Mehegan The Jazz Pianist Vol 2

The first and only complete guide to

JAZZ IMPROVISATION by America's leading jazz piano teacher

JOHN MEHEGAN Instructor in Jazz Music, Juilliard School of Music and Teachers College Columbia Universitv; Jazz Critic, New York Herald Tribune.

Preface by LEONARD BERNSTEIN This is the first comprehensive book to codify and delineate the elusive procedure known as jazz improvisation. Popular piano methods are completely outmoded in terms of modern music. Most of these methods are based on antiquated concepts ... have no relation to the realities of piano as it is played todav. The basic materials of John Mohegan's timely and much-needed book, however, are adaptable to all jazz styles. The text-which runs 208 pages in II large 8112 xvl l format-includes figured basses and instructions for improvising on over 60 jazz favorites such as "Laura," "Body and Soul," "Spring is. Here," "No Moon at An," "Stella by Starlight," "Autumn in New York," "Round Midnight," "Pick Yourself Up," "[eepers Creepers," etc. by leading composers such as Gershwin, Richard Rodgers, ColePorter, Duke Ellington, Jerome Kern, and many more. rohn Mehegan's list of students over the past twelve years comprises professionals, aspiring professionals, teachers, dedicated amateurs, and Sunday pianists. It would cost hundreds of dollars to study the material in this book personally with John Mehegan, but JAZZ IMPRO\'ISATION makes all the information available for about the price of only one lesson. The book is handsomely bound in cloth, with a concealed spiral to lie flat on the piano. .

What Others say:

"A highly important and valuable publication.t-i-Lsoxxnn BERNSTE;IK "Fulfills a desperate need." -OSCAR PETERSON I'he author has presented his subject from a pedagogic and musically sound approach." , -ROBERT PACE, Associate Prof. of Music, Teachers College Columbia University There has long been a need for a book explaining the basic tools with which a jazz musician works. This is such a book." -GEORGE SHEARIKG 'A comprehensive work that should be of great significa~ce to those who want to learn the basic principles of jazz." . - BAIlBARA. CAIlIlOLL '[ohn.Mehegan is one of the most knowledgeable and articulate of modern pianists. As such hisbook is very welcome." -CY WALTER

o recommended by the following: 'Although you can not teach a person to be creative, this book represents the finest organization of jazz material that I have seen." -BIL EVANS 'A great book. I have recommended it to my son, Darius."

_:_DAVE BRUBECK -SATURDAY REVIEW

'It cannot be too highly recommended." 'A most valuable volume for both the scholar and the musician." 'Mr. Mehegan's book is an important critical document."

-ANDRE PREVIN - MUSICAL COURIER

"By the end of the present volume, the serious student should have a sense of musicianship hetter than that of cl great many graduates of conservatories." -NORMAN LLOYD (Instructor at The Juilliard School of Music) Book I-Tonal and Rhythm Principles £5.5.0 Book II - Keyboard styles from Teddy Wilson to Horace Silver; A schematic history of Jazz rhythms and melodic improvisation from 1920 to 1960... . ... (In Preparation)

[i] SAM FOX PUBLISHING COMPANY (London) LTD. Sole proprietors: KEITH PROWSE MUSJC PUBLISHING CO_'LTO" London,W,i

Book Two

1ST by

John Mehegan Studies In The Art And Practice Of Jazz Improvisation.

CONTENTS

1. 2. 3. 4. 5. 6. 7. 8. 9. 10. ll. 12.

Page Introduction 2 Open Position - Axis of the Seventh - . . . . . . . . . . . . . . . . .. 3 "BALLADE" in G 4 Open Position - Axis of the Third - . . . . . . . . . . . . . . . . . . .. 6 "RONDO" in F . . . . . . . .. 6 12/8 Time . . .. .. 8 "ROCK 'N JAZZ" in D 8 Chromatic Scale-ToneChords - Axis of the Seventh - .. . . .. 10 "PRELUDE" in C 10 Syncopation - Right Hand 12 "PASSACAGLIA" in Bb 12 Altered-Chromatic Scale-Tone Chords - . . . . . . . . . . . . . . . . .. 14 "CHROMATIC PRELUDE" in C 14 Ad Lib Jazz Harmony - . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 16 "RHAPSODY" in Eb 16 The Diminished Seventh Chord - . . . . . . . . . . . . . . . . . . . . . .. 17 "TOCCATA"inC , 18 12/8 Time (March) 20 "JAZZ MARCH" in Eb 20 The Sixty Jazz Chords . . . . . . . . . . . . . . . . . . . . . .. 22 "CHROMATIC IMPROMPTU"in C 23 Syncopation - Left Hand . . . . . . . . . . . . . . . . . 24 "NOCTURNE" in Ab 24 Ragtime 26 "RAG" in C . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 26

10/6 © Copyright MCMLX by Sam Fox Publishing Co. Inc.• New York. N.Y. Sam Fox Publishing Co. (London) Ltd .• for Great Britain. Ireland and Colonies Sole proprietors: Keith Prowse Music Publishing Co. Ltd .• London. W.I

Book Two

1ST by

John Mehegan Studies In The Art And Practice Of Jazz Improvisation.

CONTENTS 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12.

