The glossary has now been completed. I have described what each term is and how it can be applied practically. This should give me a better understanding to analyse improvisations with.
Glossary of essential terms
Aeolian mode- The Aeolian mode is the name given to a major scale that has a b3, b6, and b7. Therefore it is the same as a natural minor scale. It can be used for improvising over minor 7th chords. (For example see Alldis 2003 p63)
Accentuation - Emphasizing certain notes in order to enhance the rhythmic vigour of a line. When deployed it is common for accents to be placed on off beats. This is a very common feature of the jazz genre. (For example see Alldis P154 2003)
Alteration – A chord which has at least one tone raised or lowered by a semitone from its normal place within the chord. A common alteration is to flatten the 9th. For example in G7b9, the 9th has descended chromatically from A natural to A flat. By altering chords the player can add more colour when soloing. (For example see Baerman p8 1998)
Articulation – How individual notes are to be played. Symbols can be used in music to specify articulation. A key point concerning articulation within a jazz setting is that the improvised line played with the right hand is heard above the accompaniment that the left hand plays. (For example see Alldis p155 2003)
Bebop- Bebop is a sub-genre of jazz which is characterized by a fast tempo, long melodic lines comprising of 8th notes , chromaticism and virtuosic playing. The bebop scale used for improvising over dominant 7th chords is an eight note scale with a chromatic passing note placed between the dominant 7th and octave. For example, on C the notes would be: C,D,E,F,G,A,Bb,B,C For improvising over sixth or major 7th chords, the chromatic passing note comes between the fifth and the sixth. For example C,D,E,F,G,Ab,A,B,C. (For example see Alldis 2003 p71)
Blues- The Blues is a genre which is central to jazz in terms of both feel and structure. The blues scale is frequently used in improvisation and comprises of the following intervals: Root, b3, 4, b5, 5, b7, 8. In addition to this, the chord structure of the twelve bar blues is often used in jazz. (For example see Davis 1959 p146)
Contour- Refers to the shape of the melody line, determined by its pitch. The contour of a solo must be considered carefully in order for the improviser to produce a convincing solo. If the improviser uses too narrow a register throughout the entirety of a solo then this may become boring. If the improviser makes use of the full register available then this can aid the development of the solo. For example, on starting the solo, the improviser may play in the lower register and then move up the register as the solo continues to enhance momentum. (For example see Alldis p155 2003)
Chord Voicing- This refers to the arrangement of the notes within a chord. For example, notes in ‘Open Voiced’ chords are spread out so that one of the notes are doubled. This is effective in an ensemble setting as it allows the rhythm to be reinforced. ‘Close voicing’s’ are where the notes are grouped together closely. This means chords can be played with the left hand near to where the right hand plays the melody. Rootless voicings are chords which don’t contain the root note. This is often used in an ensemble context where the double-bass player would play the root note. (For example see Alldis 2003 p113)
Chord tone Improvisation- This refers to using the intervals of a chord in order to improvise. The style of Be-bop uses this frequently. (For example see Alldis 2003 p97)
Chromatic scale- This refers to a scale spanning at least one octave where all the intervals are semi-tones. This is often used in improvisation, in conjunction with diatonic scales, to add variety. (For example see For example see Hussey, 2007 p12)
Chorus- A complete ‘cycle’ of the chord structure of a piece. An improviser may play through several choruses when soloing. (For example see jazz.about.com)
Diatonic- This refers to a scale which is comprised of 5 whole tones and 2 semi-tones. Diatonic scales including the unaltered major are often used when improvising. (For example see Alldis p56 2003)
Diminished scale- A scale which comprises of 8 notes to the octave. The scale uses alternating tones and semi-tones. There are only three diminished scales. It can be used for improvising over diminished chords. (For example see Alldis 2003 p68)
Dorian mode- The Dorian mode is the name given to a major scale with a b3 and a b7. It is commonly used for improvising over minor 7th chords. (For example see Alldis 2003 p59)
Extensions - Extra notes that are added beyond the 7th. The extensions do not have to be functional and can be used in order to create a particular colour. The 9th, 11th and 13th are chord extensions and are used frequently in jazz. (For example see Boyd 1997 p5)
Form- This refers to the compositional structure of a jazz standard. There will normally be at least two distinct sections in a standard. (For example see Hussey,2007 p12)
Half-diminished- This is a chord comprising of a minor third, a flattened 5th and minor 7th. The inclusion of a minor 7th as opposed to a diminished 7th is what defines it as a half diminished chord. It can also be described as a minor 7th b5 chord. Often it is used in minor ii-v-i progressions as the ii chord. (For example see Boyd 1997 P39)
Head- The head of a jazz standard is the composed section that resembles the main theme and contains the chord changes. In a typical jazz standard the head is played first and then improvised solos take place using the chords of the head. (For example see Hussey, 2007, p girl from Ipanema)
Ionian mode- The Ionian mode is the same as an unaltered major scale. For example, C Ionian is just the same as the C major scale. It can be used for improvising over Major7th chords. (For example see Alldis 2003 p62)
