G dorian shares
the same key signature as F
major.

Listen to Track 6 on your CD. This is a vamp on a DMi7 chord.

3.7

Play along with track 6 and practice arpeggiating the DMi7 chord.
Play each chord tone in whole notes.
Listen carefully to the sound of each chord tone.
Can you sing each of the chord tones?
Now practice playing the whole D dorian scale.
Try changing direction.
Can you combine the scale with an arpeggio?
Can you develop simple melodies?

Call-and-Response Track 7

Listen to the melodies played over the DMi7 vamp in track 7.

3.8

On which note does the melody begin: 1, 3, 5, or 7?

Imitate the melody exactly as it is played.
Practice singing, and then playing with this track several times.
Use track 6 and improvise on your own.
6
Use only chord tones at first.
Remember to begin your melodies on different chord tones.
Now lets combine the CMa7 with the DMi7 and play along with track 8.
Practice arpeggiating the chords until you are comfortable with the progression.

3.9

Can you find another minor seventh chord in Take the A Train?
What dorian scale is the basis for this chord? _________
From what major scale is this chord derived? _________
Can you spell the notes of this chord? __ __ __ __

Test Yourself
What is the formula to create a dorian scale?

Vocabulary
Remember that a dorian scale starts on the second
degree of a major scale.
What major scale shares its key signature with E
dorian? ____
Can you spell the C dorian scale?
___ ___ ___ ___ ___ ___ ___ ___ .

dorian scale -A scale created

by lowering the 3rd and 7th
degrees of a major scale.
minor seventh - A chord built
using the root, 3rd, 5th and
7th degrees of the dorian
scale.

IV. Learning the Dominant Seventh Chord

So far you have studied two types of chords - the major seventh (Ma7) and the minor seventh (Mi7). Another very
important chord type used in jazz is the dominant seventh chord. We learned in the previous unit how the minor seventh chord and the dorian scale can be derived from a major key. The dominant seventh chord can also be derived
from a major key. Play the C major scale from G to G. This scale is called G mixolydian or the G dominant scale.

4.1

4.2

The dominant seventh chord is constructed by combining the root,3rd, 5th, and 7th degrees of the mixolydian
scale.
You can also mechanically construct the dominant seventh chord and mixolydian scale. Start
with the major scale and major seventh chord
you already know. Simply lower the 7th by a half
step.

4.3

4.4

Tips & Thoughts

Practice with a friend
First practice some of the
call and response tracks provided on your CD (track 3 or
7).
Select one of the vamp tracks
from the CD (track 2 or 6).
Choose who will be the
leader first.
Play a short phrase for your
friend to repeat.
Remember to try short
phrases that start on chord
tones first.
Trade roles and let your
friend be the leader.

Listen to Track 9 on your CD. You will first hear the major and minor seventh chords we studied in the
previous units. The third chord you will hear is the dominant seventh chord. The dominant seventh chord sounds
more dissonant than the major or minor chord. It also sounds like it should lead to another chord. When chords
sound like they should lead somewhere, we say they want to resolve.
Describe the sound of the dominant seventh chord.
9 How does it differ from the sound of the major and minor seventh chord?
Would you end a song with the sound of the dominant seventh chord?

4.5
Now look at the melody in bar six of
Take the A Train.
How many chord tones can you find
in the melody?
Play the G dominant scale on your instrument.
Listen to how it sounds.
Now arpeggiate the notes of a G dominant seventh chord.
Notice how it complements the sound of the G dominant scale.

Practice constructing some dominant seventh chords. Remember to start

with a major seventh chord, then lower the seventh by a half step.
Build dominant seventh chords from these roots.
G
___
___
___
C
___
___
___
F
___
___
___
Bb
___
___
___
Eb
___
___
___

Call-and-Response Track 10

Listen to the melodies played over the G7 vamp in track 10.

10

4.6

Vocabulary
dominant scale - Alternate
name of the mixolydian scale.