Page Introduction 2 Open Position - Axis of the Seventh " 3 "BALLADE" in G 4 Open Position - Axis of the Third - . . . . . . . . . . . . . . . . . . .. 6 "RONDO" in F " 6 1 2/8 Time . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 8 "ROCK 'N JAZZ" in D .. . . . . . . . . . . . . . . . . . . . . . . . . .. 8 Chromatic Scale-Tone Chords - Axis of the Seventh 10 "PRELUDE" in C 10 Syncopation - Right Hand 12 "PASSACAGLIA" in Bb 12 Altered-Chromatic Scale-Tone Chords - . . . . . . . . . . . . . . . . .. 14 "CHROMATIC PRELUDE" in C 14 Ad Lib Jazz Harmony - . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 16 "RHAPSODY" in Eb 16 The Diminished Seventh Chord . . . . . . . . . . . . . . . . .. 17 "TOCCATA" in C 18 12/8 Time (March) 20 "JAZZ MARCH" in Eb 20 The Sixty Jazz Chords . . . . . . . . . . . . . . . . . . . . . . . . .. 22 "CHROMAne IMPROMPTU"in C . . . . . . . . . . . . . . . . . . . .. 23 Syncopation - Left Hand - . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 "NOCTURNE" in Ab 24 Ragtime 26 "RAG" in C 26

10/6 © Copyright MCMLX by Sam Fox Publishing Co. inc .• New York. N.Y. Sam Fox Publishing Co. (London) Ltd .• for Great Britain. Ireland and Colonies Sole proprietors: Keith Prowse Music Publishing .Co, Ltd .• London. W.I

3

1. OPEN POSITION - AXIS OF THE SEVENTH

. INTRODUCTION

The scale-toneseventh chords studied in

# 11

and #" 12 of Book 1 appear in CLOSED POSITION

see Fig. 1. These studies are based upon the materials explored in Book I and represent many characteristic devices found

In

con-

temporary jazz piano. Fig. 1.

iI

~

In this book the basic tools of jazz harmony are completed as well as further explorations of many rhythmic idioms peculiar

H II

I In

II

I

IV

v

"

i

VI

VII

~

...

tl I I

to jazz. As in Book I, each study is accompanied by explanatory material in addition to occasional reference suggestions of reThe same chords in OPEN POSITIONappear as follows:

cordings by outstanding performers in the field. Unlike Book I, some of the material considered here re-

~

I

quires the use of the sustaining pedal to insure smooth voice leading and facility in phrasing. The use of Figured Bass in describing the correct function of each chord is a means of avoiding the inept sheet music device of

I

,.

t

Fig. 2

- '" I

t-

,

:t:I

cr

) j

..

oo&-&

.u..

u

e: ....

,

lettered chords. Numbers describe as closely as is possible the "pre-hearing"

f·

-

-& I

."

-

..

-

"U'

oo&-

..

-=

~

"U'

-&

IILJ

II

III

IV

'-J

~ ~

zz

."

."

--

-~

......

v

VI

VII

I

technic used by all jazz improvisors to determine

where they are "going"

on the basis of the DISTANCE from

where they "are". The THIRD and SEVENTH appear in the right hand, the ROOTand FIFTH in the left hand an octave beIt is hoped that these jazz studies may reveal to the student

low. This position is called the AXIS OF THE SEVENTH, since the seventh is the top voice.

some of the not so mysterious beauties of jazz. This device is used extensivelyby jazz pianists in "comping" (accompanying)vocalistsor other instrumentalists. Roman numeralsindicate the position of each chord in the scaleor key. DRILL: ExploreOPEN POSITION- AXIS OF THE SEVENTH in other keys.

4

5

BALLADE

1.

,~

JOHN MEHEGAN

Slowly - rubato (with pedal) I

I

.

~

,.,

jJ.

;I

....

"

-..

-

II

I ~

.

~

- .......,.. --

.-

mf

.

, ""

I \

~

••

j,t

.

..... III

-

~,

--

TI

._

w

....-

.,.

"

,

-

••

--e-

jJ. ....

VI

IV

VI

I

-- -• -

~"

• ....,

T

~

,1..J.

11

.....

,

---,..... '

."

..-

,

-.;

...-

-

,...'-

V

III

1-

U

......-

--

...-

-e-

-

I

VI

m

...-

I

I

-•

-

,

VII

tl

jJ.

,I

....

•" .,.

•

•

I

1-

I

IV

...-

...-

-=-

- --

,J

L-

I

-

•

~ w ,.

....

I

~

..,. • -.;o

--.--.-.~ ,

-.I

.-

..-

-,...-

V

III

,-

-

,

•

-

...-

...

?:";

...-

lli

--=4i

. --, - --I

"'" ~-

... 1-

I

IV

--

-..

.... 1"-

1

II

~

III

I-

,.,

J,j.

,I

....

,. ,

I

~

II

.

.J.

"

!

) I

. . ...

1-

/I..

" .... , ---..~ , ......

,.

III

--- ...1-

,.. 1-

I

...

- •

VI

---

-• IV

-

• ~ ._

...

II

--

. ,-

VII

I

. ....

"',I'f J

-

---

• ....

...-

,

J

,...