Improvisation- This refers to instantaneous composition over a series of chord changes. In addition to playing completely new lines, the improviser may be influenced by motifs that they have used in the past. (For example see Clarke,Dibben,Pitts 2010 P49)
Inversion- This refers to the differing structure of chord tones that are possible within a chord voicing. Different considerations have to be made depending on the situation. For example, often, it is desirable that chords are played within a narrow register. (For example see Boyd 1997 p28)
Jazz melodic minor- This refers to a major scale with a flattened 3rd both ascending and descending. This is different to the melodic minor used in classical music where descending, the natural minor is used. The jazz melodic minor is suitable for improvising over minor chords with a major 7th. For example in Cm(MAJ7), the notes are: C,Eb,G,B. The C jazz melodic minor comprises of: C,D,Eb,F,G,A,B,C. (For example see Alldis 2003 p66)
Lydian mode- This refers to a major scale with the fourth raised a semi-tone. It is the fourth mode. It is commonly used for improvising over MAJ7 chords with a sharpened 11th. The 11th is the same note as the fourth. (For example see Alldis 2003 p63)
Locrian mode- This refers to a minor scale with a b2 and a b5. It is the seventh mode and is suitable for improvising over half diminished chords. For example, B half diminished consist of: B,D,F,A. The Locrian mode of B comprises: B,C,D,E,F,G,A,B. (For example see Alldis 2003 p63)
Modes - Modes are scales that were used in early music before the onset of equal temperament. The seven modes are derived from the major scale. The modes are used very frequently in improvisation. (For example see Alldis 2003 p59)
Mixolydian Mode- This is the name given to a major scale with a b7. It is the 5th mode and is commonly used for improvising over dominant 7th chords. (For example see Alldis 2003 p63)
Modulation- This refers to a new key centre being established. It is common in jazz standards for a ii-V chord change in the new key to be used where the modulation occurs. This is commonly done before a bridge. (For example see Gershwin 1924 p372)
Pentatonic- The pentatonic scale is comprised of five notes. The major pentatonic scale is made from the i,ii,ii,v, and vi degrees of the major scale. There is no dissonance in the scale because the IV and VII degrees are not included. Oscar Peterson often used pentatonic runs to establish moments of complete consonance. (For example see Peterson 1964)
Phrygian mode- The Phrygian mode is the name given to a major scale that has a b2, b3, b6 and b7. It is suitable for playing over b9 chords. (For example see Alldis 2003 p62)
Progression- This refers to a series of chords that defines the harmony of a standard. There are several common chord progressions in jazz. The II-V-I progression is amongst the most important. (For example see Boyd 1997 p6)
Quartal Harmony- This refers to chords which are made from stacked fourths. Either all the intervals will be fourths or there will be one that isn’t. Minor 11th voicings are often built this way. For example, in Em11 the root is E, the 11th is A, the 7th is D, the 3rd is G and the 5th is B. (For example see Boyd 1997 p93) A famous example of Quartal harmony can be heard in ‘So What’ by Miles Davis. (For example see Davis 1959 p366)
Rhythmic displacement- This refers to altering the rhythm through changing note lengths and including syncopation. By playing some notes on off-beats this creates a strong jazz feel. It can be used effectively within improvised passages. (For example see Alldis 2003 p100)
Substitution- Chords can be replaced others in a progression. The tri-tone substitution is the most common substitution. A tri-tone is the name given to the distance of an augmented fourth. This form of substitution can be used for dominant seventh chords where the roots of two chords are a tri-tone apart. For example F7 substitutes for B7. This frequently happens during a turnaround (For example see Boyd 1997 p8)
Turnaround- A series of chords which come at the end of a section. The chords form a cadence which leads to the next section. Common jazz turnarounds include the I, VI, II, V. Alterations and substitutions are common during turnarounds. (For example see Boyd 1997 p85)
Transposition- Playing the same music in a different key. Transposition is an essential skill for the jazz musician as a standard can typically move through several key centres. (For example see Dorham 1993 p50)
Upper Structure- A triad being played in the upper register over a chord in the lower register with a different root note. Upper structures are normally played over dominant chords. For example in D7(b9,13), the notes in the lower register could be D and C,(Root and dominant 7th) while the upper structure could comprise of a B major, second inversion triad. (5th, 13th and b9) (For example see Moehrke 2007 p114)
Bibliography
Alldies,D.(2003)JAZZ PIANO IMPROVISATION, Hall Leonard
Baerman,N.(2000)Jazz Keyboard Harmony, Alfred music publishing
Boyd,B.(1997)Jazz Chord Progressions, Hal Leonard
Clarke,Dibben,Pitts(2010)Music and Mind in everyday life, Oxford university press
Davis,M.(1959)The Real Book sixth edition,(Music scores) Hal Leonard Europe
Dorham,K.(1993)The Real Book sixth edition,(Music scores) Hal Leonard Europe
Gershwin,G.(1924)The Real Book sixth edition,(Music Scores) Hal Leonard Europe
Jobin.A(1963)Great Jazz Piano Solos Book 1,(Music scores), Wise publications
Moehrke,P.(2007)Jazz Piano voicing concepts, Mel Bay
Carlos,J.(1964)The Girl From Ipanema, Oscar Peterson. AMG. [Sound Recording: CD]
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