On which note does the melody begin: 1, 3, 5, or 7?

Imitate the melody exactly as it is played.
Practice singing, and then playing with this track several times.

dominant seventh chord- A

chord built using the root, 3rd,
5th and 7th degrees of the
mixolydian scale.

Use track 11 and improvise on your own.

11
Use only chord tones at first.
Remember to begin your melodies on different chord tones.
Some notes used in this example are not chord tones. Can you identify them?

mixolydian- A scale created

by lowering the 7th degree of
a major scale by a half step.

Can you find other dominant seventh chords in Take the A Train?
What mixolydian scales are the basis for these chords? 1. ___________ 2. ___________
From what major scales are these chords derived? 1. ___________ 2. ___________
Can you spell the notes of these chords? 1.__ __ __ __
2.__ __ __ __

resolution -The process of

passing from a dissonant to a
consonant chord or tone.

12

Improvising is like having a conversation. . .

Nates Corner

There are many jazz improvisation can be compared to having a conversation. In fact, jazz musicians regularly refer to the act of performing as "having a musical conversation." The Thelonius Monk Institute of Jazz has a very useful worksheet that you can download from
their website comparing ways in which the two are similar. You can find it at www.jazzinamerica.org. Here are a few comparisons:
JAZZ IMPROVISATION

CONVERSATION
People decide which words they are going to use as they
talk -- they don't decide ahead of time.

Musicians improvise notes freely during their solos -- the solos

are not composed on the page.

Speaking is learned by talking, listening to others talk,

and the study of their language.

Musicians learn to improvise by playing their instruments, listening to others play, and studying music.

People who are good conversationalists have a command

of their voice, their vocabulary, and their language. They
do not have to consciously think of every word they say.

Good jazz musicians have a command of their instrument, and

musical vocabulary. They do not have to consciously think of
each note they play.

Listen to Nate having a musical conversation with the saxophone in track 12.
8

Tips & Thoughts

One of the most important
activities is listening. As you
build your jazz vocabulary,
your listening skills will
increase. A great way to
develop your ear is through
listening and transcribing.

V. Major, Minor, Dominant Review

In the previous units, you have learned two ways to construct major, minor, and dominant seventh chords and
their related scales. Both methods use your knowledge of the major scale but in different ways. Lets take a
moment and review both of these methods.

A. Derived Harmonically
When you borrow the key signature of a major scale and build a new scale from a different root, you are
deriving the new scale harmonically.
The C major scale below is a major seventh chord built from the root, 3rd, 5th & 7th from the major scale.

Find a recording of Take the

A Train by one of your
favorite artists.

5.1

Listen to a solo and

transcribe a portion that you
especially like.

The dorian scale uses the same major scale but starts on the second scale degree. A minor seventh chord is built
from the root, 3rd, 5th & 7th of its related dorian scale.

Sing the improvised

melodies until memorized.

5.2

Play the section until you

sounds like the recording.
Concentrate on a small
section at a time.

he mixolydian scale uses the same major scale but starts on the 5th scale degree. A dominant seventh chord is built
from the root, 3rd, 5th & 7th of its related mixolydian scale.

5.3
Test Yourself
Can you play a major, dorian,
and mixolydian scale from
each root?
Can you arpeggiate a major
seventh, minor seventh and
dominant seventh chord from
each root?

Now lets look at the three types of chords and scales all using C as the root.

5.4
Key of C major

Key of Bb major

Key of F major

B. Derived Mechanically
When you start with a major scale or chord and raise or lower some of the notes to create a new
scale, you are deriving that scale mechanically.
Since all of the notes occur naturally in C major, just use the root, 3rd, 5th and 7th.

5.5
Notice that both methods
require that you know the major
scale.
To mechanically build a DMi7 chord and its related dorian scale, start with D major and lower the 3rd
and 7th scale degrees by a half step each.

5.6
Notice that we have arrived at
the same chord and scale for
the DMi7 and D dorian scale as
we did on the previous page.