•

I II

,

~ ~

L-

.-

-

V

-...-

I

..... 1-

I

......-

• . - ..I -

It

,. ,~ III

111

VI

VI

IV

'6

- . .. - I -

..

.

...-

11

111

1-

-= --~ -e-

VI

V

VII

I

,J

r~

-~

IV

IV

IV

III

II

..- .. .--

?;

-. ---I_

-

1

Il

- ---- •.-

-.;:;;o>

III

-

,_

VII

~

,-

-

~

~

,

-.....

--

.lli

lli

3 ----,

r;---

'-"

,

'T

"11

~-----.,

-

--:l

-

7'

•

3

-

Il

G

Il

----

,

& •

U

I

VII---------

-

..,--

~ U I

-

-•

-e-

III

II

VI

-

'I

....

-

,r-

...

-

---

...-

- .- ----

I

IV

L-

I

...-

-

-

.• -

,I'f

•

't'5

'1

-.. V

-

--rJ

VI

IV

II

.

...-

-

\

.-

.-

I

....-

...-

V

III

...

'JII"

1-

1-

"?:: I

-

.... I

1

'-"

III

I

.

~

-

-

~ Vl

.

----

. .- -

--...- .1

rl,

IV

III

IV

II

...-

-

lli

I

.-J

U

w

I

~.-J

:J. _l__)_

li

L-

----

,

.

-

•

O

..

-

•

1-

.J,

VII

Il

'<J

.

••

--

I

--e-

111

•

I

. ~

•

•

...-

...I

--

III

IV

...

1.,;;,

I

...-

.. 1-

V

-.

~-6

, I

'li

TI

...-

1-

II

--

I

...-

.,...;.

...

1'i

•

~

'-'

I

l

-

=

V

-

." ,

---

.. "

oo

...-

-=1110--

111

'';;;;

-,... r= ,. III

--

I

I

-

.-

"

.......

'...-I

....,

Il

lili

VII

-

II

-_r

-

.

...

- -. -• .I

I

I

I

_,

II

VII

Il

'"

r r

------

...._.,

1 __

III

I

T

II

...

I

'" ....

- - .. --- . . .- - -I

...-

...

~

III

111

r.---

TI ,I

,.J •

.

VI

tl ~

IV

.

..

'

. ..

•

I

,-

-

u

•

r---3---,

-•

---

'~

VII

..

--

I

.'

~ J.I.

.

.J,

,

,. ~~ ,~

,... I

'1

•

'J'

--

-

'JII"

.-

.

n

---- ....-

I

IV

VI

-6

...-

.wo

III

I jJ.

I

't'5

•

V

r-

1',. ~ I

...

,-

~

)

,.,

-' _,

;

~

..

--...--

-r"li

-u

II

,..-

..-

...-

. -r

:i

11 I

II

j --.,

-

_.

"11

~

--

......-

MIl

•

,I

-

I

~

~

...

"11

"

,.

.

-

,I

~

I

-• -. --

~

II

....

I

,.

-

I

III

1-

-:ll:

I

...-

...

-I

.J,

J,j.

,I

•

..-

,

•

"11

I

,:

~

-

'li

6

.

7

2. OPEN POSITION - AXIS OF THE THIRD Fig. 1 illustrates the scale-tone chords in

1;

e -

OPEN POSITION -

AXIS OF THE THIRD.

II

Fig. 1

u IV

o.

I

III

II

IV

VII

VI

V

IV

VII

VII

IV III __

VI

III

VI

III

III

II __

II

II

V

V

II

I_

I

Here again the THIRD and SEVENTH appear in the right hand, the ROOT and FIFTH in the left. Since the third is the top voice, this position is called the AXIS OF THE THIRD. The AXIS OF THE SEVENTH and the AXIS OF THE THIRD are used interchangeably in advanced playing so that equal facility with each axis is important for the student. DRILL: Explore OPEN POSITION -

AXIS OF THE THIRD in other keys. V

RONDO is a study employing the OPEN POSITION - AXIS OF THE THIRD with the FIFTH omitted in the left hand. (By omitting the fifth, greater speed can be obtained in passing from one chord to another.) The chromatic design in the next to the last bar of RONDO will be explained in #6.

VII __

IV

- - .- .I

_,

(

RONDO

2.

j

..,

--

-

"v

A.J.-

I

__

11'"""''''''

......

I

_..

111'"......._ ,

I

TI

I

VI __

III

- - -_.-- ...

-•- -•-

"

11 __

1

VI

V ---

-- .- ---...J--

.

....

... - -

1

=:=:

,I""'_

I I , , -_'.? __, • :--+---r-'_~_~_~--~_~'_--+-~--------T---r-~~~--~_~_----~~~~ ,....,...UJIIIII'I:~ .. I I __ 1II""T II

T

r

I

III

VII VI __

III_

--- --

--- - i i

l ~'~'----~I""'----~~~------~~_~. ••

IV

IJ~

_

II __

V __

~

I

IV __

I

I

I

FI"

,

I

VII _

1

VI VII I

III __

IV IlL

II

JOHN MEHEGAN Moderately bright

III

III

VI

VI

II . __

V __

1

_

IV __

VII __

III __

VII VI _

r

I~~~~~~~~~~~~ ~

.

