#iv-7b5: a modal interchange chord from the lydian mode and common target for deceptive resolution of the dominant chord a half step above.
/G#: This nomenclature indicates that the bass note is a G# of the given chord that is in the numerator (the chord above the slash). For example Amaj7/G# means that the bass note for the chord Amaj7 should be G#. The note below the slash may or may not be a note in the chord that is above the slash. Slash chords like this are often used to create a descending bassline between two chords, e.g. Amaj7|Amaj7/G#|F#-7
I major 7: The 7th chord built on the first degree of the major scale.
I VI ii V: a common chord progression starting with the I chord, followed by the VI chord (which can be minor, vi), the ii chord and the V chord. The roman numerals represent the function of the chord in a given key. For example, The I chord is the chord built on the first degree of the major scale.
i-7: a minor 7th chord that is built on the 1st degree of a scale, possibly taking the natural minor or dorian minor chordscale.
ii-7 (ii minor 7): The chord built on the 2nd degree of the major scale.
ii-V-I (two-five-one) progression: the three-chord progression made up of the ii chord followed by the V chord followed by the I chord. In major keys the ii chord is a minor 7th quality and it is labeled ii-7. In minor keys the ii chord is a minor 7b5 quality and labelled ii-7b5. The V chord is dominant 7th in both major and minor keys and labelled V7. In minor keys the V7 chord has the b9 and b13 tensions. The I chord in major keys can be a major 7th chord labelled Imaj7 or a maj6 chord or even just a triad. In minor keys the i chord can be a minor 6th (i-6), minor7th (i-7) or minor major 7th chord (i-maj7).
ii-V-I-V/ii progression: a common progression of the ii-7 chord followed by the V7 chord followed by the Imaj7 chord followed by the V7/ii chord. This progression is also referred to as the ii-V-I-VI progression although the VI7 and V7/ii are distincly functioning chords even though they are spelled the same way (e.g. D7 in the key of F). The VI7 chord being a special function dominant chord and the V7/ii being a secondary dominant.
ii-7b5: The chord built on the 2nd degree of the natural minor or harmonic minor scale.
iii-7: a minor 7th chord that is built on the 3rd degree of the major scale.
iii VI ii V: a common chord progression build from the iii chord, the VI chord (which can be minor, vi), the ii chord and the V chord. The roman numerals represent the function of the chord in a given key. The iii chord, for instance, is the chord built on the third degree of the major scale. In the key of Bb the iii chord would be a D-7 chord. The roman numerals may or may not be followed by the chord quality.
IV7: a dominant chord that functions as IV of the key of the moment. This is an example of a special function dominant chord as seen commonly in the blues progression.
IVmajor7: a major 7th chord built on the 4th degree of the major scale.
v-7: a v chord that is a minor 7. Possibly derived from the natural minor scale.
V7/ii: a secondary dominant chord built from the 5th degree of the ii-7 chord.
V7/V: a secondary dominant chord built from the 5th degree of the V7 chord.
V7/vi: a secondary dominant chord built from the 5th degree of the vi-7 chord.
V7/bVImaj7: a secondary dominant chord built from the 5th degree of the bVImaj7 chord. bVImaj7 is a common modal interchange chord.
V7#9b13: The V7 chord with a sharped 9th and flatted 13th, both of which are altered tensions.
V7b9b13: The V7 chord with a flatted 9th and flatted 13th, both of which are altered tensions.
V7: the dominant 7th chord built on the fifth degree of the scale.
vi-7: The 7th chord built on the sixth degree of the major scale.
bVImaj7: a common modal interchange chord borrowed from the parallel minor. For example, in the key of F major, the parallel minor is F minor with a key signature of four flats. The chord based on the 6th degree of that scale (Dbmaj7, which is the bVImaj7 chord) is often borrowed from that key for use in F major progressions. This chord takes the lydian chordscale.
vii-7b5: The 7th chord built on the seventh degree of the major scale.
A7: The chord symbol for the A dominant 7th chord. The notes of the chord are A, C#, E, G.
Amaj7: The chord symbol for the A major 7th chord. The notes of the chord are A, C#, E, G#.
A7b5: The chord symbol that represents the A dominant 7th chord with a flatted 5th. The notes of the chord are: A, C#, Eb, G.
A7#5: The chord symbol that represents the A dominant 7th chord with a raised 5th. The notes of the chord are: A, C#, E# (F), G.
A7#9: The chord symbol that represents the A dominant 7th chord with a raised 9th. The notes of the chord are: A, C#, E, G, B#.
A7#9b13: The chord symbol that represents the A dominant 7th chord with a raised 9th and flatted 13th. The notes of the chord are: A, C#, E, G, B# (C), F.
A7b9: The chord symbol for the A dominant 7th chord with a flatted 9th. The notes of the chord are A, C#, E, G, Bb.
A7b9b13: The chord symbol for the A dominant 7th chord with a flatted 9th and 13th. The notes of the chord are A, C#, E, G, Bb, F.
A7b9sus: The chord symbol for the A dominant 7th chord with a flatted 9th and suspended 4th. The notes of the chord are A, D (suspended 4th), E, G, Bb.
A7sus (also A7sus4): The chord symbol for the A dominant 7th chord with a suspended 4th. The notes of the chord are A, D (suspended 4th), E, G.
A-9: The chord symbol for the A minor 9th chord. The notes of the chord are A, C, E, G, B.
A+7: The chord symbol for the A augmented dominant 7th chord. The notes of the chord are A, C#, E#, G.
A-7: The chord symbol for the A minor 7th chord. The notes of the chord are A, C, E, G.
A-7b5: The chord symbol for the A minor 7thb5 chord. The notes of the chord are A, C, Eb, G.
AABA: a standard tune form, usually 32 measures long with four, 8 measure sections.
Ab6: The chord symbol that represents the chord Ab major 6th chords. The notes of the chord are: Ab, C, Eb, F.
Ab7: The chord symbol that represents the chord Ab dominant 7th. The notes of the chord are: Ab, C, Eb, Gb. See it and hear it.
Ab7#11: The chord symbol that represents the chord Ab dominant 7th with a raised 11th. The notes of the chord are: Ab, C, Eb, Gb, D.
Ab7b9: The chord symbol that represents the chord Ab dominant 7th with a lowered 9th and 5th. The notes of the chord are: Ab, C, Eb, Gb, A.
Ab7b9b5: The chord symbol that represents the chord Ab dominant 7th with a lowered 9th and 5th. The notes of the chord are: Ab, C, Eb, Gb, A, D.
Abmaj7: The chord symbol that represents the Ab major 7th chord. The notes of the chord are Ab, C, Eb, G.
Ab-7: The chord symbol that represents the Ab minor 7th chord. The notes of the chord are Ab, Cb, Eb, Gb.
aeolian mode: the major scale as played from it's sixth degree to it's corresponding octave. For example, A aeolian is the scale A, B, C, D, E, F, G, A, which corresponds to the C major scale spelled from it's sixth degree, A.
analysis: to assign roles to chords within a progression; to group them into functional categories.
approach pattern: melodic cells composed of usually 4 notes or less that delay the resolution of a chord tone or tension.
arpeggio: playing the notes of a chord in succession instead of in parallel.
Bb: The chord symbol that represents the Bb major triad. The notes of the chord are: Bb, D, F.
Bb/F: The chord symbol that represents the Bb major triad over the note F in the bass. The notes of the chord are: Bb, D, F over the note F.
B-maj7: The chord symbol that represents the B minor major 7th chord. The notes of the chord are: B, D, F#, A#.
B7: The chord symbol for the B dominant 7th chord. The notes of the chord are B, D#, F#, A.
B°7: The chord symbol that represents the B diminished 7th chord. The notes of the chord are: B, D, F, Ab.
B7b9: The chord symbol for the B dominant 7th chord with a flatted 9th. The notes of the chord are B, D#, F#, A, C.
B7b13: The chord symbol for the B dominant 7th chord with a flatted 13th. The notes of the chord are B, D#, F#, A, G.