To mechanically build a G7 chord its related mixolydian scale, start with a major scale and lower
the 7th scale degree by a half step.

5.7
Notice that we have arrived at
the same chord and scale for
the G7 and G mixolydian scale
as we did on the previous page.

Now lets look at the three types of chords and scales all using C as the root.

5.8
All the notes in the C major seventh chord occur
naturally in the key of C.
Mechanically find CMi7 by lowering the 3rd and 7th by
a half step each. What major scale shares this key
signature?
Mechanically find C7 by lowering the seventh scale
degree by a half step. What major scale shares this key
signature?

10

VI. The ii-V-I progression

We have established that all of the notes used to build the DMi7, G7 and CMa7 chords and scales are derived
from the key of C major. Another way to say this is that all of the notes are diatonic to C.

6.1

We can assign roman numerals to the chords derived from each degree of the major scale. The tonal quality or
tonality of each of the chords is as follows: the ii chord is a minor seventh, the V chord is a dominant seventh
and the I chord is a major seventh. Notice that minor chords are designated with lower case roman numerals,
while major chords are designated with upper case.

Tips & Thoughts

Variations on a melody
Learning to improvise is
much more than memorizing
chords, scales and patterns.
It is learning to spontaneously create new
melodies. One way to begin
this process is to use a written melody as a basis for
your improvisation.
Select a melody to work
with.

When these chords are used 6.2

together they can be described
as a ii-V-I progression. The iiV-I progression is one of the
most important building blocks
of jazz. Since all of the chords
and scales share the key signature of C major, the group of
chords together can be thought
of as a key center.
Look at the ii-V-I progression in
bars 5-7 of Take the A Train.

Can you label the ii-V-I in this progression?

6.4

Once you have internalized

the melody change it slightly. Start by making small
changes in the rhythm and
the notes.
As you become more comfortable, get more adventurous.
Improvising variations on a
melody is a great exercise
that will help you increase
your skill as an improvisor.

11

6.3

6.5

Practice singing and playing the root movement of the ii-V-I progression with track 13.

13

Play along with track 14

Once you are comfortable singing the root movement practice
arpeggiating each of the chords in the ii-V-I vamp.

14

6.6

Practice creating melodies using chord tones.

Here are a few ideas to get you started.

6.7

Use track 14 and improvise on your own.

14
Use only chord tones at first.
Remember to begin your melodies on different chord tones.
Can you find another ii-V-I progression in Take the A Train?
What chord is the I? _____
What chords are ii and V? _____ _____
What key area do all these chords share? _____

Vocabulary

Nates Corner

Slow it Down...
Some people say that composing is improvising s-l-o-w-e-d d-o-w-n, This is a good thing to
keep in mind when you practice improvisation. In this exercise, you will write your own solo over
the ii-V-I progression used in Track 16. Start by listening closely to the chord changes. Try to hear
and sing what you would like to play. Remember that there are many possibilities from which to
choose, so take the time to explore those possibilities. When you can play your melody exactly as
you sang it, try to revise it or create variations of it. Write down the version that you like the most.
Try this exercise several times. Your creative thought and emotion are what brings the music to life.
What feelings or emotions has your composition conveyed?

diatonic - The notes that

make up a given scale.
key center - A group of chords
all relating to the same key
signature.
tonality - The key of a composition.

Keep the Music Alive

One of the most important things for a musician is to stay healthy. Tobacco is as addictive as heroin and kills more than 400,000 Americans
yearly, more deaths than from AIDS, alcohol, car accidents, murders, suicides, drugs and fires, combined.

12

VII. ii-V-I Continued

Tips & Thoughts
Creating interest in your solo
Listen to the trombone solo in
Dont Bet Your Life on a
Cigarette (track 21 on your
CD). Can you identify any
techniques used to create
added interest? Below we
have listed just a few:
Use of rests
Restating an idea
Long and short tones
Solo has an overall shape
Different rhythms
Articulation
Dynamics
Listen to a solo by one of
your favorite artists.
Isolate a section you especially like.
Identify several elements
of the solo that you find
interesting.
Sing those sections with the
recording until you have
internalized them.
Practice incorporating one
of these elements into one of
your original improvisations.

