!

"#"$% '()*(+
!%),-+.+ )%/ 01(23.+(+

The scales (oi moues) you have been testeu on so fai aie: Boiian, Nixolyuian anu Ionian (oi Najoi Scale).
0ui last session aiounu the piano lookeu at the 4.%52 66 7 6 choiu piogiession anu we useu "Blue Bossa"
as an example. !"#$%&'() +$%&,() -"#. /! 0123#45) + 6#7189:#45 &; &.) - !13#45 !" - 6<81:#2 6#513=

0sing the tune "Autumn Leaves" let's continue with 66 7 6+ in the $)852 anu $.%52 keys anu auu a new
scale to play - '-/.)%9

Let's appioach the haimony of this tune as simply as possible. I ieckon theie aie only 2 ieally impoitant
haimonic iueas to this tune:
1) 66 7 6 67 .% #:( ;(- 5< => 4)852
2) 66 7 6 .% #:( ;(- 5< ? 4.%52
@:)#A+ .#B apait fiom a sniff of chiomatic planing in bais 27 anu 28.

The foim of the tune: CD >)2+E !!=F.

New ChoiuScales to leain: '-/.)% - 4th Noue of the Najoi Scale. In jazz it often appeais as a "Najoi 7"
choiu anu is known functionally as the Iv choiu in the majoi key. In the tune "Autumn Leaves" it occuis on
bais 4, 12, 24 anu 29.

Exeicises foi Autumnal Foliage:
i) Play the F oi 0> '-/.)% scale (think a majoi scale with a iaiseu 4
th
). Singeis use a piano.
ii) Play the scales of a 66 7 6 67 piogiession in eithei the keys of ? $)852 oi => $)852.
iii) Play the scales of a 66 7 6 piogiession in eithei the keys of 0 $.%52 oi ? $.%52.

G"(+#.5%H Why am I asking you to play these exeicises in 2 uiffeient keys.
!%+I(2: Because.

Baimony: Fiom heie on I'm thinking in ? 4.%52 - this key woiks well foi biass anu saxes.
i) 0vei the ! J(3#.5% think >?? @ ? ?@ #5 A& 64B13C then >?? @ ? #5 + 6#513C |D<E<4Fj.
ii) 0vei the = J(3#.5% just ieveise the tuinaiounus so now you'll think >?? @ ? #5 + 6#513C then >?? @ ?
?@ #5 A& 64B13C
iii) At the F J(3#.5% (which coulu be classeu as the only ieal tiicky pait of this tune) obseive some of
the basic choiuscales below:



G1F<H #$%&'( *+,&('(- #I 4 I248< 91JK88 E31&4&89 &< J5L4"#8#43 M#FN I1 ?K: 8#O< F1 F48O 4&1JF FN#I 84F<3P ?5 FN< "<45F#"<
45 <4I9 M49 1L 54Q#R4F#5R 91J3 M49 FN31JRN &43I ;$ 45: ;S #I F1 E#2O <#FN<3 FN< T
IF
) '
FN
13 $
FN
) 13 ,
FN
:<R3<< 1L FN< +"#$
45: :<I2<5: 2N31"4F#24889 <Q<39 ; &<4FI U I<< #L 91J 245 21"< JE M#FN I1"< R311Q9 3N9FN"I #5 91J3 :<I2<5:#5R 8#5<IP
The moie you piactice scales anu aipeggios ovei this tune the moie you'll heai the sounu of the haimony
in youi heau. Stait off using the leau sheet anu play the melouy anu ALL the choiu scales 3522(3#,- 1u
times a uay foi a week. By the enu of the week you won't neeu music anymoie anu youi muscle memoiy
will be in a goou state of uevelopment.

Noie Exeicises:

Tiy incoipoiating some of these uevices in youi piactice. Play these exeicises with a metionome - as slow
as you want B0T coiiectly anu .% #.$(! 0se +(,<K)%),-+.+ anu employ the iules of geneial musicality -
time, tone anu intonation. If you make a mistake; stop anu stait again. Always iemembei: VW342F#2< %+./(0-
'12'$/ "4O< E<3L<2FC - If you piactice with mistakes (anu fail to iemeuy them) you'll play with mistakes. If
you'ie feeling confiuent with the changes go to Nooule (Impiov 1) foi a meuium-up tempo play-along of
"Autumn Leaves" oi constiuct youi own haimonic backing fiom banu in a box.

Tiy playing then singing the bass line - tiy anu get comfy with that tiitone leap fiom Eb to A in bais
4 anu S, 12 anu 1S, 24 anu 2S.
Play then sing the aipeggios of each choiu up to the 7th.
Inveiting the base tiiau of each choiu is a gieat way of staiting to outline the haimony. E.g., insteau
of 1SS you coulu tiy: 1SS, SS1, S1S, SS1, S1S. Singeis tiy 1SS anu SS1 - you'll piobably neeu to
play this on piano 1
st
.
Embellish simple iueas aiounu guiue tones.
Tiy inveiting the aipeggios of the 7
th
choius. E.g., S71S, 71SS, etc. Singeis this will be tough so uon't
woiiy about this one.
Solo aiounu the melouy (embellishaltei it enough anu it won't sounu like the melouy anymoie!)

L5#(: The scales that I've useu in this analysis aie not exhaustive. Theie is always moie than one type of
scale to play ovei any given choiu but I believe beginning impioviseis shoulu stait with 54#8#5R one of
these "coiiect" scales ovei a ceitain choiu type anu then bianch out fiom theie.


Listening:

Theie's a gazillion iecoiuings of this tune out theie. As a tiombonist some of my favouiite veisions of
"Autumn Leaves" aie:
Fiank Rosolino - use of lightning fast tiiplets (fiom the album X15: 6<"13#<I).
}ames Noiiison - use of multiphonics (Y54EE9 !11)
}.}. }ohnson - soulful use of uynamics to cieate a yeaining melouy that teais at youi heait (0#Q< 4F
FN< @#884R< @45R4J3:).

But I also love veisions by non-tiombonists:
uuitaiist Biieli Lagiene (YF45:43:I) oh the technique!
You've gotta check out }im Ball's tieatment of the melouy as an angulai chiomatic sequence while
Ron Caitei lays it uown with some soliu uiity upiight playing (Z815< [1R<FN<3)
Chet Bakei makes the most of the scales we've been talking about in touay's lesson with a cool,
gioovy, anu melouically captivating solo that you must listen to (YN< \4I [11 +11: X13 6<(
Pianist NcCoy Tynei gambols thiough the changes like a naughty little boy who's just bunkeu
school aftei stealing $2u anu is off to Time Zone - actually he's using a whole bunch of supei
swinging consecutive quaveis at a meuium-up tempo ([1:49 45: [1"1331M).

The point I'm making is LISTEN to the masteis anu get inspiieu by theii iueas. because the masteis got
inspiieu fiom someone else.