II ~

'"

"

,

VI VII

I

II

IV III -

VII VI _

III

11_

VIV_

II

1-

V IV_

I

VII--

-I

_,

a_,

-

I

~

r

.... v 1

I"'"

....

VIV_

11_

V IV_

I_

II

1\

I

-.- --

>I

III

a_,

I

-- ...- ...- -- --

_,

- i-

--

7""'i"

i

-

I"'"

I

VI __

1

T

II __

IV VII

IV VII

IV

• -c,

-..;-1/

"i

-- - - - 1

V

VII __

:>-

rit, -

""II'

I

1

V __

t.J r . -- --- - - - - - .. - - --- - - --

-

-

-

-

-

a

'""...

-e-

-

I

1

Tl>

i

1

i vi

1

- -

-

-

-

-

f:\.

-

1 L.._

v-

U

I

III_

8

3. 12/8 TIME

9

The eighth-note triplet (12/8 time) is an important device used in both early marches and blues. The eighth-note triplet has become the characteristic sound of "Rock On Roll" as in the first section of ROCK 'N JAZZ. The rhythmic and melodic monotony of the first section of ROCK 'N JAZZ is relieved by a jazz treatment of the same elements in the second section. Recordings

by pianists Ray Charles and Horace Silver offer excellent examples of 12/8 time.

3. ROCK 'N JAZZ JOHN MEHEGAN

Moderately

,

.

I

,L_----~--~L----=~ __-4

...

r. .I

'"

,

_J.+

-,;

~----L-+_----~----~~--~~----L---~~------~

-

c- c-

c- c- c-

I

__ ---------~----------

•••••••••••• _ -.., .... _.... ~- ~- _-- -- ~- ~- -- --- --- --- ~q~~~~~~~~~~~~~~~~~~~~~~~~ .., - - - - - ~ .. . ... - .... .... ""

-

! ....

'-=--

I

r-

~

... ..,

f

_ -......-

,

_, I

..I

.-I

e-

I

'I

~

.-

... ..

~ ,

>i'

I I

.

""

~

, I

..,;

I

•

-

I

.-I

-

I

.

.\

.

.l.

-

fi:::

• NOTE: The use of the 4/4 time signature and notation in this study and else .#9, is for ease in reading. However, for the jazz performer, "the feeling of 12/8" always prevails. These rhythmic patterns should be read and felt simultaneously.

Ped.

:......J

10

II

4. CHROMATIC SCALE-TONE CHORDS AXIS OF THE SEVENTH Much of the richness of jazz harmony involves the raising or lowering of scale-tone step. These chords are called CHROMATIC SCALE-TONE CHORDS.

,

These chromatic adjustments

Fig.l

tlII

involve the root -

#1;lu &&tl

##1

#II

~II

#II

third -

fifth -

chords a half

seventh of each chord as in Fig. 1.

b &. & 1 I'tH 1,"tR H I I ~nnll I II V

~v

VI

#V

~VI

#VI

,.,

~III

II

The "spelling" of b" as C# E G# B is for convenience in reading instead of Db Fb Ab Cb, Also C# minor is the" of B, the "I of A and the VI of E - all sharp keys. Again in the case of #", Eb minor is the " of Db and the VI of Gb; it is of course the "I of B and the VI of F#. In this case as we will study in Book 3, either spelling may prevail. The spelling does not in any way affect the chord. It is understood lowered" remains minor; a raised or lowered V remains dominant.

that the quality of a raised or

Not all scale-tone chords can be both raised or lowered, for example: #111 becomes IVm, #V" becomes 1,.,-. PRELUDE, should be pedaled for best results.

4.

PRELUDE JOHN MEHEGAN

Slowly

IV I

II

#11

III

~III

II

III

,.. f

I

• • "

.

Vm

~V

IV

IVm

III

.... _.I

I

v -

I

I

,- I

!,

I \

-

~. ,..

I

_.I

. -.... - -e; I ... I

...

.

~

-"

~~

v'-'

-

LJ b~ t;J v-

.1

••

-

-

_.

-

-e-

-

-e-

~

.

~

·1 ••

[)-e-

u

DU

~III

II

#1

-

I

~

_,I

I

I

~

-6

~~

I VI

,-

I

II

, -e-

.

...

"

-"

O-

-

-

-

I

-

u

_J _J .f~t --

-'

_,I

-

allarg. ~

f:\.

I

I

ll

.. ,

~n l..----U

..J

..,..,

f:\. -

-

-

-e-

-e-

__:::_~-

.2

5. SYNCOPATION - RIGHT HAND

13 I

PASSACAGLIA is a study in "OFF BEAT" SYNCOPATION as first treated in #10, Book 1. Familiarity with #10 is suggested before studying PASSACAGLIA. One of the basic problems which these studies explore.

of all jazz playing is the developed ability to "play against the beat"

PASSACAGLIA is a conventional foot beat - no pedal.

s.

32-bar form with a "tag" ending.

P ASSACAG

LIA

Keep a steady quarter note

JOHN MEHEGAN

Slowly

i ,~

15

6. ALTERED-CHROMATIC

SCALE-TONE CHORDS

We learned in #4 that scale-tone chords may be RAISED or LOWERED. We also learned in #12, Book I, that a scale-tone chord may be ALTERED from one quality to another. Here we will combine these two devices to form the ALTERED-CHROMATICSCALE-TONE CHORDS. Fig. 1 illustrates 'common examples of the ALTERED-CHROMATICSCALE-TONE CHORDS in C.

