Jazz Theory by Reginald Cyntje

Strive to understand harmony on a deeper level. Listen with an open mind. Transcribe. Can you
hear the melodic/harmonic/rhythmic devices? Try to understand the why behind a great
recording and/or solo.

1. Novice level improviser looks at example A as playing in C major.

2. Intermediate level begins to identify that chords are unique.
3. Advanced level realizes that there are options for example A.
4. Masters can make music with any combination of chords / sounds.

Ex. A.) Dmin7 I G7 I C maj7 I Cmaj7 I

Level one:

Major scale: C D E F G A B C
Minor scale: A B C D E F G A
Major pentatonic scale: C D E G A C
Minor pentatonic scale: A C D E G A

Can you play major, minor, and pentatonic scales in all keys? Can you hear when the key
changes? Do you have strong rhythm? Are you listening to the drums when you improvise?
Yes? Move to the next level.

Level two (chord scale):

D min7 = D E F G A B C D and/or D F A C E.
G7 = G A B C D E F G and/or G B D F A
C maj7 = C D E F G A B C

Voice leading

Starting on the 7th

Over a II V I progression, start on the 7th of the min 7 chord. Voice leading = 7 to 3 to 7

D min 7 I G7 I C maj7 I C maj7 I

th rd th
C (7 of Dmin7) I B (3 of G7) I B (7 of C maj7) I I
Starting on the 3rd
Over a II V I progression, start on the 3rd of the min 7 chord. Voice leading = 3 to 7 to 3
D min 7 I G7 I C maj7 I C maj7 I
th
F (3rd of Dmin7) I F (7 of G7) I E (3rd of C maj7) I I

Non 3rd and 7th voice leading

Over a II V I progression, start on the 7th of the min 7 chord. Voice leading = 7 to #11 to 9
D min 7 I G7 I C maj7 I C maj7 I
C (7th of Dmin7) I C# (#11 of G7) I D (9th of C maj7) I I

Over a II V I progression, start on the 5th of the min 7 chord. Voice leading = 5 to b9 to 5
D min 7 I G7 I C maj7 I C maj7 I
A (5th of Dmin7) I Ab ( b9 of G7) I 5 (5th of C maj7) I I

On the G 7, the C is an avoid note because of the clash with the B (the third). On the C maj7, the
F is an avoid note because of the clash with the E (the third). Voice leading begins at this level.
Learn and apply jazz vocabulary to the changes / song you are learning. Are you playing chord
tones on strong beats? Yes? Move to the next level.

Level three (simplifying changes or adding chords):

Simplifying…
Dmin7 I G7 I Cmaj7 = G7
Bebop scale = G A B C D E F F# G played over the II V I progress
Mixolydian scale = G A B C D E F G also played over the II V I
Minor pentatonic = A C D E G A another option over the II V I

At this level, players begin to find scales / notes that capture the sound of a series of chords.
For example, Roy’s progression: Bb min7 I C min7 I Db maj7
The Ab maj7 scale will not sound great over this progression. The melody provides a lesson. F
minor pentatonic is the first scale choice. F Ab Bb C Eb F. In the melody, the Ab is played over
the Cmin7. Do you like that sound? Do you know why it works?

1. Sequences
2. C min7 is a passing chord.

Making good choices. Know this info to understand harmony for all major keys
Cmaj7 = 1, 3, 5, 6, 7, and 9.
Dmin7 = 1, b3, 5, b7, 9, 11, and 13.

E sus b9 = 1, b9, 4, and 5.

F maj #11 = 1, 3, 5, 7, 9, and #11.

G 7 = 1, 3, 5, b7, and 9. Tensions… b9, #9, #11, b13, 13

A min b6 = 1, b3, b6, and b7.

B min7 b5 = 1, b3, b5, b7, b9

Expanding…
Dmin7 I G7 I Cmaj 7 I C maj7 I

Dmin7 I G7 I Cmaj7 I A7b9 I

A7(b9) I Dmin7 G7 I C maj7 I C maj7 I

E-7 A7(b9) I Dmin7 G7 I C maj7 I Fmaj7 #11 I

E-7 Eb7 I D-7 Db7 I C maj7 I F maj7 #11 I

Bb-7 Eb7 I Ab-7 Db7 I C maj7 I F maj7 #11 I

Eb7 I Db7 I C maj7 I Fmaj7 #11 I

Eb7 I Db7 I F maj7 #11 I F maj7 #11 I

Improvisers add chords for more harmonic/melodic options.

