Modes for Autumn Leaves scales & modes are a group of notes, a pool if you like from which you can draw your ideas

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1 6 A1 c 1 a locrian #2 A C Autumn Leaves 32 bar aabc form please note that the melody is ritten in a simplified form, and is a guide only, embellishments & syncopation are expected comping rhythm for A sections only medium maor ii v i in b flat maor ii v i in b flat Œ c dorian D7 ( # 5 # 9 ) n d superlocrian # D7 ( # 5 # 9 ). maor ii v i in b flat. this indicates that the feel is sung not straight 8ths J f mixolydian Gm(ma7) g azz minor! ma7 Gm(ma7) Gm(ma7)! ma7 maor ii v in F Gm7 g dorian e.g. Gm(ma7) C7! ma7 b flat maor E! ma7 e flat lydian Œ E! ma7 Ó # E! ma7 f dorian e.g. # maor ii v in e flat Fm7! 7 ( )

2 Modes for Autumn Leaves scales & modes are a group of notes, a pool if you like from hich you can dra your ideas 34 36! ma E! 42 n b Gm(ma7) c dorian mode (2nd mode of flat maor scale, or c maor scale ith loered 3rd and 7th) f mixolydian mode (5th mode of flat maor scale, or f maor scale ith loered 7th) b flat maor scale Gm7 n Fm7 b e flat lydian mode (4th mode of flat maor scale, or E flat maor scale ith raised 4th) a locrian #2 mode (6th mode of c azz minor scale, or natural minor scale ith loered 5th) b d superlocrian mode (7th mode of E flat azz minor, also called altered and half hole scale) g azz minor scale (melodic minor ascending) g dorian mode, or c mixolydian mode (same notes) f dorian mode, or b flat mixolydian mode (same notes) n # C7 n! 7 b

3 Jazz Sing Quavers play this scale and articulation no play this in 12/8 time J. c No add an accent to the off-beat note c 58 No play the slurred notes at full value (don't shorten) but ith less emphasis 61 } k k } k } k } k } k } k } This is an exaggerated rough guide to azz sing feel and phrasing note length, eight of accent etc are all open to personal interpretation the shape of the melody and use of different rhythms ill also determine the articulation used The only real ay to get an idea of azz sing is by listening to recordings made by great players

4 Voicings For Autumn Leaves 64 66! ma7 E! ma7 68 n Gm7 71 n # n C7 n Gm(ma7) # note: you may ant to play this chord using f natural instead of f sharp, try it out! b 72 Fm7! 7 Chords can be divided into 3 groups, maor, minor, and dominant Learn to recognise a maor ii v i progression & the qualities of the chords involved (m7, 7, Ma7) Learn to recognise a minor ii v i progression & the qualities of the chords involved (m7b5, 7(alt), Min7 Your chord must contain at least the 3rd and 7th (guide tones) uild your chord from either the 3rd or the 7th upards (there are usually 2 voicings per chord) Avoid playing the root in your voicings Keep movement beteen chords to a minimum (ust like J.S. ach!!) Extend the m7 and ma7 chord to the 9th ith the 5th Extend the dominant chord to the 13th using the 9th (omit 5th) Use alterations on the dominant chord especially in a minor ii v i

5 Nomenclature of azz chords There are 3 types of chord group, maor, minor, and dominant. When you are reading chord charts you ill need to be able to recognise hich symbol belongs to hich group. Often beginning improvisers get confused beteen a dominant chord and a maor chord, hilst only a semitone different, the function of the chord is ENTIRELY different. Here are common ays maor chords are ritten !! ma7! J! M7 Here are common ays minor chords are ritten C- Cmin7 C-7 Here are common ays dominant 7 chords are ritten F9 F13 Here are the 2 ays a half diminished chord is ritten Aº Please note that azz use extensions such as 9th, and 13th rather than 2nd and 6th to imply that the interval is ADDED to the existing chord and doesnt replace a note. e.g. C9 means a C7 plus a 2nd, Csus2 ould imply that the 3rd is replaced by the 2. A C6 chord is ust a c triad ith the 6 added, hoever a C13 is a dominant chord. Jazz musicians ill usually play a C7 ith either a 9th or 13th anyay, so C7, C9, & C13 are the same practically. lues scales for Autumn Leaves G blues - This is a good blanket scale to use hen your brain aches from thinking too much! 86 # flat blues - you may ish to try this scale over autumn leaves, see hat you think! 88 b n b

6 Change running exercises 90 etc. 94! ma7 98 Digital pattern exercises E! ma n Gm(ma7) etc.! ma7 b Cm ! ma7 112 etc. E! ma7

7 Jazz lines (ideas) 114 n 117 b 3 b n b b b! ma7! ma7 Ó Ó What makes a solo interesting? Repetition, Sequence, Dynamics, Range (high, lo etc), Accents, Rest and Silence, Rhythmic Variation Variety (but not too much), lues scale, Tension and Release, Motifs Knoing here the guide tones are (3 and 7) Trills, Glissandos, Soops, Staccato etc Emphasise pretty sounding notes, 7ths, 9ths, #4ths Alays try to buiid your solo, tell a story and make it go somehere Above all of this, the main thing you need to do is LISTEN, it helps sing feel, improvisation, style and generally helps you build a solid azz vocabulary! What do I do no? Practise Sing rhythms over familiar scales Practice maor 251 in both hands through cycle of 4ths, best choice Practice maor 251 in left hands through cycle of 4ths, play 251 exercise in right hand practising sing rhythms Seperate Chords types and practise through cycle, chromatically and randomly until you kno the chords quickly Practise minor 251 in left hand, best choice Practise minor 251 in left hand, play 251 exercise using Locrian #2, Superlocrian, and Jazz Minor scales uy a real book and play chords from any tune making yourself fluent ith your ne azz voicings uy Jamey Aebersold backing tracks and play along either ith chords & tune or try soloing over the changes too! Just play, be creative, listen and have fun playing azz! There is a huge recourse of azz tutorial material available to buy and study, or book a series of private lessons from a tutor, study at one of the azz courses available in both Auckland based universities.

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