B7#9: The chord symbol that represents the B dominant 7th chord with a raised 9th. The notes of the chord are: B, D#, F#, A, D(enharmonically Cx [double sharp]).
B7#9b13: The chord symbol that represents the B dominant 7th chord with a raised 9th and flatted 13th. The notes of the chord are: B, D#, F#, A, D(enharmonically Cx [double sharp]) and G.
B7b9b13: The chord symbol for the B dominant 7th chord with a flatted 9th and 13th. The notes of the chord are B, D#, F#, A, C, G.
B7sus: The chord symbol that represents the B dominant 7th chord with a suspended 4th. The note of the chord are B, E (the suspended 4th), F#, A.
B-7: The chord symbol that represents the B minor 7th chord. The notes of the chord are B, D, F#, A.
B-7b5: The chord symbol that represents the B minor 7b5 chord. The notes of the chord are B, D, F, A.
Bmaj7: The chord symbol that represents the B major 7th chord. The notes of the chord are: B, D#, F#, A#.
Bbmaj7 (also: Bbmajor7, BbM7, Bbma7): The chord symbol that represents the Bb major 7th chord. The notes of the chord are: Bb, D, F, A. See it and hear it.
Bbmaj7 #11: The chord symbol that represents the Bb major 7th chord with a sharped 11. The notes of the chord are Bb, D, F, A, E.
Bbmaj6: The chord symbol that represents the chord Bb major 6th chord. The notes of the chord are: Bb, D, F, G.
Bb7: The chord symbol that represents the Bb dominant 7th chord. The notes of the chord are: Bb, D, F, Ab. See it and hear it.
Bb7b9: The chord symbol that represents the Bb dominant 7th chord with a flatted 9th. The notes of the chord are: Bb, D, F, Ab, Cb.
Bb7#9b13: The chord symbol for the B flat dominant 7th chord with a raised 9th and flatted 13th. The notes of the chord are Bb, D, F, Ab, C#, Gb.
Bb7 #11: The chord symbol that represents the Bb dominant 7th chord with a sharped 11. The notes of the chord are Bb, D, F, Ab, E.
Bb-7: The chord symbol that represents the Bb minor 7th chord. The notes of the chord are Bb, Db, F, Ab.
Bb-maj7: The chord symbol that represents the Bb minor major 7th chord. The notes of the chord are Bb, Db, F, A.
Bb°7: The chord symbol that represents the Bb diminished 7th chord. The notes of the chord are: Bb, Db, Fb, Abb (G).
bar: synonomous with measure.
Baroque: Music of the late 17th and early 18th centuries. More on Wikipedia. Listen to Keith Jarrett play Handel on the JazzPianoOnline.com Store.
Kenny Barron: Reigning giant of modern straight-ahead jazz piano. More on AllMusic.
Count Basie: swing pianist and bandleader who transformed the rhythmic conception of jazz via his rhythm section (Walter Page and Jo Jones) into a 4/4 swing feel with walking bass.
Bebop: The first modern jazz style, it emerged in the mid 1940s and was developed by players such as Dizzy Gillespie, Charlie Parker and Thelonious Monk. Hard Bop is an extension of this style from the 50s and 60s that is characterized by a more soulful and simpler approach tot he music. More about Bebop from Wikipedia, AllAboutJazz; Jazz History Timeline on AllAboutJazz. Explore Bebop and other jazz styles at AllMusic.
Big Band: an ensemble consisting of a full brass section (up to 5 trumpets and trombones each), a full saxophone section (2 alto saxophones, 2 tenor saxophones and a baritone sax) and a rhythm section (piano, bass, drums and guitar). Big bands were popular in the Swing Era and faded during the Bebop Era.
bitonality: Two tonalities sounding at once. e.g. a D major triad played coincidentally with an E major triad.
blues form: Usually a 12 bar form using three chords, the I7, IV7 and V7 chords.
blue bossa: a classic Kenny Dorham tune written for Joe Henderson's 1963 Blue Note release Page One. More on AllAboutJazz, AllMusic.
Blue Note: american jazz record label established in 1939. More on Wikipedia.
blues progression: a chord progression of, in it's simplest form, a 12 measure form composed of 3 dominant chords based on the I, IV and V of the key. For example, in the key of C, a simple 12 measure blues progression would be: C7 | F7 | C7 | |F7| |C7| |G7 | F7 | C7| |
blues scale: a six note scale containing the blue notes b3, b5 and b7. The notes of the Bb blues scale is Bb, Db, Eb, E, F, Ab, Bb.
bossa: a style of latin jazz that blends Brazilian rhythms with jazz harmonies. more on AllAboutJazz, wikipedia.
Alan Broadbent: Arranger and pianist. More on AllMusic.
Clifford Brown: Bebop trumpet player known for his fiery improvisational style and memorable compositions. more on Wikipedia, AllAboutJazz, AllMusic
Bridge: The "B" section of an AABA form. In a typical 32 bar AABA tune (e.g. Confirmation) the bridge is measures 17-24 of the form.
C
C: The chord symbol that represents the C major triad. The notes of the chord are: C, E, G.
C#-7: The chord symbol that represents the C# minor 7th chord. The notes of the chord are: C#, E, G#, B.
C#-7b5: The chord symbol that represents the C# minor 7b5 chord. The notes of the chord are: C#, E, G, B.
C#7#9b13: The chord symbol that represents the C# dominant 7th chord with a sharped 9th and flatted 13th. The notes of the chord are: C#, E#, G#, C, E, A.
C#7sus4: The chord symbol that represents the C# dominant 7th chord with a suspended 4th. The notes of the chord are: C#, F#, G#, B.
C#maj7#5: The chord symbol that represents the C# major 7th chord with a raised 5th. The notes of the chord are: C#, E#, Gx (A), B# (C).
C69: The chord symbol that represents the C major triad with an added 6 and 9. The notes of the chord are: C, E, G, A, D.
C7: The chord symbol that represents the C dominant 7th chord. The notes of the chord are: C, E, G, Bb. See it and hear it.
C7sus4: The chord symbol that represents the C dominant 7th chord with a suspended 4th. The notes of the chord are: C, F, G, Bb.
C9: The chord symbol that represents the C dominant 7th chord with a natural 9. The notes of the chord are: C, E, G, Bb, D.
C7b9: The chord symbol that represents the C dominant 7th chord with a flatted 9. The notes of the chord are: C, E, G, Bb, Db.
C7#9: The chord symbol that represents the C dominant 7th chord with a raised 9th. The notes of the chord are: C, E, G, Bb, D#.
C7#11: The chord symbol that represents the C dominant 7th chord with a raised 11th. The notes of the chord are: C, E, G, Bb, F#.
C7#9b13: The chord symbol that represents the C dominant 7th chord with a raised 9th and flatted 13th. The notes of the chord are: C, E, G, Bb, D#, Ab. See it and hear it.
C7#9b5: The chord symbol that represents the C dominant 7th chord with a raised 9th and flatted 5th. The notes of the chord are: C, E, G, Bb, D#, Gb.
C7b9b13: The chord symbol that represents the C dominant 7th chord with a flatted 9th and flatted 13th. The notes of the chord are: C, E, G, Bb, Db, Ab.
C7b9b5: The chord symbol that represents the C dominant 7th chord with the altered tensions b9 and b5.
C7b9b513: The chord symbol that represents the C dominant 7th chord with the altered tensions b9 and b5 and natural tension 13.
C-: The chord symbol that represents the C minor triad. The notes of the chord are: C, Eb, G.
C-11: The chord symbol that represents the C minor 11th chord. The notes of the chord are: C, Eb, G, Bb, F.
C-6: The chord symbol that represents the C minor 6th chord. The notes of the chord are: C, Eb, G, A.
C-7 (also Cmi7, Cm7): The chord symbol that represents the C minor 7th chord. The notes of the chord are: C, Eb, G, Bb. See it and hear it.