Basic Jazz Blues

F7 I Bb7 I F7 l F7 I

Bb7 I Bb7 I F7 I D7 I

Gmin7 I C7 I F7 D7 I Gmin7 C7 I

Charlie Parker Blues

F maj7 I E-7(b5) A7(b9) I D-7 G7 I C-7 F7 I

Bb7 I Bb-7 Eb7 I A-7 D7 I Ab-7 Db7 I

G-7 C7 I C#-7 F#7 I F7 D7 I G-7 C7 I

Cannonball Adderley Blues

F maj7 I E-7(b5) A7(b9) I D-7 G7 I C-7 F7 I

Bb7 I Bb-7 Eb7 I Ab maj7 I Ab-7 Db7 I

Gb maj7 I G-7 C7 I F7 D7 I G-7 C7 I

Level four:
Dmin7 = DmMaj7 … D E F G A B C# and/or D F A C# E
G7 = G7 (#11) … G A B C# D E F G and/or G B D F A C#

C maj7 = Cmaj7 (#11) … C D E F# G A B C and/or C E G B D F#

At this level, musicians are seeking more tension.

Making good choices with minor harmony

C D Eb F G Ab B C (harmonic minor scale harmony)

C-maj7 = 1, b3, 5, b6, 7, and 9. / C D Eb F G Ab B C

D-7 (b5) = 1, b3, b5, b7, and b9 / D Eb F G Ab B C D

Eb maj #5 = 1, 3, #5, 7, 9 / Eb F G Ab B C D Eb

F - 7 = 1, b3, 5, b7, #11 / F G Ab B C D Eb F

G7 (b9) = 1, 3, 5, b7, #11, b13 / G Ab B C D Eb F G

Ab ma7 (#9) = 1, 3, 5, 7, #9, #11 / Ab B C D Eb F G Ab

B dim = 1, b3, b5, 6 / B C D Eb F G Ab B

Explore the sounds above. Know the info in all minor keys.

D-7 (b5) I G7 (b9) I C -maj7 I

Melodic or harmonic minor scale

Half whole diminished scale and 7th chords

G Ab Bb B C# D E F G = G7 (b9)

G Ab Bb B C# D E F G = Bb7 (b9)

G Ab Bb B C# D E F G = C#7 (b9)

G Ab Bb B C# D E F G = E7 (b9)

7th chord moving up in minor 3rds use the same half whole diminished scale. One scale can be
played on four chords.

Whole tone scale on 7th chords

G A B C# D# F G = G7 (#5) also G7+, G+7, G7 (b13)

Level five:
Understanding the expansion

Dmin7 I Db7 (#11) I Cmaj7 (#11)

Db7 is a substitute for G7.
Third and seventh of Db7 = F and Cb
Third and seventh of G7 = B and F
D E F G A B C D I Db Eb F G Ab Bb Cb Db I C D E F# G A B C

Check out how the notes move down in half steps.

At this level, the substitution opens the door to the b9, #9, #11, and b13. How?
Db over G = #11
Eb over G = b13
F over G = 7
Ab over G = b9
Bb over G = #9
Cb (B) over G = 3

Level six:
The related two of Db7 is Abmin7. The new progression is …
Abmin7 I Db7 I Cmaj7
Abmin7 to Db7 is a substitute for Dmin7 to G7.

When the previous levels are mastered, the improviser can explore different resolutions.

Level seven:
Chords can move in minor thirds. Look at the different ways a V7 chord is moving to I.
V7 to I, bVII7 to I, bII7 or sub V to I, III7 or V7 of vi to I.
Dmin7 I G7 I C maj7
Fmin7 I Bb7 I Cmaj7
Abmin7 I Db7 I Cmaj7
B min7 I E7 I C maj7

Imagine what happens when you begin applying vocabulary? Check out the variations on the
above chords.

Ex. 1

Dmin7 I Db7 I C maj7

Dmin7 I Bb7 I C maj7
Dmin7 I E7 I C maj7
Ex. 2
Fmin7 I G7 I C maj7

F min7 I Db7 I C maj7

F min7 I E7 I C maj7

At this level, the improviser begins to tackle Wayne Shorter tunes.

Level eight:
Be able to see an infinite amount of possibilities. Everything is connected

Coltrane Changes
D–7 I G7 I C maj7 I C maj7
D-7 Eb7 I Ab maj7 B7 I Emaj7 G7 I C maj7

There are three key centers: C maj / Emaj / Ab maj

The keys are a major third apart. C to E and E to Ab (G#)
To connect the keys, Coltrane used V7 chords. The V to I progression creates a feeling of home.
The basic II V I expands into something more complex.

