MUST KNOW THEORY FOR JAZZ (PIANO)

Jazz piano theory encompasses a variety of concepts that are essential for understanding and playing jazz music effectively. Here’s a breakdown of some of the must-know theory:

SCALES AND MODES

Major and Minor Scales: Foundation of all Western music.

Modes: Derived from the major scale, including Dorian, Phrygian, Lydian, Mixolydian, Aeolian, and Locrian.

Blues Scale: Essential for jazz and blues improvisation.

Pentatonic Scales: Both major and minor pentatonics are widely used.

The 2-5-1 Chord Progression (The principle of jazz)

A common musical convention of three consecutive chords which effectively establish a key, in this case Dm7→G7→Cmaj7.

1. Roman Numeral Analysis:

  • ii (2): The minor chord built on the second degree of the scale.
  • V (5): The dominant chord built on the fifth degree of the scale.
  • I (1): The tonic chord built on the first degree of the scale.

2. Example in C Major:

  • ii: D minor 7 (Dm7) – The chord D, F, A, C
  • V: G dominant 7 (G7) – The chord G, B, D, F
  • I: C major 7 (Cmaj7) – The chord C, E, G, B

In this progression:

  • D minor 7 (ii) functions as the pre-dominant chord.
  • G7 (V) serves as the dominant chord, creating tension that wants to resolve.
  • Cmaj7 (I) is the tonic chord, providing a sense of resolution.

Why the 2-5-1 is Crucial in Jazz

  1. Harmonic Movement:
    • The 2-5-1 progression embodies the concept of tension and release, which is central to Western tonal music. The ii chord leads to the V chord, which creates a strong pull to resolve to the I chord.
  2. Common in Jazz Standards:
    • The ii-V-I progression is the foundation of countless jazz standards. Understanding this progression allows musicians to navigate through complex chord changes with confidence.
  3. Improvisation:
    • Jazz musicians often focus on the ii-V-I when improvising, using scales, arpeggios, and chord tones to create melodic lines that complement the harmonic structure.
    • Common scales used for improvisation over the ii-V-I include the Dorian mode (for ii), Mixolydian mode (for V), and Major or Lydian mode (for I).
  4. Chord Substitutions and Extensions:
    • Jazz allows for chord substitutions, where players replace the V chord with a tritone substitute (e.g., Db7 instead of G7 in C major) or add chord extensions (9ths, 11ths, 13ths) to enrich the harmonic texture.

Variations of the 2-5-1 Progression

  • Minor ii-V-i Progression:
    • In a minor key, the ii chord is often half-diminished (iiø7), the V chord is often a dominant 7th with a flat 9th (V7b9), and the I chord is minor.
    • Example in C minor: Dm7b5 – G7b9 – Cm7
  • Extended 2-5-1 Progressions:
    • Jazz musicians might extend the ii-V-I progression by inserting additional chords, such as a iii-VI-ii-V-I progression (e.g., Em7 – A7 – Dm7 – G7 – Cmaj7 in C major).
  • Modal Interchange and Secondary Dominants:
    • These techniques involve borrowing chords from parallel modes or adding dominant chords (V of V, V of ii) to create more complex ii-V-I progressions.

IMPROVISATION

Bebop Scales: Scales with added passing tones, such as the bebop major and bebop dominant.

Chord Tone Soloing: Focusing on chord tones to outline the harmony during solos.

Guide Tones: Using the 3rd and 7th of chords to navigate through changes.

Licks and Phrases: Memorized and spontaneous melodic fragments used in solos.

HARMONIC CONCEPTS

4. Harmonic Concepts

Substitute Dominants: Using chords like tritone substitutes to add harmonic interest.

ii-V-I Progression: The most common chord progression in jazz.

Turnarounds: Short chord progressions that lead back to the tonic.

Modal Interchange: Borrowing chords from parallel modes or scales.

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Comping

  • Rhythmic Comping: Practice comping with a metronome, experimenting with different rhythmic patterns.
  • Listening and Mimicking: Listen to recordings of great pianists like Wynton Kelly, Red Garland, or Bill Evans and mimic their comping styles.
  • Interaction: Practice comping while imagining how you would interact with a soloist. Vary your dynamics and rhythmic intensity.

Jazz Standards

  • Learn Tunes: Memorize jazz standards by playing the melody, learning the chord changes, and improvising over them.
  • Play in Different Keys: Practice playing jazz standards in different keys to develop flexibility.
  • Analyze Form: Break down the structure of tunes (AABA, ABAC, etc.) and understand how the harmony functions within the form.
  • Rhythmic Exercises
  • Swing Feel: Work on developing a strong swing feel. Practice playing eighth notes with a swing rhythm and syncopating your lines.
  • Syncopation Practice: Use syncopation exercises to improve your rhythmic flexibility.
  • Polyrhythms: Experiment with polyrhythms (e.g., playing triplets over a steady quarter-note pulse) to develop rhythmic complexity.