C-7b5 (also Cmi7b5, Cm7b5): The chord symbol that represents the Cminor 7 b5 chord. The notes of the chord are: C, Eb, Gb, Bb. See it and hear it.
C-maj7: The chord symbol that represents the C minor major 7th chord. The notes of the chord are: C, Eb, G, B.
Cdim7: The chord symbol that represents the C diminished 7th chord. The notes of the chord are: C, Eb, Gb, Bbb. See it and hear it.
Cmaj6: The chord symbol that represents the C major 6th chord. The notes of the chord are: C, E, G, A.
Cmaj7 (also CMa7, CM7): The chord symbol that represents the C major 7th chord. The notes of the chord are: C, E, G, B. See it and hear it.
Cmaj7#11: The chord symbol that represents the C major 7th chord with a raised 11th. The notes of the chord are: C, E, G, B, F#.
Cmaj7#5: The chord symbol that represents the C major 7th chord with a raised 5th (also called C+maj7). The notes of the chord are: C, E, G#, B.
cadence: a progression of chords that leads to resolution or deception. An authentic cadence is the progression of V-I. A plagal cadence is the progression of IV-I.
chord: Two or more pitches sounded simultaneously.
chord changes: also referred to as just "changes," these are the chords to a tune. For example, A-7 D7 Gmaj7 Cmaj7 are the chord changes to the first four measures of the tune Autumn Leaves.
chord progression: two or more chords played successively.
chord quality: the suffix of the chord symbol that indicates if it is major or minor, triad or 7th chord, and any tensions.
chordscale: the scalar representation of the notes of a chord. For example: the Imaj7 chord in C major is a Cmajor7 chord. The notes of this chord are: C, E, G, B, D, F, A and are stacked in 3rds. When these notes are expressed horizontally, as a scale, C, D, E, F, G, A, B, they form the ionian chordscale. The notes of a chord and the notes of chordscale are the same. a chord is a vertical structure, spelled in stacked 3rds, a chordscale is a horizontal structure built in (usually) whole and half steps. Chordscales are used to determine the available pool of notes to improvise with over a given chord.
chord symbol: The shorthand nomenclature for a chord as used in lead sheets. e.g. C7 = C dominant 7th chord. Each chord symbol has two parts, the root of the chord, as indicated by one of the 12 notes of the chormatic scale and the suffix which indicates if the chord is major or minor, triad or 7th chord, and any tensions.
chord tone: One of the notes of the lower structure of a chord (the 7th and below). e.g. E is a chord tone of the chord C major 7th.
chorus: the section of a tune which is repeated with the same melody and lyrics.
chromatic, chromaticism: Literally "color," in music this term means half steps. For example, chords moving chromaticaly means that they move in half steps, Bb-7, A-7, Ab-7. A highly chromatic passage is one where the notes of the melody are a half step apart. The notes of a chromatic scale progress in halft steps, C, C#, D, D#, E, F, etc.
chromatic interval: intervals found within the chromatic scale. They are the: perfect unison, minor 2nd, major 2nd, minor 3rd, major 3rd, perfect 4th, augmented 4th or diminished 5th, perfect 5th, minor 6th, major 6th, minor 7th, major 7th and perfect octave.
clave: Clave is a paired group of bars, one which is syncopated (the three side), one which is not (the 2 side). There are different types of clave patterns, but the most common is the son clave, which is used in popular dance styles. More on Wikipedia.
color: literally "chromaticism," this term describes the amount of tension in a given line or chord. A highly "colorful" passage or chord is very chromatic and has a lot of upper structure content or tension- 9, 11 and 13s present.
Ravi Coltrane: son of John Coltrane came onto the scene in the 1990s. More on AllMusic.
Confirmation: Bebop tune written by Charlie Parker. Other Charlie Parker albums available from Amazon.com.
consonant: An interval, note or chord that is as rest and in agreement with it's harmonic context and doesn't need to be resolved.
constant structure: A string of chords of the same quality moving in a pattern.
contrafact: a tune based on the chord changes of an existing tune. Anthropology is a contrafact of I Got Rhythm.
contour: a term that is used to describe a melodic lines shape with respect to how it ascends and descends pitchwise.
comping (also comp): Short for the word "accompanying." Comping is the act of playing chords with the left hand or both hands along with a melody or improvised line to provide harmonic and rhythmic support and context.
countermelody:
counterpoint: the texture of two or more melodic lines being played at once. Each melodic line is often compared to the thread of a tapestry weaving in and amongst one another to create a fabric.
cycle extension: extending the cycle (the ii-V-I progression) by preceeding any chord with its dominant or substitute dominant and any dominant chord with its related ii chord.
cycle of 4ths: The organization of keys in the order of the interval of the perfect fourth. Starting from C the cycle is: F, Bb, Eb, ab, Db, Gb, B, E, A, D, G.
D: The chord symbol that represents the D major triad. The notes of the chord are: D, F#, A.
D7sus: The chord symbol that represents the D dominant 7th chord with a suspended 4th. The note of the chord are D, G (the suspended 4th), A, C.
Db: The chord symbol that represents the Db major triad. The notes of the chord are: Db, F and Ab.
Db7: The chord symbol that represents the Db dominant 7th chord. The notes of the chord are: Db, F, Ab, Cb.
Db7#9: The chord symbol that represents the Db dominant 7th chord with a sharped 9. The notes of the chord are: Db, F, Ab, Cb, E.
Db7#11: The chord symbol that represents the Db dominant 7th chord with a sharped 11th. The notes of the chord are: Db, F, Ab, Cb, G.
Dbdim7: The chord symbol that represents the Db diminished 7th chord. The notes of the chord are: Db, E, G, Bb (spelled enharmonically).
Dbmaj6: The chord symbol that represents the Db major 6th chord. The notes of the chord are: Db, F, Ab, Bb.
Dbmaj7: The chord symbol that represents the Db major 7th chord. The notes of the chord are: Db, F, Ab, C. See it and hear it.
Dbmaj7#11: The chord symbol that represents the Db major 7th chord with a raised 11th. The notes of the chord are: Db, F, Ab, C, G.
Db-7: The chord symbol that represents the Db minor 7th chord. The notes of the chord are: Db, Fb, Ab, Cb.
D-: The chord symbol that represents the D minor triad. The notes of the chord are: D, F, A.
D-6: The chord symbol that represents the D minor 6th chord. The notes of the chord are: D, F, A, B.
D-7: The chord symbol that represents the D minor 7th chord. The notes of the chord are: D, F, A, B. See it and hear it.
D-11: The chord symbol that represents the D minor 11th chord. The notes of the chord are: D, F, A, C, G.
D-7b5: The chord symbol that represents the D-7b5 chord. The notes of the chord are: D, F, Ab, C. See it and hear it.
D-maj7: The chord symbol that represents the D minor major 7th chord. The notes of the chord are: D, F, A, C#.
Dmaj6: The chord symbol that represents the D major 6th chord. The notes of the chord are: D, F#, A, B.
D7: The chord symbol that represents the D dominant 7th chord. The notes of the chord are: D, F#, A, C.
D7#9: The chord symbol that represents the D dominant 7th chord with a sharped 9th. The notes of the chord are: D, F#, A, C, E#(F).
D7b9b5: The chord symbol that represents the D dominant 7th chord with a flatted 9th and 5th. The notes of the chord are: D, F#, A, C, E(Fb) and Ab.
D7b9: The chord symbol that represents the D dominant 7th chord with a flatted 9th. The notes of the chord are: D, F#, A, C, Eb.
D7b13: The chord symbol that represents the D dominant 7th chord with a flatted 13th. The notes of the chord are: D, F#, A, C, Bb.
D7b9b13: The chord symbol that represents the D dominant 7th chord with a flatted 9th and 13th. The notes of the chord are: D, F#, A, C, Eb, Bb.
D7#9b13: The chord symbol that represents the D dominant 7th chord with a sharped 9th and flatted 13th. The notes of the chord are: D, F#, A, C, E#(F), Bb.