Fig.1

-,

II

IIx

~IIx

In Fig. 1

m~~ti

I I ~~I llU I i

H uU ,~"tH

~W

W

V

VII

VIIm ~VIIm

I

II d'II'l~jnl IVm

IV

I

#IVm

IVm

IV~

III

II1~ bIII~

Il~

bIlx

bVIx

I

bVIIm

II is Minor IIx is II Dominant bllx is flat II Dominant V is Dominant VfI is V Half-diminished b VIIt is flat V Half-diminished VII is Half-diminished Vllm is VII Minor b Vllm is flat VII Minor IV is Major IVm is IV Minor #IVm is sharp IV Minor

The spelling of the next to the last bar in RONDO is as follows: Vm-

bVrI-IVm

-III-blil-II-

bllM

Piano recordings of the great Art Tatum offer excellent examples of altered-chromatic harmony.

6. CHROMATIC PRELUDE JOHN MEHEGAN

Slowly - (rubato) 3

III

~IIx

II

~Illx

I

#lVm

I

#IVm

bVIIm

bVI~

bIII~

17 16

7. AD LIB JAZZ HARMONY A-rhythmical playing, is a device that every professional introductions, accompaniments, etc.

jazz pianist must be able to utilize.for

The recordings of Art Tatum, have no peer in the area of AD LIB JAZZ HARMONY. RHAPSODY, should be pedaled;

two-handed

chords should be broken and held at will.

7. RHAPSODY

JOHN MEHEGAN

ii'

Slowly (ad lib) /

I

'" ... ~ "

I

J.

v

""""

rJ

@

,

I ,

I

I

'"

.,

.'

I

I 11 LV

.

J

fi LI

...... -• ""'q-~ i

.-

v

I

hi

v

"

......

• '

c:.

~7.:

f:*.

"'_ ..........

"'_

,-

""~

",,'_

~ '"('5

~?:.:

'Tl

r

f':\

,

c.

IH

I~#~

f':\ IJ,

-

-

I

I

...J

""-

...

-r#-

t7~

e-

f:*.

...

I

U.

""_ ..,-

t7'~ "

Lv ~f:\ e~

LI.

-6

,

..._..

f':\

f':\

""_

II

..

~~ "",.....

-.,...,.

"" ~

I

•

~

-

'v ....

I

f:*.

f:*.

I r7,

! I

ft

-

~

.-I

I

~-6 _____-e-

""_

L-

."

-

- - -. ... I

-r-'

_I. _I

""_ "" ......

,-

1_ ,..

f':\

I

tr"'"-6 __-

-

! LV

Ir

~

O'

,., ..,"""'" ......

...

v

_

,..-

"

1-'1-0.-

'7';___

~

-- --

~

I

......

v

P-

""-

-

r:-

I

-

r:: 1

.....

b-e_

- c.--".u.

-

f':\

l,..------U

-

~ ......

-=---6

8. THE DIMINISHED SEVENTH CHORD for the scale-tone Combination

Ped.

~

3rd M M m m

5th P P P o

seventh chords in any key ~lre: Scale Position

7th M m m m

I -IV V II -III-VI VII

Quality Major Seventh Chord (M) Dominant Seventh Chord (x) Minor Seventh Chord (m) Half-diminished Seventh Chord (!!I)

There is one other chord -- THE DIMINISHED SEVENTH CHORD - used extensively in jazz harmony. This chord may be formed at any point on the keyboard by building an interval combination of a minor third, a diminished fifth and a diminished seventh. The diminished seventh interval is lowered twice from its scale position and is usually written as a sixth for reading convenience, i.e. Bbb (A). The· diminished chord has no "natural" position in any key. Symbol Key:

o -- Diminished Seventh

Chord

There are twelve diminished seventh chords (not three) moving in three series:

Ped.

~

Co C#o Do -

Ebo Eo Fo -

I

-& Bva"': I

Ped.

The qualities

~u

F#o Go G#o -

Ao Bbo Bo

18

19 TOCCATA may be used as a model in altering any scale-tone seventh chord to a diminished

To alter Minor to Diminished:

To alter Major to Diminished: M-

P -

m -

Pto m-o-o

M (I-IV)

to m-o-o

m (II-Ill-VI)

we must lower the fifth and seventh.

we must lower the third, the fifth and the seventh twice.

To alter Half-diminished to Diminished:

To alter Dominant to Diminished: M-P-m to m-o-o

chord.

m-o-m to m-o-o

(V)

(VII)

we must lower the seventh.

we must lower the third, the fifth and the seventh.

TOCCATA.

8.

, JOHN MEHEGAN

Brightly fl

-. •"" ~ro , ....

-

~ ~

ro

.&

.1

'!I

. .. ...

" .I

.oi-

...

.&

••

,= L-V

.&

... "

•

ol

v

I

...~

...

_

-•

.

...

K

-:1:

.

,_ .-

.l.

•

-

,_

•

~

.,-

v'"'

...

.l.

.&

.1

.-

L •

...

.&

••-

.'"' .

,

.&

,

,,

,

h~ ,v

v

.

..

