Piano Lesson for Beginners.

1. Jazz Composition
UNIT 1: BASIC CONCEPTS REVIEW

2. Unit 1 Contents:
1. Scales
2. Modes
3. Tensions
4. Embellishments and Approach Notes
5. Anticipations and Delayed Attacks
6. Guide Tones

3. What do you need to know:
 Pitch notation in treble and bass clef
 Major and Minor Scales
 Chord Formation, Spelling of Triads
 Intervals
 Basic harmony and chord functions (I, II m, III m, IV, V7, VI m, VIIm5b)
 Rhythm structure
 Modes
So you can get the most out of this jazz composition course we recommend
previous knowledge of the following topics.

4. Basic Concepts Review:
1. Scales
 Major
 Natural Minor
 Harmonic Minor: (Raised 7th degree)
 Melodic Minor: (Raised 6th and 7th degree)
Identify the characteristics of each scale and recognize
it's interval relations.

5. Scales Overview

6. 2. Jazz Modes
And their relevant characteristics
 Ionian – Mayor mode / (same as major scale)
 Dorian – Minor Mode / (raised 6th degree)
 Phrygian – Minor Mode / (lowered 2nd)
 Lydian – Mayor Mode / (raised 4th degree)
 Mixolydian – Mayor Mode / (lowered 7th degree)
 Aeolian – Minor Mode / (same as minor scale)
 Locrian – Minor mode with a lowered 5th / (special treat)

7. Modes Overview

8. (Modes Overview)

9. 3. Tensions
Chord Tensions are added tones in succession of 3rds to any given chord. Are
considered chord tensions all the notes above the 7th from the root note. (9ths,
11ths and 13ths)
Adding Chord Tensions produces an increase of dissonant interval relations within
the chord notes and it's tensions. (9ths and 7ths)

10. Intervallic Relations and Tensions

11. Melodic Tensions:
These are non-chord tones that have vertical relevance. They are produced by the
melody, but have harmonic implications. They are:
1. Longer than a quarter note. And or,
2. Followed by a Leap, And or,
3. On a strong beat preceded by a leap from below, followed by
a chord note on a weak beat. 9 to 1, 11 to 3, or 13 to 5. In
classical music these are also called or referred to as
appoggiatura. The chord notes on weak beats are usually
used to resolve or release the tension that was created
melodically.

12. Melodic Tension Example:

13. 4. Embellishments and Approach Notes
 They are short duration notes that move by step to a chord tone or chord
tension.
 They have a melodic purpose.
 They are often used to connect 2 notes in a ascending or descending
motion.
 They can add color to a melody line.
 They help to reduce or avoid leaps in a melody line.

14. Types of Approach Notes:
A) Passing Tones (PT)
They Move stepwise between two notes that are always a
different pitch. Usually they are the notes in between
chord notes or chord tensions.

15. B) Neighbor Tones (NT):
Neighbor tones leave and return to the same note of
origin in stepwise motion.
There are cases where neighbor tones are unprepared,
they proceed to their target note without any preparation.

16. C) Indirect Resolution (IR)
This occurs when two short notes of equal value are found
prior to the target note. The short notes approach It from
above and below by step.

17. D) Double Chromatic Approach (DCHR)
It Consists of Two notes of short and equal duration that
approach the target note moving by half step. two
consecutive steps will be found prior to the target note.

18. E) Escape Tones (ET)
They will be found interrupting the upward or downward
motion of a melody line moving in the opposite direction.
After the Escape tone, a leap will be needed to catch up
with the melody flow or phrase direction.

19. 5. Anticipation and Delayed Attack
 A Rhythmic Anticipation happens when a on-the-beat note is executed a
whole beat or half beat before. (A)
 A Delayed Attack Occurs when the note is attacked half beat or a whole
beat late. (DA)

20. 6. Guide Tones
 Guide Tones are chord tones or tensions that move to another subsequent
chord tone or tension by common note or by stepwise motion.
 Through their motion they provide a lead or smoother change to a
different harmony or chord.
 The 3rd and 7th of a chord are usually the most harmonically definitive
guide tones since The 1st and 5th of the chord are usually already played
by the bass line.
 Guide Tones involving chord tensions are the most dissonant ones,
therefore the most dramatic.
 The choice of tensions available is often provided by the chord symbol