Vocabulary
sequence - The repetition of a
musical figure at different
pitches.

13

Lets look at a vamp containing more than one ii-V-I progression. Notice that measures 1-4 contain the ii-V-I
progression from the previous example. Measures 5-8 contain another ii-V-I progression in the key of F
major. As you become more familiar with ii-V-Is, they will become easier to see and hear. As you listen to the
example notice how the ii & V naturally resolve to I.
Can you label the ii-V-I progressions?
Can you label the key centers?

7.1

Play-along with track 15.

Practice singing the root movement.
15 Practice arpeggiating the chord tones.
Practice playing the C and F major scales.
Once you are comfortable, practice improvising over the vamp.
Remember that: The vamp contains two ii-V-I progressions
Measures 1-4 are in the key center of C Major.
Measures 5-8 are in the key center of F Major.
Since the ii-V-I progression is one of the most important building blocks in jazz, it is important to become
familiar with this progression in every key. Many jazz songs will travel through several different key centers.
Practicing the ii-V-I in all keys will greatly increase your skill as an improvisor.
Once you are comfortable improvising over the ii-V-I progression, practice playing one idea through all 12
keys. This is a great exercise that will help develop your ear and facility. Playing the same idea in different
keys is called a sequence. Below are a few ideas to get you started.

7.2

Track 16 contains a vamp of ii-V-Is in all keys. Play along with this track until you are comfortable improvising in all keys.

16

7.3

14

VIII. Available Tensions & Altered Dominants

When we added the seventh to the major and minor chords we have studied, the tension or color of that chord
was enhanced. Just as we added the seventh (major or minor) we also can add a 9th, 11th or 13th. These notes
are found in the same way we determined the seventh- by counting from the root. Adding these notes to
chords and using them as chord tones in your improvisation will add color. These additions are called available
tensions or extensions. Lets look at some available possible for the three types of chords we have learned
about.
Available tensions on a major seventh chord.

8.1

Vocabulary
AABA A composition form
where the first section (A) is
presented, then restated at
(A1). The contrasting, or different section (B) occurs only
once. Section A is then
restated again.
altered dominant - A chord
containing one or more
altered tones.
altered tones - Scale tones
that are raised or lowered by
a half step to create more tension.
bridge The B section of an
AABA or ABA composition
form.
extensions - Colorful notes
that can be added to a chord.
lydian dominant - A dominant scale with its fourth
scale degree raised by a half
step.
tension a note that adds
dissonance.
subdominant The fourth
degree of a scale.

15

Available tensions on a minor seventh chord.

8.2

Available tensions on a dominant seventh chord.

8.3

Dominant seventh chords have the most possibilities of these chord types.

You will see many of these combinations in jazz music. Many times the notation in jazz arrangements is more
specific than in lead sheets. Keep in mind that whatever alterations are made to a chord symbol, it can be
simplified to one of the three chord types we have studied in this booklet.
* These tensions are created by raising or lowering diatonic extensions. They are commonly referred to as
altered tones.

Lets review what we have learned by analyzing Take the A Train. The song is in the key of C Major and uses
the AABA form.

8.4
Look at the first A section. The song is in the key of C. Can you
find and label any ii-V-Is? You have probably identified
measures 1-2 as I, meas. 5-7 as ii-V-I in C and meas. 8 as a
single bar of ii-V. Notice the D9(#11) in bar 3 (dominant with
added tensions), often called an altered dominant. Lets take a
closer look at how to handle this altered dominant chord.