-

-• -

.&

'.1

'!I

hb ..

--

,

. ...

"I.,

.

...

v

-

.-

...~

fl

I

'I"

.&

.1

.,

lOC IO.

...~

I

r , h--

v

'"'

.....

...

~

~

t -

..

L ....

I \

.I

I

-

Gx

.

-:l

-

h~"'~ Go

. ...

--

• .&

I h.

, -.... .

f. . ~f... ,

"" Am

.&

,•

~

.l.

. OK

...

K

.

.l.

.....

II-

I -, bl

.&

.1

I

•

1

I

,, "

h .... •

-

I .&

.1

h ...

--

~~~j

~~j ,

...~

~

.. -

< .... .I

••

.&

0#0

Do

O~M

Om

...

.•-

...

.&

Em

•.•-

...

. ...

~,

. .

• •

.1

• 1If-

.,...

...

...~

I... ...

--•

.

-

-.1

.--

J. .l.

FM

DIn

-

... ...

.&

.1

'!I

-

I•

....

. -...... .

., ., OK

...

.1

. ...

...

, lOC

\

Em

.1

...

.&

FM

Gx

f. Am

--•

•

. ...

_ . ...... OK

.1

'1•

K,

.&

.1

I ...

.&

Gx

\

Bo

Ao

Fo

Do

.

Co

Co

CM

Ao

Am

F#o

Em

-•...

,

.1

Eo

Ih. ,

I ...

.&

.&

...~

...~

ol

CM

J.

.&

.1

.l.

.-

,,

,

~,

, •~ .,,,

fl IJ

,

Fo

FM

FM

•

l..-

-:l

Fo

Gx

I'"' ,-

.

L

Go

~

...~

~

Eo

Em

Do

DIn

Co

CM

..•

G#o

Bo

B~o

Go

Eo

C#o

CM

Gx

Co

Ao

F#o

0#0

Co

Ao

.-.. .,

....

21

20

9 12/8 TIME (MARCH) One of the basic influences of early jazz was the French marching bands of New Orleans. These bands played marches, one-steps, hymns and the schottische. One of the characteristic idioms of these bands was that of 12/8 time studied in #3. The feeling of "three" superimposed over a beat of "four" creates an exciting pulse of "swing". An excellent modern treatment of this idiom can be found on the recording (Blue Note 4003) featuring the Jazz Messengers.

9. JAZZ MARCH

JOHN MEHEG~

Moderately

i.

(octaves in R. H. optional)

22

10. THE SIXTY JAZZ CHORDS From previous

studies we can now combine all jazz harmonic Combination 5th

7th

P

M

M

P P

m

m Five qualities -

23

CHROMATIC IMPROMPTU

10.

JOHN MEHEGAN Bright

Major Seventh Chord (M7) Dominant Seventh Chord (x7) Minor Seventh Chord (m7) Half-diminished Seventh Chord Diminished Seventh Chord (07)

m m o

o o

factors into the following: Quality

3rd M

m m

Serious study of CHROMATIC IMPROMPTU is recommended for automatic sixty chord facility.

twelve tones in the octave -

THE SIXTY JAZZ CHORDS -

(+7>-

see Fig. 1. CM

"

Fig.

EbM

GbM

BbM

AM

GM

EM

DbM

DM

FM

AbM

Gx

Ex

BM

*note

I

i

Cx

CM

Cm

C~

II DbM

Co

Dbx

C~m

'C~~

C~o

I DM

Dx

Do

Dro

EbM

Ebx

Ebm

D~~

D#o

FM

Fx

Fm

F~

Fo

I

Cx

Ax

I

Cm

Ebm

Co

Ebo

Ebx

Fx

Dx

Bx

Abx

Bbx

Dbx

II EM

Ex

Em

E~

Eo

I

t)

F~M

F~x

F~m

F~~

F~o

GM

Gx

Gm

G~

Go

AM

Ax

Am

A~

Ao

I AbM

Abx

G~m

G~o

II

i

I BbM

Bbx

Bbm

A~~

A#o

BM

Bx

Bm

B~

F#m

Bbm

Am

Gm

Em

C#m

Dro

Fm

Bm

.I

I Bo

DRILL: Practice the five qualities on twelve tones with both hands. These series should be played without constant reference to the printed page. *NOTE:

Transposing to sharps on m, ~ and o is for ease in "spelling" these chords. Also, C#m belongs to B, A and E - all sharp keys; C#~ belongs to O - a sharp key; C#o belongs to no key but is most easily spelled this way.

F#o

Ab

Bbo

Go

Eo

C#o

Do

Fo

G#o

Bo

CM

25 24

11. SYNCOPATION - LEFT HAND This study represents the counterpart of #3. NOCTURNE employs "Spanish" rhythms also an important influence in early jazz. Much of the early drama of jazz can be heard on the recordings made at the library of Congress by Jelly Roll Morton. These recordings are available on Riverside Records. NOCTURNE should not be pedaled! A strict quarter note foot beat should accompany

