Jazz Theory

Okay, I'm sure most of you either have a decent grasp of traditional classical theory, or are currently working on it. What I'm going to present here is NOT DIFFERENT. Honestly, it's the same stuff - maybe different names, point of reference, or application; but there's really nothing new. So, please don't freak out, I'll try and be gentle.

I'll probably work slowly - because I don't want to frighten anyone, and because I'm lazy. All my books are in boxes somewhere in Toronto, so I'm working from my brain, and I havn't really thought about this stuff in ages.

I'll start with Basic Theory 101

Assumptions I'm going to make:

We all know our Major scales? They should look like this:

• W=whole step, H=half step: WWHWWW
• i.e. C Major: C D E F G A B

No problem! We all know how to build diatonic triads?



Ta daa. Make sense? Are we all aware of the function of these chords, as pertaining to traditional harmony? V goes to I for example. Still with me?

If this makes sense, and everyone's on the same basic page here, I'll start throwing more fat in the fire soon.

Any questions?

Okay...I'm working slowly on this. Here's our next baby step.

We've established that you all can construct diatonic triads...now lets add a seventh on top. SO: 1, 3, 5, 7 . No problem. Looks something like this:



Makes sense? Okay... See those symbols up top? Learn them...they're important, and mean great things.

In the case of major and minor, I will always use (for example) CMaj7 ... DMin7 . It's easier to read, more widely used etc. The triangle for major can lead to trouble if you try and write them quickly (looks suspiciously like a circle ) ...

...Okay, just wanted to put a bit more out there. I'm assuming this is basic revision for some of you? Stop me if I'm going to fast, ask me if something doesn't make sense. Possibly more coming soon. (I remember now why I hate jazz font...those symbols look terrible, sorry)

Okay...we'll bring those diatonic 7th chords into the mix shortly.

Now, I want to introduce (reinforce?) Modes. Starting with the Major scale, we have 7 modes (just different starting points, really).

1. Ionian
2. Dorian
3. Phrygian
4. Lydian
5. Mixolydian
6. Aeolian
7. Locrian

Yeah? Most of you likely know these...possibly labeled: Tonic, supertonic, median, sub-whatever. Same thing, only these ones are better. I.e. F Dorian is the second mode of Eb Major; C Lydian is the fourth mode of G Major, and so on...yeah?

This is the 'parent scale' method. Relating each mode back to it's relative parent. Another approach is to consider the individual alterations. For example, F Mixolydian scale has one note altered from the F Major scale: b7. G Aeolian has three notes altered: b3, b6, b7. Make sense? This method becomes more intuitive when we get into chord symbols/alterations and extensions.

Here's a chart to clarify:



Got it?

Which ever way you choose to think of it, ya gotta know your scales...cold. Like, hardcore. Because, we'll soon apply the chord/scale relationship, and in improvising, instant decisions are made (F? F#??) ...This stuff needs to become second nature.

...

Next...

Chord/scale relationships. For now we'll consider only the major scale.

Take those 7th chords, and cross-reference them with the modes.

Tadaa. It's basic, but for now it works.

This applies to improvisation, or any sort of melodic use, over the applied harmony. When you see a chord, we need instant recognition and application of the appropriate scale.

Examples:
--------------------------------------------------------
G7 (G,B,D,F) = G Mixolydian.

DbMaj7(#11) = Db Lydian.
--------------------------------------------------------

Fmin7 = ?? Oh no! A problem?! There's several minor 7th chords, which one do I use?! It depends on the function - and unless specified, it'll often be Dorian. Think about it, it'll make sense in a sec...

Why do we do this? Well...some people don't. I do. So, instead of aiming for simple and obvious chord tones (1, 3, 5, 7), the color notes - extensions (9, 11, 13) make all this more interesting. Also, allowing for a more linear approach, worrying less about which chord tone you're on, and more about where your line is headed.

I like to reduce everything to the lowest common denominator.

The most common progression in jazz (perhaps of all music) ... ii - V7 - I

--------------------------------------------------------
Dmin7 ... G7 ... CMaj7

Dmin7 = what scale? D Dorian (2nd mode of C Major)
G7 = G Mixolydian (5th mode of C Major)
CMaj7 = C Ionain (1st mode of C Major)
--------------------------------------------------------

Oooh...Nice, a pattern. You mean I can use C Major the whole time? Yup. ... well, not all of it. I'll mention 'avoid notes' in a sec. Don't do this all the time, a little variety is nice as well, but a good way to learn this stuff is by dumbing it down to comprehensible chunks. If you can recognize that the first 8 bars are all 'just' F Major, you've made your job a lot easier.

Keep in mind, this is something to apply to 'standards' and common progressions... 'modal' jazz will require a slightly different angle.

Now, avoid notes: You know how people say there's 'no wrong notes in jazz'? They're lying. Don't start with them, don't hold onto them, and don't end with them.

Major chords, never play an unaltered 11. I.e. C Maj, don't lay on a big fat F-natural. It will sound bad. There's others: on dorian scales, watch out for the 13th (especially when it's ii followed by V)...now, this certainly doesn't mean you shouldn't play these notes, just avoid them. Especially on strong beats....

Um...yeah, this was a bit random, stream-of-consciousness sort of thing.

Let me know if this makes any sense...