D7#11: The chord symbol that represents the D dominant 7th chord with a raised 11. The notes of the chord are: D, F#, A, C, G#.
D7b5: The chord symbol that represents the D dominant 7th chord with a lowered 5th. The notes of the chord are: D, F#, Ab, C.
D7#5: The chord symbol that represents the D dominant 7th chord with a raised 5th. The notes of the chord are: D, F#, A#, C.
D+7b9: The chord symbol that represents the D augmented dominant 7th chord with a flatted 9. The notes of the chord are: D, F#, A#, C, Eb.
Dmaj7: The chord symbol that represents the D major 7th chord. The notes of the chord are: D, F#, A, C#.
Tadd Dameron: Jazz composer and arranger active during the Bop Era. LadyBird, Good Bait and If You Could See Me Now are among the many standard tunes he has written. More on AllMusic, Wikipedia, Buy the music of Tadd Dameron.
Miles Davis: trumpet player, composer and seminal figure in the development of bebop and post-bop jazz. He is known for his spare melodic approach to improvisation, frequent use of the harmon mute and being on the vanguard of each major genre of jazz from bebop and beyond. More on Miles Davis from: wikipedia; AllAboutJazz; AllMusic; Buy the music of Miles Davis.
deceptive resolution: the unexpected resolution of a dominant chord to a chord other than the I chord. For example, G7 resolving to Dbmaj7 is a deceptive resolution. The expected chord would have been Cmaj7.
degree: the position of a note in a scale. e.g. the first degree of the C major scale is C; the second is D, etc.
density: the amount of rhythmic or melodic activity
diatonic: notes, intervals and/or chords that occur within a scale, usually the major scale.
diatonic interval: Intervals that occur within the major scale. They are the perfect unison, major 2nd, major 3rd, perfect 4th, perfect 5th, major 6th, major 7th and perfect octave.
Diminished: An interval that is a half step smaller than its corresponding perfect or minor interval. A chord that contains one or more diminished intervals.
diminished 7th chord: A 7th chord composed of 4 notes each a minor 3rd apart.
dissonant: an interval, note, or chord that needs to be resolved to a more consonant one.
dominant: one of the three primary functions, dominant chords possess a tritone that requires resolution to the tonic.
dominant preparation: a reharmonization technique where a dominant chord is placed in front of a target chord a 5th away.
dominant 7th chord: A 7th chord composed of a major 3rd, perfect 5th and minor 7th. The interval between the 3rd and the 7th is a tritone and gives the dominant 7th chord its characteristic instability.
dorian: the mode of the major scale built on the 2nd degree of the scale. For example, the D dorian mode is the scale D, E, F, G, A, B, C, D which corresponds to the C major scale built from D, the 2nd degree of the C major scale.
Kenny Dorham: Bebop trumpet player and composer. More on wikipedia, AllAboutJazz, AllMusic.
drop 2 double lead: a harmonization technique where notes of the chord of the moment are sandwiched between the melody notes seperated by an octave and the second note from the top of the whole voicing is dropped an octave.
E7: The chord symbol that represents the E dominant 7th chord. The notes of the chord are: E, G#, B, D.
E7b9: The chord symbol that represents the E dominant 7th chord with a flatted 9th. The notes of the chord are: E, G#, B, D, F.
E7b9b13: The chord symbol that represents the E dominant 7th chord with a flatted 9 and 13th. The notes of the chord are: E, G#, B, D, F, C.
E7#9: The chord symbol that represents the E dominant 7th chord with a raised 9. The notes of the chord are: E, G#, B, D, G.
E7sus: The chord symbol that represents the E dominant 7th chord with a suspended 4th. The note of the chord are E, A (the suspended 4th), B, D.
Eb/Bb: The chord symbol that represents the Eb major triad over the note Bb in the bass. The notes of the chord are: Eb, G, Bb over the note Bb.
Eb7: The chord symbol that represents the Eb dominant 7th chord. The notes of the chord are: Eb, G, Bb, Db. See it and hear it.
Eb7#11: The chord symbol that represents the Eb dominant 7th chord wth a raised 11th. The notes of the chord are: Eb, G, Bb, Db, A.
Eb7#9: The chord symbol that represents the Eb dominant 7th chord with a raised 9. The notes of the chord are: Eb, G, Bb, Db, F#.
Eb7b9: The chord symbol that represents the Eb dominant 7th chord with a lowered 9. The notes of the chord are: Eb, G, Bb, Db, Fb.
Eb7sus: The chord symbol that represents the Eb dominant 7th chord with a suspended 4th. The note of the chord are Eb, Ab (the suspended 4th), Bb, Db.
E-6: The chord symbol that represents the E minor 6th chord. The notes of the chord are: E, G, B, C#.
E-7: The chord symbol that represents the E minor 7th chord. The notes of the chord are: E, G, B, D. See it and hear it.
E-7b5: The chord symbol that represents the E minor 7b5 chord. The notes of the chord are: E, G, Bb, D.
E-maj7: The chord symbol that represents the E minor major 7th chord. The notes of the chord are: E, G, B, D#.
Eº7: The chord symbol that represents the E diminished 7th chord. The notes of the chord are: E, G, Bb, Db.
Ebº7: The chord symbol that represents the Eb diminished 7th chord. The notes of the chord are: Eb, Gb, Bbb, Dbb. The enharmonic equivalent chord, D#º7 would be spelled D#, F#, A, C.
Ebmajor7: The chord symbol that represents the Eb major 7th chord. The notes of the chord are: Eb, G, Bb, D. See it and hear it.
Ebmaj7#11: The chord symbol that represents the Eb major 7th chord witha raised 11th. The notes of the chord are: Eb, G, Bb, D, A.
Eb-7: The chord symbol that represents the Eb minor 7th chord. The notes of the chord are: Eb, Gb, Bb, Db. See it and hear it.
Emaj7#11: The chord symbol that represents the E major 7th chord witha raised 11th. The notes of the chord are: E, G#, A#, B, D#.
Emaj7: The chord symbol that represents the E major 7th chord. The notes of the chord are: E, G#, B, D#.
Duke Ellington: prolific and distinctive jazz composer and bandleader. The most important figure in jazz. More on AllMusic and wikipedia.
enharmonic: a term to describe two notes, intervals or chords that are written differently but sound the same. e.g. B# and C are enharmonics, they are written differently but sound the same.
extended dominants (sequential dominants): a series of non-diatonic dominant 7th chords moving through the cycle of 5ths.
extending the cycle: concatenating ii-V-I progressions. Adding to or creating new ii-V-I progressions or its derivatives to existing chords.
F: The chord symbol that represents the F major triad. The notes of the chord are: f, a, c.
Fº7: The chord symbol that represents the F diminished 7th chord. The notes of the chord are: f, ab, cb, ebb.
F-7: The chord symbol that represents the F minor 7th chord. The notes of the chord are: f, ab, c, eb. See it and hear it.
F-7b5: The chord symbol that represents the F# minor 7 b5 chord. The notes of the chord are: F#, A, C, E. See it and hear it.
F7: The chord symbol that represents the F dominant 7th chord. The notes of the chord are: F, A, C, Eb.
F+7#9: The chord symbol that represents the F augmented dominant 7th chord with a raised 9th. The notes of the chord are: F, A, C#, Eb, G#.
F7b9: The chord symbol that represents the F dominant 7th chord with a flatted 9th. The notes of the chord are: F, A, C, Eb, Gb.
F7b13: The chord symbol that represents the F dominant 7th chord with a flatted 13th. The notes of the chord are: F, A, C, Eb, Db.
F7b9b13: The chord symbol that represents the F dominant 7th chord with a flatted 9th and flatted 13th. The notes of the chord are: F, A, C, Eb, Gb, Db.
F7b9#11: The chord symbol that represents the F dominant 7th chord with a flatted 9th and raised 11th. The notes of the chord are: F, A, C, Eb, Gb, B.
F7#9: The chord symbol that represents the F dominant 7th chord with a raised 9th. The notes of the chord are: F, A, C, Eb, G#.
