JAZZ THEORY (BeBop Drills)
The Key of the Moment
Harmony developed
from the layered melodic use of the major scale, first in
counterpoint, then in chorale music. Since that time, chord
progressions have been understood by their connection to, and
location within, a key area. While simple classical harmony,
folk music, and many popular music progressions stay fixed in
one key, BeBop harmony can switch from one key family to another
at any time. These key areas are called keys of the moment, and
can contain any number of diatonic chords.
In BeBop, the II
- V progression represents the most prevalent key of the moment
progression. Even if the actual resolution of the sequence is
different, the expectation set up by playing a II
- V is that the
next note in the cycle of fifths [C-F-Bb-Eb-Ab-Db-F#-B-E-A-D-G]
after the root of the V7 chord is the root of the I chord, and
of the major scale from which the ii-v is taken. For our
examples, we will use Dm7-G7, the II - V of C major. BeBop uses
this key affiliation in two ways, passing tones and scale
approaches.
The complete
definition of the first technique is a passing tone between two
different chord tones by scale step. Because the chords in a II
- V are built in thirds, and major scales in seconds, three out
of the four chord tones will have a scale step in between. Each
of these three-note groupings form a melodic cell, which can be
used as a segment in improvised lines. For Dm7 the cells are as
follows, listed first in ascending, then in descending order:
d-e-f or f-e-d, f-g-a or a-g-f, and a-b-c or c-b-a. There are no
scale steps between c-d, so there are no passing tones. For G7
the cells are g-a-b or b-a-g, b-c-d or d-c-b, and d-e-f or
f-e-d. The notes f-g are adjacent in the scale, so no passing
tone exists here. Learn and play all of the cell groupings for
each of the II - Vs listed in the II
V progression article by finding the
key of the moment for each II - V, and inserting the scale steps
from the appropriate major scale in between the chord tones in
question, moving in both directions.
Scale approaches
from above to chord tones do exactly what is described. A chord
tone is selected for targeting, and the scale note immediately
above is played first, followed by that chord lone, usually in
an eighth-note rhythm. The technique needs two eighth-notes to
complete itself, which offers the choice of resolving to the
chord tone on the beat or the 'and' [off-beat]. For Dm7 the
scale approaches are e-d, g-f, b-a, and d-c. For G7 they are
a-g, c-b, e-d, and g-f. Learn and play all of the scale approaches
for each II - V listed in the preceding II
- V article.
These two ways of involving scales
in improvising help shape the sound of the scale around the
chord tones. Use them to intersect the arpeggiation of chord
tones in your practicing and soloing. Listen for the sound of
these ideas in jazz solos, look for them in your own and other
peoples' transcriptions, and create solos over the II
- V series
in a 2-beat [4 eighth-note] and 4-bcat [8 eighth-note] rhythmic
pattern. As always, use your ears and happy drilling! [top]
- Frank Singer ©2002
I originally learned these concepts from Charlie Banacos, private
instructor.
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BACK
TO THEORY DEN CONTENTS
The
Language of BeBop
The
Use of Tensions 1
The
Use of Tensions 2
The
Use of Tensions 3
The Jazz
Sub-Dominant Chord - II-7
The Jazz Dominant Chord - V7
The II-7 V7 Progression - II V series
The Key of the Moment
"Watch out for
those chromatics!"
Ear Training
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eCUTS