r.

,

/

this study.

~

.

NOCTURNE

v

v

• I

-

-

~

I

11.

-

I I ....

h

... I

,.

,

\

1

.I

...

,

-

••

I rl,

...

'"""-

-

V

.-I

OI

- -- - - -

-

l

l l

...

--=o

~

-

~

..

. - --- - - - -

....-1_-

_]

l

I

l

.....

I

l

l

.-I

.-I

'r

...-

I

----

JOHN MEHEGAN Slowly

1

II /

.

~

cl

I I

o... V

...

I

I

-

o... v

-

11

-

... ,_,.,

'_ll

~

_"6'

,

~

- ---

I

"

~\

• ",.~~v

-.' I

I IJ,

o... v

h

,v

.

-

--'

ritard.

-

r

I

-

-- - -- - I

_,I

l l

I

--'

I

, v-

;

I

I L.<.-I

• '1-~

I

.-I

.-I

----

-

l

-- ........ l

-,

1

~ -.

-

I

r7

l'

I

f':\.

shake

.... u

...-

26

12. RAGTIME Along with blues and marches, rags constitute an important influence particularly in jazz pipno. Recordings of James P. Johnson, "Fats" Waller and Willie "The Lion" Smith in addition to available sheet music by the great ragtime composers, Scott Joplin, Tom Turpin and James Scott, will aid the student in recreating the rhythmic excitement of ragtime.

RAG

12.

JOHN MEHEGAN

Bright - no pedal

I~~~~~~~~~~~ t~~---+---------II,________.._-t---------W~----+--:------a~·

fi

•" ", .....,

I

,

-

...~

~

..

,,' J

. I

J

-

--.... _J I

I

I

_

~ I

h.-l v-

--

~ ~

•

....

~

-

-- -L-

I

I

,__

-

-

I

~

I

_,

.-I

I

--

..

.-I

.0\

.........

~ -Io-

~~

-::=

--

I

I

I

~

.. ...

\q~J

-

,..

I I

•

~

,....

~

-r::=

'-.

--.... -- --.... - ......

,~

~

I

_I

I

'-

.. -

.....

I

..

A

_J I

tf*

I

--

_,

-

J

h.-l v-

John Mehegan began playing the piano at the age of five in the town of his birth, Hartford, Connecticut. The study of another instrument, the violin, took up his interests for several years but eventually, he returned to the piano which was to be the core of his life's work. He studied locally at the Julius Hart School where he majored in composition and theoretical subjects. During his formative years, Mehegan gained immeasurable experience playing with various musical groups in and around his home town. In 1945, he became assistant to Teddy Wilson at the Metropolitan Music School in New York City, and in 1946 became head of the school's jazz department. The following year he was appointed jazz instructor at the Juilliard School of Music and in 1958 jazz instructor at Teachers College, Columbia University - positions which he still holds. He has been the private teacher of many celebrated entertainers and professional musicians. Engagement after engagement has seen his career as jazz pianist, lecturer and teacher reach unique proportions. Since 1957, he has been jazz critic on the New York Herald Tribune and has established himself as a constructive music critic by his regular contributions to many modern music magazines. Mr. Mehegan's recently published "Jazz Improvisation" has been hailed as the first definitive text to codify the principles of jazz. His outstanding recordings and lecture-performances have brought him international as well as national acclaim.

26

2~

12. RAGTIME Along with blues and marches, rags constitute an important influence particularly in jazz pigno. Recordings of James P. Johnson, "Fats" Waller and Willie "The Lion" Smith in addition to available sheet music by the great ragtime composers, Scott Joplin, Tom Turpin and James Scott, will aid the student in recreating the rhythmic excitement of ragtime.

12.

RAG JOHN MEHEGAN