F7#9b13: The chord symbol that represents the F dominant 7th chord with a raised 9th and flatted 13th. The notes of the chord are: F, A, C, Eb, G#, Db. See it and hear it.
F7#11: The chord symbol that represents the F dominant 7th chord with a raised 11th. The notes of the chord are: F, A, C, Eb, B.
F7sus4: The chord symbol that represents the F dominant 7th chord with a suspended 4th. The notes of the chord are: F, Bb, c, Eb.
Fmaj6: The chord symbol that represents the F major 6th chord. The notes of the chord are: F, A, C, D.
Fmajor7 (also: FM7, Fmaj7, Fma7): The chord symbol that represents the F major 7th chord. The notes of the chord are: F, A, C, E. See it and hear it.
Fmaj7#11: The chord symbol that represents the F major 7th chord with a raised 11th. The notes of the chord are: F, A, C, E, B.
F#7: The chord symbol that represents the F# dominant 7th chord. The notes of the chord are: F#, A#, C#, E.
F#7#11: The chord symbol that represents the F dominant 7th chord with a raised 11th. The notes of the chord are: F#, A#, C#, E, C.
F#7b9b13: The chord symbol that represents the F# dominant 7th chord with lowered 9th and 13. The notes of the chord are: F#, A#, C#, E, G, D.
F#-7: The chord symbol that represents the F# minor 7 chord. The notes of the chord are: F#, A, C#, E.
F#-7b5: The chord symbol that represents the F# minor 7 b5 chord. The notes of the chord are: F#, A, C, E. See it and hear it.
F#°7: The chord symbol that represents the F# diminished 7th chord. The notes of the chord are: F#, A, C, Eb.
F lydian: This can be a scale or chord, the former being derived from the latter. The F lydian scale is the major scale with a raised 4th degree (also #11). The F lydian chord can be a triad or 7th chord the notes of which are F, A, C, E, B, the B is the raised 4th and is the note responsible for the "lydian sound."
Tommy Flanagan: bebop pianist known for lyrical and elegant playing. He was the longtime accompanist for Ella Fitzgerald. More at AllMusic
form: The structure of a tune. Usually tunes are in 32 bar AABA or 12 bar blues form.
The Four Components of Melodic Construction: These include: chord tones on strong beats; arpeggios; scale passages and approach patterns at chord changes. These four components are the basic building blocks of the bebop improvised line. Master improvisors can freely play and combine these four elements to create bebop-style improvised melodic lines. (more...)
four way close double lead: A voicing technique used to harmonize active melody lines. The melody line is doubled an octave down and in between these two notes the chord of the moment is built using chord tones and tensions.
fourth Voicings; voicings in 4ths; quartal voicings: voicings whose predominant interval between the notes is a 4th.
function: the role of a chord in a key and within a progression. Common functions are tonic, subdominant and dominant. These groups contain distinct but similar sounding chords that move similarly. See also primary chords.
functional harmony: a chord progression whose chords can be analyzed as tonic, subdominant and dominant (among other functional groups). Compare with non-functional harmony.G: The chord symbol that represents the G major triad. The notes of the chord are: G, B, D.
G-: The chord symbol that represents the G minor triad. The notes of the chord are: G, Bb, D.
G#°7: The chord symbol that represents the G# diminished 7th chord. The notes of the chord are: G#, B, D, F.
Gmaj6: The chord symbol that represents the G major 6th chord. The notes of the chord are: G, B, D, E.
Gbmaj7: The chord symbol that represents the Gb major 7th chord. The notes of the Gbmaj7 chor are Gb, Bb, Db, F.
G-6: The chord symbol that represents the G minor 6th chord. The notes of the chord are: G, Bb, D, E.
G-7 (G minor 7, Gmin7, Gm7): The chord symbol that represents the G minor 7th chord. The notes of the chord are: G, Bb, D, F. See it and hear it.
G-11: The chord symbol that represents the G minor 7th chord with an 11. The notes of the chord are: G, Bb, D, F, C.
G-7b5: The chord symbol that represents the G minor 7b5 chord. The notes of the chord are: G, Bb, Db, F.
G-maj7: The chord symbol that represents the G minor major 7th chord. The notes of the chord are: G, Bb, D, F#.
G7: The chord symbol that represents the G dominant 7th chord. The notes of the chord are: g, b, d, f. see it and hear it.
Gb7: The chord symbol that represents the Gb dominant 7th chord. The notes of the chord are: Gb, Bb, Db, Fb.
Gb7b9: The chord symbol that represents the Gb dominant 7th chord with a flatted 9th. The notes of the chord are: Gb, Bb, Db, Fb, A.
Gb7add11: The chord symbol that represents the Gb dominant 7th chord with an added 11th. The notes of the chord are: Gb, Bb, Db, Fb, B.
Gb-7: The chord symbol that represents the Gb minor 7th chord. The notes of the chord are: Gb, Bbb, Db, Fb.
G7sus: The chord symbol that represents the G dominant 7th chord with a suspended 4th. The note of the chord are G, C (the suspended 4th), D, F.
G7b5b9: The chord symbol that represents the G dominant 7th chord with flatted 5th and 9th. The notes of the chord are: G, B, Db, F, Ab.
G7b9: The chord symbol that represents the G dominant 7th chord with a flatted 9th. The notes of the chord are: G, B, D, F, Ab.
G7b9b13: The chord symbol that represents the G dominant 7th chord with flatted 9th and 13th. The notes of the chord are: G, B, D, F, Ab, Eb.
G7#9b13: The chord symbol that represents the G dominant 7th chord with sharped 9th and flatted 13th. The notes of the chord are: G, B, D, F, A#, Eb.
G7b13: The chord symbol that represents the G dominant 7th chord with flatted 13th. The notes of the chord are: G, B, D, F, Eb.
G7#11: The chord symbol that represents the G dominant 7th chord with a raised 11th. The notes of the chord are G, B, D, F, C#.
G7#9: The chord symbol that represents the G dominant 7th chord with sharped 9th. The notes of the chord are: G, B, D, F, A#.
G7#5: The chord symbol that represents the G dominant 7th chord with a raised 5th. The notes of the chord are: G, B, D#, F.
G7sus: The chord symbol that represents the G dominant 7th chord with a suspended 4th. The note of the chord are G, C (the suspended 4th), D, F.
G+7b9: The chord symbol that represents the G augmented dominant 7th chord with a flatted 9. The notes of the chord are: G, B, D#, F, Ab.
Gmaj7: The chord symbol that represents the G major 7th chord. The notes of the chord are G, B, D, F#.
Gmaj7#11: The chord symbol that represents the G major 7th chord with a raised 11th. The notes of the chord are G, B, D, F#, C#.
Red Garland : Swing/bebop pianist famous for being the pianist in Miles Davis' first quintet. Went on to record extensively with his own trio. He all but retired by the early 1970s. More on AllMusic, Wikipedia.
Erroll Garner: Pianist and composer (most notably of Misty). More on AllMusic, wikipedia.
George Gerswhin: composer of many standard tunes (Someone to Watch Over Me, I Got Rhythm etc.) More on wikipedia, AllMusic.
guide tones: the 3rd and 7th of a chord. These notes determine the quality of a chord and therefore when used melodically (or together as in a voicing) guide the ear from chord to chord in a progression.
half diminished: Another term for a minor 7 b5 chord.
half/whole symmetric dominant chordscale: the chordscale that is constructed from half and whole steps (hwhwhwhw) which provides the tensions b9, #9 and b5 and is used over a dominant chord.
half step: the smallest interval in traditional western music. The interval between any two keys on the piano.
Roland Hanna: Most notably pianist for the Thad Jones/Mel Lewis Orchestra in the 60s, he had a varied style that encompassed everything from swing to the avante garde. More on Wikipedia, AllMusic.
harmonic analysis: to assess how a chord functions within a progression and/or to assign a chordscale to a given chord in a progression.
harmonic minor scale: The scale with a lowered 3rd and 6th degrees as compared to the major scale. Also can be thought of as the natural minor scale with a raised 7th degree.
harmonic rhythm: the rhythm of the chords. e.g. 2 chords per bar, 4 chords per bar.
harmonize: to add harmony to. Melodies are harmonized by hanging chords from the notes of the melody.
harmony: chords and their relationship to one another and to the key that they function in.
