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Hello piano fans, this thread is a primer on jazz based on the tune 'Autumn Leaves (AL)' and 'All the Things You Are (ATTYA)' (See Bottom of Links for ATTYA).


Advanced Players - New Thread Started Here Jazz Study Group 2: Intermediate/Advanced Players

Download ENTIRE THREAD in PDF[/b]

[b]
Reharmonization Thread - Related Mary Had a Little Lamb



THREAD INDEX

What is Jazz?

Autumn Leaves Changes
Lead Sheet of Autumn Leaves (Our Changes) by Serge88
Comping AL - Charleston Style by Chris Bell
Comping AL (2) - by Chris Bell
Walking Bass Examples - by Chris Bell

Melodies/Recordings/MIDI Resources
Swing version from jazzwee
Combo Version of Melody from jazzwee
Combo Version MIDI Backing Track from jazzwee
Jeff Bauer\'s AL Backing Track and Latin Version
Professional versions
MIDI Files of Charleston LH by Kangamangusuk
Elssa\'s Ballad Version
You Tube Links of Swing Examples
Walking Bass Backing Tracks
Short Solo - Combo - Jazzwee


Lessons
PDF Summary of Lessons

Lesson 1 - AL With Shell Voicings LH
Lesson 2 - Shell Voicings LH with 3rd RH
Lesson 3 - AL Alternate LH/RH Strategies
Lesson 4 - Solo Piano/Ballad Ideas-Non Jazz
Lesson 5 - Walking Bass
Lesson 6 - Solo Piano 2 + 3 Voicings
Lesson 7 - Rootless Chord Voicings - Combo Setting - 3 Parts
Lesson 8 - Scale Exercise 1
Lesson 9 - \'Playing in the Pocket\'
Lesson 10 - Beginning Solo Tips - Long Notes and Space
Lesson 11 - Solo - Chord Tones on Downbeats
Lesson 12 - Solo - What to Play on a Maj7 Chord
Lesson 13 - Solo - What to Play on a Dominant 7 Chord
Lesson 14 - Solo - What to Play on a Minor ii-V-I
Lesson 15 - Reharmonization 101

Jazz Arranging by Chuck Israels (Link from Chris Bell)
Learning to swing
Swing Discussion - Detailed
Note Phrasing
Chromatic Ideas for Lines

Theory
Shell voicings (1/7)
Circle of Fifths
2-5-1
Scale degrees
Theory - Chords and Extensions

All the Things You Are (ATTYA)

Opening Discussion and Playing Examples

Two Handed Voicings

Two Handed Voicings - Practice Strategy Part 1-5



Jazz Blues

Lesson 1 Blues


Autumn Leaves Backing Track For Slow Practice - 80bpm
http://www.box.net/shared/8bjpa2lks3



For General Jazz Discussion, please go to this related home thread:

http://www.pianoworld.com/ubb/cgi-bin/ultimatebb.cgi?/topic/32/5547.html

Everyone is welcome, and discussions will be done at all levels from beginner to a little more advanced. This way everyone can share and learn. Jazz can be a lot to absorb and it can really help to have a group of people to help each other along the path of learning.

There are some of us who have had a few years of study in jazz and have a little headstart. But it doesn't mean we know everything. Jazz, like learning Classical, is complex and encompasses everything from theory to technique. It is humbling how little we know (even the ones contributing information).

Many jazzers learn jazz by dissecting a tune and expanding on it. In the case of Autumn Leaves, a beginner could literally stay on this one tune for an entire year of intense study and you still wouldn't be done. The good news is that everything one will learn will be applicable to a large number of other jazz tunes so this tune becomes more of a framework of discussion.

I personally haven't done Autumn Leaves in awhile so even just explaining things will be helpful to me. FWIW, my experience has been that when I discuss the topic as a contributor, I will often learn a lot of new things myself. So those who know this tune and jazz in general, please contribute. The more the merrier!

Those who wish to participate in this Study Group, please say Hi and tell us your goals and start asking questions as we go along.
I expect this to be a very big thread and will go on for a little while.

Welcome to our study group!

NOTATION CONVENTIONS IN THIS THREAD
In this thread, since a lot of the discussion is textual (not using sheet music), we use text representation of the music and chords. Bars are used ( '|Measure|' ) to indicate a Measure. Autumn Leaves is in 4/4 so assume 4 quarter notes per measure.

If you see two chords in a Measure as in
|Em7 A7|Dm7 G7|
Assume that we give each chord two beats. This is standard Leadsheet notation.

AUTUMN LEAVES
Medium Swing

Key of G (Em) 4/4

Form: AAB

A Section

| Am7 | D7 | Gmaj7 | Cmaj7 |
| F#m7b5 | B7b9 | Em7 | Em7 |

B Section

| F#m7b5 | B7b9 | Em7 | Em7 |
| Am7 | D7 |
| GMaj7 | CMaj7 |
| F#m7b5 | B7b9 |
| Em7 A7 | Dm7 G7 | F#m7b5 | B7b9 |
| Em7 | Em7 |

These are the "Changes" for the tune. As a definition, the chords of a tune are referred to as "Changes".

This tune is of the AAB form, which means you play the A section twice, followed by the B section. Each cycling through the tune is referred to as a Chorus.


Chord Finding Program from Monster M&H
http://www.looknohands.com/chordhouse/piano/

Autumn Leaves (AL) is commonly played in a couple of keys. These are changes in G(Em). The other popular version is in the key of Bb(Gm). It would be advisable to learn AL in Bb as well. In fact, advanced students should be able to transpose this in any key and it would be a simple matter once you understand the form.