Bright - no pedal

1

I'M 'uopuol '·a.n·o:> 9NIHsnánd :>IsnwilSMO'lidHl13)1 :sJola!JdoJd alos

°011 (UOPU01) ANVdWDJ 9NIHSI1Bnd XD::I WVS ~ (uo!llued~1d uJ) 0961 Ol OZ61 wOll UOnBS!AOJd -W! ::l!POPW pUP. SWl{lÁl{J ZZB f }O ÁJOlS!l{ onnuraqos V ~l~AI!S ;peJoH Ol uosl!M Ápp~,L WOl} s~IÁlS p1BOqÁ;))IS;)Id!::lUPd Wl{lÁ4"M pUB IBUO,L -

O'S'S]

II I

:l[oog :l[oog

(:>rSl1w JO Iooq:>S pJurwnf aq,L lU .roronrisuj ) GÁO'I'] NVWIION.:sapOl'eAJaSuo:> JO sa:renp1>.J~ ÁUBW l1>.a.l~ JO luql U1>.t{l .Ianaq drqsumorsnur JO asuas u ~}A1>.q PInoqs luapnls snouos aql 'awnIoA mosord ~np JO pua aql Ág"

r

I

1I3:IlIfl08 '1v:>ISflW.:Uuprsnw aql puu .IuIoq:>s aql qwq .I0J awnIoA aIqUl1I1>.A 1SOW V" .:papuawwo:>a.l

M.3:IA3:H Á vcaru, vS-

ÁIq~Iq 001 aq iouueo

.:Sl1p1>.Q 'uos 'Áw Ol lr papuawwo:>al aAuq I ':l(ooq lua~

ll" V"

SNVA3: '11£1,:uaas aAllq I l1>.ql p~paluw zze] JO uoquzruu~bo lsaug aql snrosardar :l(0oq srql 'aAqual:> aq Ol uosrod u q:>ual lOU uuo noÁ q~noqlIV" 1I3L'1V M Á8.;';}wo:>IaM. ÁlaA SI :l(0oqsrq q:>l1s sv 'SlSIUUId ulapow JO al1>.ImpJ1>. pUE alqm)~paIM.óu:l( asour aql JO auo SI uE~aqaW'uqoL TIO'ilIlV8 VIIVH'ilVg,:zzu! JO saldp~pd :>ISEq aql uIEaI ol lUUM. 0qM. asoql Ol a:>uE:>gru~rs lEal~ JO aq Plnoqs lEql '110M. aAIsuaqaldwo:> V" !)~IIIV3:HS '3:~1103:~,::l(0oq Po q':)I1s SI srq.L 'S:l(10M umorsnur ZZE! E q:>IqM. qlIM. SIoOl :>rsEq aql ~urup>'Idxa :l(0oq E 10J paau u uaaq ~uOI SEq a.Jaq.L" ÁHslaAru[l 1>.rqwl1Io8 a~aIIo8 s1aq:>1>.a,L ':>rsnw JO '}O.ld alp.r:>oSSv '3::JVd ~1I3:HOH.:q:>BOlddE punos ÁII1>.:>rSl1W pUE :>r~o~p.pad B WOIJ pa!qns srq paluasaJd suq Joqlnl3 aq.L" NOSII3:~3:d IIV::lSO- ,:paau al1>.ladsap 'B sumn.!!" . .\l13~S~II3:g GIIVN03']- .:uop'B:>Hqnd alq'B1111>.A pUE lUEllOdwr Álq~rlI V" : ,{,vs SJ(J1J.1 1Vl{ Ai

O

.. 'ouu!d ::np uo lUlf all Ol IUl!ds paIua;)uo;) 13 ql!M 'qlOp U! pU110q '\Iawospuy.q S! '[ooq aq.L 'lJossaI auo ÁIuO JO a;)pd aql lnoqu .t0J aIqp.I!y.All uonuw.IOJU! aql IIu sa'[llw NOUVSL\OlldWIzzvI lnq 'm~~a4aw uqof qHM '\IIl'.uos.I<'id '[ooq S!ql U! In!lall~w aql ÁpnlS Ol Sll'.lIOP JO spa.tpunq lSO;) PInoM II 'SlS!Ull!d ÁllpunS pUll 'S.lnalllUIll palU;)!pap 's.taq;)llal 'SIlluo!ssaJold ~U!l!dsll 'SIllUO!SsaJ0.ld saspdwo;) S.lllaÁ aAlaMl lSlld aql .IaAO sluapnls JO lSlI s,ull~aqaw uqo[ ·a.low Áuew pue . 'lUa)! awolaf 'uo:j1lu!Il3:á'[na 'lapod.aIoJ 's.ta~poH P.luq;)HI 'U!Mqsla8 SU q;)ns slasodwo;) ~u!peaI Áq ';)la ,:s.ladaa.lJ s.ladaaL ,:dn . lIas.m0A )P!d" ,:lq:il!UP!W punoH" ,:'[loA MaN U! uwnlny" ,:lq~1I1111S Áq lllIalS" ,:ItY le uoow ON" ,:alaH S! ~u!ldS" ,:InoS.pull .\pog" ,:ll.lnll'l" Sll q;)ns Sal!lOAlll zZllf 09 .IaAO uo ~U!S!AOldw! 10} suO!pn.llSu! puu sassuq pa.ll1~9 sapnpU!-lllW.lO} IT'lX 0/,8 a~.luI II U! sa~lld 80(; sun.I q;)!qM-lxal aq.L 'saI,\lS ZZll[ IIu 0l aIquldl'.pll a.1ll '.IdAaMoq ''[ooq papaau-q;)I1W pUll ÁIawH s.Ul~~aqaw uqof 30 SIB!ld.luw ;)!Sllq aq.L ·,\BPOl pal\llId S!.l! su oUll!d }O sa!l!Il'.d.I aql Ol uonuI~.1 ou aAuq ... slda;)uo;) pallmhnuu uo pasuq a.lu spoqlaw ::Jsaql}O lSOW ';)!snw l!.tapow }O sUl.lal U! papowlno '\IalaIdwo;) a.m spoqlaw ouu!d .lllll1dod ·UOHl'.S!AO.ldw! zzuf su lIMOU'[ a.lopa;)o.Id dA!S111a alll alnaU!(dp p~1ll '\}!PO;) Ol '[ooq aA!suaqa.ldwo;) 15.19 alll S! S!q..L

NI:>Il.SN1I31l UHVNO:>Ii ,{,q nvf(J.l'J ·aunq!.I.L Plu.laH '[.10;( MaN '.1!l!.tJ zzuf ~,\l!S.laA!Un l'.!qUlnI0::::> a;3anoJ S.lalpl'.a.L . pun ;)!snw }O Iooq;)S p.lP.lII!nf ';)!snw ZZBf U! .lOpn.qsuI

NV~:IH:IW NHOf ,1,;npVJl OUV!4 ZZV( :3U!PVJl

S, VJ!.lJW

V {q

NOI~VSIAOlldWI

zzvf