Barry Harris: Bud Powell influenced Bebop jazz pianist. More on AllMusic, Wikipedia, JazzBiographies.com. Buy Barry Harris's music.
Have You Met Miss Jones: Tin Pan Alley song written by Richard Rogers and pubished in the 1930s. The tune is a popular jazz standard because the bridge modulates through three unrelated keys, Bb, Gb and D in addition to the A sections' key of F resulting in a challenging set of chord changes to navigate when improvising.
head: the melody of a (usually) popular song that serves as the theme on which a jazz performance is based.
head out: The out chorus, or final chorus of a tune where the melody (head) is restated.
Joe Henderson: Post-bop Tenor sax player and composer. More on Wikipedia, AllAboutJazz, AllMusic.
Jimmy Van Heusen: American composer of many standard tunes. More on Wikipedia, AllMusic.
John Hicks: Hard bop/post bebop jazz pianist who played with Art Blakey in the 1960s. More on AllMusic.
hybrid chord: see polychord.
I Got Rhythm: standard tune written by George Gershwin in 1930. The chord progression is known as rhythm changes and is the basis for many jazz tunes such as Anthropology, Moose the Mooch, Wail and Rhythm-a-ning.
indirect approach: An approach pattern where the chord tone or tension is resolved indirectly. e.g. the note A followed by C resolving to a Bb (coincident with a chord that has a Bb as a chord tone or tension) on a strong beat is an indirect approach pattern.
interval: the distance between two notes. For example a 5th away from C is five notes away, or G. There are diatonic intervals (within the scale) or chromatic intervals (any interval within the chromatic scale).
intervallic augmentation: a device of motivic development where the intervals of a melody are made larger.
inversion: the rearrangement of the notes of a chord which yields a new bass note which is not the root.
ionian: the mode of the major scale built on the 1st degree of the scale. For example, the C ionian mode is the scale C, D, E, F, G, A, B, C which corresponds to the C major scale built from C, the 1st degree of the C major scale. The ionian mode is synonomous with the major scale.
I Thought About You: A standard tune written by Jimmy Van Heusen.
Keith Jarrett: post-bop pianist active from the late 60s to today. More on AllMusic, Wikipedia.
Joy Spring: a 32 bar AABA tune written by trumpet player Clifford Brown in 1954. Typically played at a fast tempo, it modulates to the key of Gb in the bridge.
Hank Jones: Early bop pianist known for recording with Charlie Parker and Ella Fitzgerald. More on AllMusic, Wikipedia.
Jo Jones: Swing Era drummer and longtime member of Count Basie's big band who was credited transforming the rhythmic feel of jazz.
Jerome Kern: composer of many standard tunes. More at Wikipedia and AllMusic.
key: the set of tones related to a common center, usually a major or minor scale.
kick: synchronized rhythmic figures between two or more instruments, usually involving the drums.
Jimmy Knepper: trombone player. Worked with Charles Mingus, Gil Evans, among others. More at AllMusic.
latin: one of the two primary rhythmic styles (feels) in jazz (the other being swing) which is characterized by an even eighth note feel as opposed to a swing eighth note feel in swing music.
lead sheet: Also know as a fake sheet, it is the condensed notation of a lead line, usually the melody of a tune, and the supporting chord symbols written above it.
lick: a short melodic idea that is traded by other players virally via transcribing recordings.
line cliche: a harmonic device that uses four forms of a minor chord in a row (minor triad, minor major 7th, minor 7th and the minor 6th) the top notes of which form a descending chromatic melody line that creates the illusion of harmonic activity. A useful arranging and reharmonization tool for adding interest to stagnant progressions.
locrian: the mode of the natural minor scale built on the 2nd degree of the scale. For example, the F# locrian mode is the scale F#, G, A, B, C, D, E, F# which corresponds to the E natural minor scale built from F#, the 2nd degree of the scale.
lower structure: 1, 3, 5 and 7 of a chord.
low interval limit: The lowest octave an interval can be played before it sounds muddy or indistinct.
lydian: the fourth mode of the major scale that is characterized by a raised 4th interval. a lydian chord is the chord derived from the 4th degree of the lydian scale or a chord with a raised 11th extension.
lydian b7: the lydian scale with a flatted 7th. For example Eb lydian b7 would be: Eb, F, G, A, Bb, C, Db, Eb. The Lydian b7 chordscale is typically used for substitute dominant chords.
major: an adjective used to describe an interval, scale, key or chord. A major interval is two whole steps. A major scale is the collection of notes starting from any pitch and ascending in the pattern W W H W W W H steps. A major key is the collection of notes related to a major scale. A major chord is a triad or seventh chord with a major 3rd.
major key harmony: The notes, scales, chords and progressions that are derived from the major scale.
major scale : Starting on any given note, a major scale is the series of 8 pitches moving up in the pattern: whole step-whole step-half step- whole step-whole step-half step. Starting on C the notes are: C-D-E-F-G-A-B-C. There are 7 distinct pitches in the major scale, the 8th is the same as the tonic, displaced by an octave.
major seventh chord: A 4 note chord with a major 3rd, perfect 5th and major 7th.
measure: a unit of time, usually either 3 or 4 beats, in musical notation; the space between barlines.
melodic minor: the chordscale that is built 1, 2, b3, 4, 5, 6, 7, 1 (think b3 of the major scale).
melodic tension: a melody note that is a tension of the chord of the moment.
melody: a succession of pitches.
Minor: an adjective used to describe an interval, scale, key or chord. A minor interval is one and a half steps. A minor scale can be any scale that has a minor 3rd interval. A minor key is the collection of notes related to a minor scale. A minor chord is a triad or seventh chord with a minor 3rd.
minor key harmony: The notes, scales, chords and progressions that are derived from the minor scales.
minor 3rd: the interval of 1 and 1/2 steps. e. g. c to eb is the interval of a minor 3rd.
minor 7th chord: A 4 note chord with a minor 3rd, perfect 5th and minor 7th.
minor 7 b5 chord: a chord with a minor 3rd, diminished 5th and minor 7th. for example F#-7b5.
minor ii-V-i progression: A three chord progression of the chords derived from the minor scales, the first chord built on the second degree of any of the minor scales followed by the chord built on the fifth degree of the harmonic minor scale followed by the chord built on the first degree of any of the minor scales.
mixolydian: the mode of the major scale built on the 5th degree of the scale. For example, the G mixolydian mode is the scale G, A, B, C, D, E, F, G which corresponds to the C major scale built from G, the 5th degree of the C major scale.
mixolydian b9b13:A mixolydian scale with a flatted 9th and 13th. For example, E mixolydian b9b13 would be the scale E, F, G#, A, B, C, D, E. Mixolydian b9b13 is the 5th mode of the harmonic minor scale.
mixolydian b13: A mixolydian scale with a flatted 13th. For example, E mixolydian b13 would be the scale E, F#, G#, A, B, C, D, E. Mixolydian b13 is typically used for the secondary dominant V/II.
modal interchange: the borrowing of chords from other tonalities.
mode: A term that describes the seven possible displacements of the major or minor scale known as the ancient greek chuch modes. More at wikipedia.
modulate: to change into a new key.
motive: a group of notes that constitutes a musical idea.
motivic development: modifying a motive using techniques such as rhythmic variation, changing key and or interval relationships etc. to explore the possibilities of a motive. Listen to the first chorus of Keith Jarrett's solo on Jaki Byard's mid tempo blues tune, Chandra, to hear him develop a motive.
natural: The symbol that cancels a flat or sharp.
natural minor scale: The 6th mode of the major scale (the aeolian mode ). Also, the scale with a lowered 3rd, 6th and 7th degree as compared to the major scale.