8.5

First, simplify the chord to a dominant seventh. As you know,

the scale for D dominant seventh is D mixolydian which can be
found by using a D major scale and lowering the seventh scale
degree by a half step. Now lets add the #11. Count the notes up
the D mixolydian scale until you reach the 11th note. You should
have counted up to G. When you add the sharp, you raise the G
to G#. Now substitute the G# in place of G in your scale. The new
scale you have created is called D lydian dominant. Notice that
the melody in that measure uses a G#.

8.6
Now take a look at the B section. Notice the ii-V-I progression
starting one measure before letter B. This section moves to the
key center of F major. It is common for tunes to use the key of
the fourth or subdominant scale degree at the bridge. The song
returns to the key area of C in meas. 23 with a ii-V resolving to
I at the beginning of the last A section in meas. 25.

Learn the play-along songs provided in the following pages. Remember to learn the melody and the chord
changes. Practice singing the melody and the root movement of the chord changes. An analysis of the first
two songs is provided. If you have trouble negotiating any of the changes, refer to the previous pages.
Remember that improvising is an art that requires a great amount of knowledge and skill. If you have trouble
at first, dont get frustrated. Progress at your own pace. The more you listen and practice, the better you will
become.

Keep the Music Alive

Musicians are like athletes - they have to stay in shape. Smoking decreases your lung power, making it hard to play wind instruments. Smoking
also decreases circulation making it hard to play the piano or drums. Smoking truly sucks the life out of jazz.

16

17

17

Samba De Orpheus

18

Concert
Samba

A7(b5)

D7

E7

A7(b9)

D.7

36

2.

G7

C7

G7

G7

G7

G7

Cma7

C Cma7

E.7

A7(b9)

D.7

Dmi(,7)/C#

G7

1.

F.7

Ebma7

D.7

D.

Fma7

D.

D.7

G7

Cma7

41

G7/B

31

E.7

B G.7

21

Bb7

D.7/C

26

Dmi(,7)/C#

16

Cma7

11

A Cma7

Luiz Bonfa

D.7/C

Cma7

G7/B

[D.7

G7]

18

19

20

Samba De Orpheus

Concert

(Analysis)

Samba
Key Center:

Cma7

10

E.7

14

D.

17

ii

21

G7

ii

G7

D.7/C

G7

2.

G7

G7/B

ii

E.7

A7(b5)*

iii
VI

Cma7

ii(Maj7)

1.

D.7

D.7

Dmi(,7)/C#

ii

iii
VI
ii

D.7

A7(b9)

A Cma7

Luiz Bonfa

Samba De Orpheus - Analysis

2
F

C7

G.7

21

Fma7

ii
V
I

Eb

Bb7

25

F.7

G7

Ebma7

ii
V
I
V

29

Cma7

E.7

A7(b9)

34

D.7

Cma7

D.

G7

iii
VI
V
ii

ii

Dmi(,7)/C#

38

ii(Maj7)

D.7

G7/B

41

D.7/C

G7

ii

Cma7

ii
V
I

22

Sample Chord Voicings

Bbmaj7

Dm7

G7(b5)

Fm7

Sample bass line

Bbma7

G7b9

3fr

Bb7

Cm7

F7

3fr

Ebmaj7

Cmi

Ebmi7

Cmi(Maj7)
3fr

Ab7

6fr

5fr

3fr

Dbmaj7
4fr

Bluesette

19

Concert

Toots Thielemans

Jazz Waltz

Bbma7

G.7

C7(b9)

Ebma7

Eb%

Dbma7

Cb%

Eb.7

Cbma7

17

21

F.7

13

A.7(b5)

Db.7

C.7(b5)

D7(b9)

Bb7

Ab9

Gb7

D.7

Db7

C.7

F7

F7(b9)

20
Concert

My

Little

Suede

Shoes

Charlie

Parker

Calypso

F.7

Ebma7

F.7

Bb7

Bb7

G.7

C7

2.

10

Ebma7

Ebma7

14

18

Ebma7

F.7

Bb7

G.7

Bb7

Bb7

Ebma7

F.7

1.