Coltrane Changes applied to a Blues

F maj7 Ab7 I Dbmaj7 E7 I Amaj7 C7 I F7

Bb Db7 I Gbmaj7 A7 I Dmaj7 F7 I Bbmaj7 Db7 I

G-7 C7 I C7 I F7 D7 I G-7 C7 I

Giant Steps
The song is in three keys: B maj / G maj / Eb maj
Coltrane uses V to I and II Vs to connect the keys.

B maj7 D7 I G maj7 Bb7 I Eb maj7 I A-7 D7 I

G maj7 Bb7 I Eb maj7 F#7 I B maj7 I Fmin7 Bb7 I

Eb maj7 I A-7 D7 I G maj7 I C#-7 F#7 I

B maj7 IF–7 Bb7 I Eb maj7 I C#-7 F#7 I

First cycle… connecting B / G / Eb with V7 chords

II V7 to G maj 7
Second cycle… starting on a G then using V7 chords to connect
II V7 to Eb maj7
II V7 to G maj7
II V7 to B maj7
II V7 to Eb maj7
Back to the top
Level nine:
Making something complex seem simple.

B maj7 #11 … What to play?

B major scale = too bland. Will not capture the sound of the chord
B lydian scale = good choice B C# D# E# (F) F# G# A#
Ab natural minor = good choice. Very close to B major.
Ab minor pentatonic = better choice. Ab Cb Db Eb Gb Ab

Why Ab minor pentatonic?

Ab = 6 of B maj7 #11. The 6 is a pretty note
Cb = 1
Db = 9 of B maj7 #11. The 9 is a pretty note
Eb = 3 of B maj7 #11. The 3 is a strong chord tone
Gb = 5 of B maj7 #11

Bb minor pentatonic = great choice. Bb Db Eb F Ab Bb

Why Bb minor pentatonic?

Bb = 7th of B maj7 #11
Db = 9th of B maj7 #11
Eb = 3rd of B maj7 #11
F = #11 of B maj7 #11
Ab = 6th of B maj7 #11

On a major 7th chord, the improviser can play a minor pentatonic scale/phrase starting on the
7th degree.
B maj7 #11 = B D# F# A#
A# is the 7th of B maj7 #11
A# is the same note as Bb
Bb minor pentatonic captures the sound of B maj7 #11

B maj 7 #11 = Bb minor pentatonic = making something complex simple

This concept can be found in solos by Woody Shaw and Mulgrew Miller.

Using Triads to simplify changes

B maj7 #11 = Db triad over B = C#/B
B 7 sus 4 = A triad over B = A/B
B sus b9 = A min triad over B = A-/B

Explore the following sounds

C/B
C#/B
D/B
Eb/B
E/B
F/B
F#/B
G/B
Ab/B
A/B
Bb/B

Simplifying Giant Steps.

B maj7 D7 I G maj7 Bb7 I Eb maj7

B maj7 A-7 I G maj7 F min7 I Eb maj7

Bb-7 A-7 I F#-7 F-7 I Eb maj7

A-7 D7 I F-7 Bb7 I Eb maj7

F-7(b5) I Bb7(b9) I Eb maj7

Check out the alternate take on the Giant Steps album. The improviser can also learn from
Coltrane’s solo on 26-2. More recent examples can be found on Kenny Garrett’s triology album.

Pentatonic scale modes

C D E G A C = C maj 6

D E G A C D = D sus

E G A C D E = E min

G A C D E G = G sus

A C D E G A = A min 7
Pentatonic scale with one alteration
C D Eb G A C = Cm 6

D Eb G A C D = D susb9

Eb G A C D Eb = Eb maj 7 #11

G A C D Eb G = G sus b13

A C D Eb G A = A7 (#9, b13)

Level ten:
It never ends…

Summary
Is this a lot to study? Guess what will help you understand each level faster?

1. Actively listen to jazz recordings

2. Transcribe solos / melodies. Pay attention to note choices.
3. Extract phrases from master musicians
4. Understand how to apply those phrases to your solos.
5. Can you hear the changes? Can you hear the phrases? Can you sing it?
6. Don’t just learn the notes and/or the chords. Listen and learn how the ideas are being used.
7. When listening, try to hear the connection between everything.
8. Ask why and find the answers.

Happy Practicing!