In Jazz lingo, playing the changes for the first time with the melody is called "Playing the Head". You will loop through these changes many number of times.

The format in jazz playing is:
HEAD (MELODY)
REPEAT CHORUSES FOR SOLO
END WITH HEAD

Solo here means that in a combo setting, individual instruments will improvise as a Solo. This tune can be played in a jazz combo or can be played solo piano.

Medium Swing means the tempo is anywhere from 120-150 bpm per quarter note. Under this is generally slow swing and above this is fast.

By all means start as slow as you want.

Later on, we will discuss why this tune is in two keys G vs. Em as well as analyze the construction of the tune. Analysis is key to learning anything in jazz. Before you attempt to play it, you should know the key centers intimately.

LESSON #1

For those new to jazz chords, you can play the chords on the LH using just the root of the chord and the seventh of the chord. It will be quite easy. I will list the chords used above and what two notes you will play on the LH.

Play 'Am7' as 'A, G', which is (Root + b7)
Play 'D7' as 'D, C' which is (Root + b7)
Play 'GMaj7' as 'G, F#' which is (Root + 7)
Play 'CMaj7' as 'C, B' which is (Root + 7)
Play 'F#m7b5' as 'F#, E' which is (Root + b7)
Play 'B7b9' as 'B, A' which is (Root + b7)
Play 'Em7' as 'E, D' which is (Root + b7)

These are know in jazz as 1/7 shell voicings. Popularized by Bud Powell, they are simple but have the advantage of having a solid bass tone for the root, something very good for solo piano.

Now what are you supposed to do with the RH? For now, you'll need to play the melody. Once I figure it out, I'll post an MP3 of the melody. Or those who are handy with recordings can post their version of the melody. Although the melody is fixed, it's like singing, each person will play the melody differently especially with different swing styles.

Note to more advanced players: Be patient This stuff gets complicated really fast. Plus this will turn into a free for all once I get the base instructions down.

Excellent thread, jazzwee, I'm looking forward to learning how more sophisticated jazz improvs are done.

Ok, before the pros step up, here's a fakebook version I did about a year ago shortly after beginning piano. I was studying the 1/7 voicing jazzwee talks about. 1/7 in LH, melody in RH with the missing chord notes stuffed under the melody, very simple effort at rhythm and rudimentary ornamentation...it's a beginner's effort and doesn't pretend to be anything else

http://www.box.net/public/uq49afktgi

It's a very nice voicing but it doesn't come naturally since you have to split up the chord. I'd need a lot more practice than I've put in to be able to play this voicing spontaneously. If I sat down and played this today, I would play it a lot differently (lots and lots of arpeggios).

Hi Jazzwee, thanks for setting this up and I would like to participate.

Can you explaing what the b5 and b9 etc suffixes mean - I think I know, but I'd like to make sure...

Crikey, think I'll stick to my jazz grade one book for now thanks! Think I would seriously struggle with that but one day......!

It means taking the 5th or 9th of the chord and lowering it a half-step. In B7b9, the 9th of the chord is C# and so b9 is C, making the chord B-D#-F#-A-C.

These alterations are often optional (unless the melody tone at that point happens to be that altered tone.)

B7b9 is pronounced as B seventh, flatted 9th.

btw...count me in also..

Well since I have "jazz" in my name I really ought to participate. Count me in!

I'm in.

F#m7b5

(requires more processing time between the eyes and the fingers)

Learning more about jazz is one of my goals this year. I am in! (I know those descending arps are coming...)

Just as an aside, if anybody has access to Warren Berhnardt's "You Can Play Jazz Piano" videos on Homespun, almost the entire first tape is spent on Autumn Leaves. It's a great introduction to jazz piano playing.

I'm in -

now I just have to learn the melody

Cathy

I'm in too

Edited by EP:
I've deleted this post because it's probably a bit confusing the way I described it and there are better analyses of this tune to follow.

DON'T PANIC when you see complex chords

I'm telling you about 1/7's for a reason. And part of this is to not be intimidated by F#m7b5.

Chords like F#m7b5, or Bb7b9 will need to be thought of as no different than F#7 or Bb7 for now. Just think of Root and the Seventh of the chord, in this case it is a b7 interval.

Now I'll simplify this for you even further.

A Major 7 interval is the root up to the note one half step before a full octave. For example, if the Octave is C to C, then a Major 7 interval is C to B. You will play all major 7 chords with this interval.

All minor chords or dominant chords will be played with a b7 interval or a half step less than a full Major 7 interval. Thus in C, this interval is C to Bb.

So looking at a chord like F#m7b5, think of the octave F# to F#. Now since it is minor, move two half steps down from the higher F to make the interval F# to E.

In a 1/7 voicing, these are the only intervals you need to concern yourself with. Memorize b7 and 7 intervals on all these chords on the LH and do it chromatically even, then your LH will memorize it and automatically stretch this length. It should be as familiar as an octave interval.

When playing a leadsheet, you can take any complex changes and get a feel of the tune using 1/7 voicings. Pros do this. So this is good training because your eyes simplify the chords that you see. It is liberating in a way.

So LaValse, for now, don't worry about all the chord alterations. They're more important in what it tells you how to improvise in "Analysis" of the tune.

EP Thanks for providing an analysis. Mine will be a little different but the point will be the same. I will save it for later.

Good job Van! And this is now the official source of the melody. For now

Sorry if I got ahead of the game, here.
Of course there's lots of ways to analyze a tune like this, and it's definitely a classic everyone should know.