G.7 C7

Ebma7

F.7

G.7

F.7

Ebma7

Abma7

Bb7

Ebma7

22

Abma7

F.7

F.7

Bb7

F.7

Bb7

Bb7

Ebma7

F.7

Hip to Jazz Development Team:

Rob Roman is the Director of
Education and Outreach at the
San Jose Jazz Society and
directs the Hip to Jazz
Program

Greg Carroll is Director of

Education at the International
Association for Jazz Education
and Educational Consultant for
the San Jose Jazz Society

Dave Gregoric is a professional trombone player and music

director at Valley Christian
Middle and High Schools.

Nate Pruitt is a world-class

vocalist who can be seen performing around the Bay Area on
a regular basis. He is a member
of Primary Colors and Steve
Czarnecki's Soul/Jazz Quintet.

Steve Saperstein is the General

Director of the San Jose Jazz
Society and creates handcrafted
guitars.

Graphic design: Lul Mohamed & Randall Hull.

Musical Examples: Scott Sorkin
Education & Outreach Coordinator: Casey Burchby.

Wally Schnalle is a professional

drummer and music educator. He is
also the music editor for Drum! magazine.

John Shifflett is a professional bassist

who performs regularly in the Bay
Area and teaches at San Jose State
University.

Scott Sorkin is a professional guitarist

and educator, he is a partner and senior engineer at Open Path Studios and
a clinician for the San Jose Jazz
society.

Kristen Strom is a professional woodwind player and on the adjunct faculty for saxophone at Santa Clara
University. She is a touring artist with
the Nuclear Whales Saxophone
Orchestra and a clinician for the San
Jose Jazz Society.
Dennis Wilson is the San Jose Jazz
Society's Artist-in-Residence. He is
a professor at the University of
Michigan School of Music. He is an
alumnus of the Count Basie Orchestra
and the Carnegie Hall Jazz Band.
Tim Volpicella is a guitarist and
recording artist who is very active in
the Bay Area jazz scene. He is the
founder of Open Path Studios.

San Jose Jazz Society Education Committee:

Suzanne Gutierrez-Benninghofen, Counselor and International Student Advisor at San Jose City College.
Mark Novak, Dean of International and Extended Studies at San Jose State University.
Charlotte Powers, President of the San Jose Jazz Society's Board of Directors.
Monica Rascoe, Vice President of Student Affairs at San Jose State University.

Hip to Jazz is made possible through the contributions of the

members of the San Jose Jazz Society.
Support music education
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THANK YOU
The San Jose Jazz Societys education programs are made possible in part by grants from:
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Department of Parks, Recreation, & Neighborhood Serv ices

San Jose Jazz Society Board of Directors

Charlotte Powers, Board President
Richard James, First Vice President
Robert M. Gardner, Second Vice President
Richard S. Holden, Immediate Past President
Brent Elliott, Treasurer
Mary Curtis
Jan De Carli
Suzanne Gutierrez-Benninghofen, Ph.D.
Valerie Hopkins
Richard Kagan
Steve Kellogg
Steve Koskie
Mark Novak, Board Secretary
Charles Parchment, Ph.D.
Monica Rascoe
Dean Tucker
Henry C. Wang
Stewart Wobber

Special thanks to:

The International Association for Jazz Education (IAJE)
Gordon Stevens and Open Path Studios
Randall Hull and The Brand Ranch
Bilalian Educational Services
We would like to thank our funders for Hip to Jazz:
The Healthy Neighborhood Venture Fund
Community Foundation of Silicon Valley

San Jose Jazz Society Advisory Board

Marie Bianco
Chip Carmer
E.J. Tim Harris
Claudia Mann
Dorrit Saviers

San Jose Jazz Society Staff

Steve Saperstein
Casey Burchby
Leigh Ann Frank
Marcia Maltby
Lul Mohamed
Rob Roman
Stephanie Ronco
Dennis Wilson

General Director
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Accounts
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Director, Education & Outreach
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