Phineas Newborn: Bop-oriented pianist active in the 60s, noted for brilliant improvisational lines played in octaves at fast tempos. More on AllMusic and Wikipedia.
note: a musical symbol that by itself represents rhythm. When placed on a staff it also represents pitch.
Night and Day: a popular jazz standard written by Cole Porter in 1932. The unusual 48 bar form is composed of a minor iiV progression resolving to a major I chord, followed by a lydian chord chromatically descending to the tonic, C. The bridge modulates to the unfamiliar key of Eb and resolves tot he tonic. Analysis of the tune from AllAboutJazz
non-functional harmony: harmony that cannot be analyzed with traditional roman numeral functional equivalents.
Walter Page: swing era bass player and longtime member of Count Basies big band credited as being one of the first jazz bass players to use the walking bassline extensively. More on AllMusic.
Page One: Classic 1963 Blue Note release by Joe Henderson.
parallel minor : the minor key that shares it's tonic with the parallel major. For example, the key of F minor is the parallel minor to F major.
Charlie Parker: Alto Saxophone player and the musician most closely associated with the Bebop style of jazz. more at wikipedia, AllMusic, AllAboutJazz.
Oscar Peterson: Bop oriented pianist active from the 40s through the mid 00s. More on AllMusic and Wikipedia.
pedal point: a sustained note in the bass, usually the dominant of the key or chord, that continues while chords change over the top.
pentatonic: A five note scale.
pitch: the highness or lowness of a sound.
phrase: a self-contained or coherent musical idea usually 2, 4, or 8 measures long.
phrasing: how to present a melody or fragment of a melody with respect to length and articulation
phyrigian: the mode of the major scale built on the 3rd degree of the scale. For example, the E phyrigian mode is the scale E, F, G, A, B, C, D, E which corresponds to the C major scale built from E, the 3rd degree of the C major scale.
planing: moving a voicing up or down the keyboard in parallel motion.
polychord: a chord symbol with a numerator and denomonator seperated by a horizontal line. The numerator indicates a triad that is to be played over the chord indicated by the symbol in the denomonator. Not to be confused with slash chords.
polytonal: more than one key occurring at the same time. More on Wikipedia.
Cole Porter: Tin Pan Alley composer of countless standard tunes, Night and Day, among them, that have become jazz standards and interpreted by jazz players since the 1940s. The Official Cole Porter site. wikipedia AllAboutJazz AllMusic
Bud Powell: early bop pianist his work charcterized by inventive, complex, linear melodies in the right hand with spare left hand shell voicings. More on wikipedia, AllMusic.
primary chords: The three functional groups that represent the basic functions in music: tonic, subdominant and dominant.
primary dominant: the 7th chord built on the 5th degree of the major scale.
progression: see chord progression.
range: the compass, or series of notes from lowest to highest.
Real Book: Traditionally, a 3 volume set of books of lead sheets of jazz tunes of unknown origin (probably started in Boston or New York in the 1960s), bought and sold informally among jazz musicians. Real Books are considered illegal because the books were produced without any royalties being paid to the composers of the tunes. The title Real Book, is a play on words of the standard term given to a book of lead sheets, the fake book, which contains usually pop tunes with simple and often poor choices of chords. The joke being that the Real Book has hipper tunes and jazzed up chord changes and is the "real thing." The books were poorly reproduced and frought with errors but were and are still popular among jazz musicians because of their wide variety and useful selection of tunes and their rough hewn authenticity. In the early 1990s Chuck Sher published a "legal" series of Real Books, now in several volumes, with appropriate royalties paid to the composers and beautifully produced in a large format with clean notation, lyrics and often supplementary material like suggested basslines and arrangements. In the early 2000s Hal Leonard published a series of Real Books virtually indistinguishable from the illegal series trading on their popularity and cache. They are not identical even though their overall studied grittiness- from the seemingly handwritten music font to text that appears to have been typed on an old typewriter- would suggest otherwise. There are many tunes missing from the original series in these books but the ommissions are balanced by an interesting selection of tunes not found in the original Real Books. More on wikipedia; RealBook listening site;
Recorda Me: "Remember me" a latin tune written by Joe Henderson originally appearing on his 1963 album Page One.
Josh Redman: dominant tenor sax player of the late 90s early 00s. More on AllMusic.
reharmonize: to change the harmony of a progression either by adding, taking away, substituting chords and/or altering the tensions to create a new sound (usually) under an existing melody line.
related ii chord: the minor 7th or minor 7th b5 chord a perfect fifth away from a dominant chord.
relative major: major and monir keys that have the same key signature. Ab major is te relative major of F minor in that they both share the key signature of four flats.
resolve: to relieve tension of a note or chord. To move from dissonance to consonance.
retrograde: a device of motivic development where a melody is reversed so that the last note becomes the first and the second to last is the second etc.
rhythm: the organization of music with respect to time.
rhythm changes: the chord changes to the tune I Got Rhythm.
rhythmic augmentation: a technique of motivic development where the rhythm of a melody is increased, usually doubled, from say eighth notes to quarter notes.
rhythmic feel: a rhythmic gestalt (style) produced by a combination of rhythm section parts. Also known as a groove. A walking bass plus the ride cymbal rhythm, and backbeat on the hi-hat, produces a "swing feel," also known as "straight-ahead." A straight-eighth note cymbal pattern plus a funk bass line, produces a "funk feel." Generally the combination of bass and drums is most crucial to defining the feel.
riff blues: a blues head that is composed of a repeating melodic idea. For example, C Jam Blues is a riff blues.
roman numeral analysis: The use of roman numerals to indicate the function of a chord in a given key. For example, see Imaj7. The chord quality may or may not follow the roman numeral. A capitol roman numeral indicates a major chord and a lower case roman numeral indicates a minor chord. See Imaj7.
root: The fundamental note of a chord. This is the lowest note of a chord in root position.
rootless voicing, rootless voicing with added tension: a voicing is the particular order, spacing and combination of chord tones and tensions for a given chord. A root position voicing usually refers to a chord being played with the root on the bottom with its 3rd, 5th and 7th played in thirds on top of it. a rootless voicing is a chord without its root. a rootless voicing with added tension is a chord without its root and with added tensions (aka extensions, color tones). Rootless voicings with added tension are primarily played by the left-hand (and therefore frequently referred to as left-hand voicings) because that is how they were used by Bill Evans who is commonly associated with popularizing their use and also by the book by John Mehegan, Contemporary Styles for the Jazz Pianist first published in 1962, in which they are described.
rubato: an expressive variation of the tempo; slowing of certain rhythms or sections and speeding up of others.
scale: a collection of notes. Usual scales are major, the 3 minor scales, or any of their resulting modes.
scale degree: the name of a particular note in a scale usually indicated by an arabic numeral, 1, 2, 3, 4, 5, 6 or 7.
scale passage: sections of a melody that are derived from a scale.
secondary dominant: a dominant chord that resolves down a 5th to a chord other than the I chord. For example in the key of C, an A7 would be analyzed as a secondary dominant, V7/ii, resolving to the ii chord, D-7.
sequence: the repetition of the same melodic pattern on a different pitch.
sequential dominant: a series of secondary dominant chords.
seventh chord (7th chord): a 4 note chord.
5 essential 7th chords: The 5 groups of 7th chords that comprise the chords to most jazz tunes. They are: major 7, dominant 7, minor 7, minor 7b5 and diminished 7.
sharp 11: The raised (sharped) 11th of a chord, notated in lead sheets as "#11." For example, the G7#11 is the chord symbol that represents the G dominant 7th with a sharped 11. The notes of the chord are: G, B, D, F, C#.
shell voicing: incomplete outer framework of a chord, usually the root and the 7th, played in the lower tenor range of the piano that has a spare, vague sound. Used in the LH in spread voicings and in solo piano when the RH is improvising.
Horace Silver: Hard bop pianist and composer. More on wikipedia, AllMusic.
slash chord: A chord symbol with a numerator and denomonator seperated by a diagonal slash mark. The numerator indicates the chord and the denominator indicates the bass note. Not to be confused with polychords or hybrid chords. See /G#.
So What Voicing: a voicing predominantly built from intervals of a 4th but with the interval of a 3rd between the top two voices. Named after the voicings used by Bill Evans on Miles Davis' recording of the tune So What on his album Kind of Blue.
Solar: a 12 bar tune written by Miles Davis in 1954. Recorded on Walkin' available at iTunes; available recordings on AllMusic;
solfege: the system of naming notes with syllables instead of names. Do, re, me, fa, sol, la, te correspond to the first through 7th degrees of the major scale.
solo break: usually the last 2 or 4 measures of a tune where the soloist will improvise a cadenza like introduction to his solo.
special function dominant: a dominant chord that does not need to resolve as a typical dominant chord does. Special function dominants are commonly seen in the blues progression. Typical examples are I7, bVII7, VI7 and bVI7.
spread voicings with independent lead: a voicing technique for solo piano where the notes of the chords are spread from the bass through the mid range of the piano to create a rich full sound. The chords are played in the harmonic rhythm of the chord changes and the melody of the tune is played over the top independently of the chordal accompaniment. This technique is usually used to play the head of a tune.
Standard tune: a tune that is part of the jazz canon.
strong beat: Beats 1 and 3 are the strong beats in 4/4 time, with 1 being the strongest (most emphasized rhythmically, also called the downbeat) and 3 being less strong. 2 and 4 are weak beats, with 2 less strong than 3 and 4 the weakest.
subdominant: the chord built on the 4th degree of the diatonic scale and one of the primary triads (tonic, subdominant, dominant).
subdominant substitution: the ii and IV chord can subtitute for one another because they sound similar because most of the notes are the same between the two chords with the exception of one.
substitution: a chord that can substitute for another. Common types of substitutions are substitute dominants where the chords share tritones and functional substitutions (tonic substitution, subdominant substitution).
subV, substitute dominant, tritone substitutes, tritone substitution: the dominant chord that shares the tritone with the primary dominant. For example, in the key of C major, the primary dominant is G7. The substitute dominant is Db7. Both chords share the same tritone, B and F, spelled enharmonically (it would be F and Cb for the Db7). In the G7 chord the B and the F are the 3rd and b7th of the chord, respectively; in the Db7 chord they are the b7th and the 3rd.
subV7/IV: a secondary dominant that is replaced by it's substitute (subV). For example, in the key of Bb, V7/IV would be Bb7. The SubV7 of Bb7 is E7. So in the key of Bb, an E7 would be the subV7/IV.
subV7/V: a secondary dominant that is replaced by it's substitute (subV). For example, in the key of Bb, V7/V would be C7. The SubV7 of C7 is Gb7. So in the key of Bb, a Gb7 would be the subV7/V.
sus, sus4: chord symbol suffixes that indicate the suspended 4th. A "sus chord" has the 4th in place of the 3rd. For example an A7sus chord is spelled A, D, E, G. The D is the 4th. Sus chords have an unresolved sound due to the strong tendency of the 4th to want to resolve to the 3rd. Herbie Hancock's tune Maiden Voyage uses them exclusively.
swing: one of the two primary rhythmic styles (or feels) in jazz (the other being latin) which is characterized by an uneven eighth note feel as opposed to an even eighth note feel in latin music.
Swing Era: the period from approximately 1930-1945 that was characterized by big bands. More on Wikipedia, AllMusic.
Symmetric Diminished: the symmetric scale (a scale made up of repeated intervals) used over diminished chords. Also known as whole/half.
tempo: The speed of the piece.
tensions: the 9, 11, or 13 of a chord. they can be natural or altered (sharped or flatted). Also known as extensions. Tensions enhance or decorate the sound of a chord. To make an analogy: Tensions are like the toppings on an ice cream cone. They add to the flavor of the ice cream cone. Conversely, chord tones are the ice cream.
third: the interval of either 3 half steps (minor third) or 4 half steps (major third).
tonic: 1. the first note of a key or major or minor scale. In C major the tonic is C. 2. Tonic chords sound at rest and are resolved.
tonic substitution: a chord that can substitute for the tonic chord because it sounds very similar to it. In the key of Bb, the tonic chord is Bbmaj7. The iii chord, D-7 sounds very similar to the Bbmaj7 because it differs from it by only one note and therefore it can function as a tonic substitution chord. The vi chord can also act as a tonic substitute since it too differs from the tonic chord by only one note.
tonality: roughly synonomous with key.
transpose: to translate into another key by maintaining the interval relationships of a melody or chord progression but by starting on a new note.
Triad: a 3 note chord. It can be augmented, major, minor, diminished or suspended.
Lennie Tristano: Bebop jazz pianist active from the mid 1940s through the 1970s. An early experimenter with free jazz, he is one of the first to teach jazz in a structured way. More on Wikipedia, AllMusic. Buy Lennie Tristano's Music.
tritone: the interval equal to three whole steps (tri=3, tone=whole step) also called a diminished fourth or augmented fifth. The interval formed by the 3rd and 7th of a dominant 7th chord. This interval is naturally unstable and tending toward resolution to the tonic. It's instability provides the strength and affirmation of the tonality in the (authentic) V-I cadence in the major key.
tune: jazz lingo for a "song."
turnaround: the last 2 or 4 measures of a tune. the chord progression of a turnaround resolves the harmony to the first chord of the tune.
Two-Feel: a rhythmic feel that is characterized by a bassline composed of half notes.
McCoy Tyner: Post-bop pianist known for fourth voicings and the use of pentatonics. Started his career with John Coltrane in the 60s and went on to lead his own groups. More on Wikipedia, AllMusic.
upper structure: a major or minor triad built from at least one tension superimposed on top of another chord, usually a dominant chord.
bVI upper structure: the major triad built on the flatted 6th degree of a scale that is superimposed on top of (usually) a dominant chord.
voice leading: writing the parts of a (usually) 4 part polyphonic composition to produce strong melodic lines in each part. The word is used in jazz to describe the use of inversions to produce smooth tansitions from chord to chord when comping. More at Wikipedia.
voicing: the choice and arrangement of notes of a chord. For example, a Cmaj7 chord can be voiced in root position as C, E, G, B or it can be voiced more sparsely as only E and G with a C in the bass or more densely as C, D, E, F#, G, and B. Notes can be added or taken away to produce a variety of different qualities of sound. Voicings are grouped into close voicings (notes of the voicing stay within an octave) or open voicings (the notes of the voicing extend beyond an octave).
walking bassline: the standard bassline technique used during solo choruses it is a largely stepwise line (hence walking) of quarter notes that provides harmony (chord roots are played on the downbeat) and rhythm.
whole step: the interval composed of two half steps. on the piano a whole step is the distance from one key to the next key with one key in between.
whole tone: a scale built from whole steps. For example, a C whole tone scale is C, D, E, F#, G#, A#, C.
Anthony Wonsey: American hard bop influenced jazz pianist and composer. Professionaly active since the mid 90s, he has recorded several albums as a leader of his own trio as well as a sideman for such artists as Nicholas Payton. More at AllMusic. Buy Anthony Wonsey's music.
You Don't Know What Love is: Standard minor key tune written by DePaul and Raye in the late 30s or early 40s. Many jazz artists have recorded it.
Victor Young: composer of many standard tunes, Stella By Starlight, is just one example. More at Wikipedia, AllMusic.
Joe Zawinul: Austrian pianist/synthesist/composer. His first major gig was with Cannonball Adderley for most of the 60s, followed by the formation of the fusion band Weather Report, several albums with Miles Davis and then his own band, The Zawinul Syndicate. When he was a member of Adderley's band he introduced the electric piano and the hammond organ to the group and then progressively favored synthesizers and world music from his fusion days in Weather Report through the Zawinul Syndicate and beyond. More on AllMusic. Recordings are available at the JazzPianoOnline Store in the Jazz Improv Drill: Approach Patterns Lesson section.