Chapter 12: Turnarounds [2]

Recap

 

The four triads I described as a pop turnaround were I – VI – IV – V.

A pop turnaround in F would be F – Dm – B^b – C.

I then introduced four-note chords known as 7^ths.

If we adhere to the family row of F, these four chords become F∆ – Dm⁷– B^b∆ – C⁷.

IV becomes II

The next step is to change the IV chord into a II chord.

So, numerically, our turnaround is now I – VI – II – V

In the key of F, B^b∆ becomes Gm⁷.

Therefore, a I – VI – II – V turnaround in F major is F∆ – Dm⁷– Gm⁷ – C⁷.

Note how the B^b∆ and Gm⁷ share three notes: B^b, D and F. This chord substitution is quite subtle but will open up richer harmonic opportunities further down the line.

You have already been introduced to shells. The left hand plays just two notes: 1 + 3 or
1 + 7. Think of them as the skeleton of a chord.

Fig 47, below, is a short improvisation over our new I – VI – II – V turnaround.

New features

1 All the chords are 7^ths.

2 The IV chord is now II.

3 The left hand plays shells.

Walking 3s Can you spot the significance of the boxed notes in each bar? I’m choosing the 3^rd of each chord from which to set off on a walk towards the next 3^rd. Although I’m still mostly walking on the track of F major, it’s the first step towards vertical improvisation. This is where each chord might influence a change of track, rather than just one scale connecting a group of changing chords.

Walking 7s In the following improvisation I am targeting the 7s and then linking them.

 

In bar 1, E^b is a passing note. Although not a part of the scale of F major, it passes between E and D: notes that do belong to the scale.

Voice leading It is self evident that both the 3 and 7 of a chord carry great harmonic weight.

• 3 identifies the chord as either major or minor.

• 7 identifies the chord as either dominant 7 or major 7.

This type of improvisation, where one harmonically significant note within a chord leads logically to the next, makes far more musical sense than aimlessly running up and down scales. This is because we are imparting harmonic meaning to the improvised melodic line.

Note, in Fig 49, how the 3 of Gm⁷ becomes the 7 of C⁷ without having to move, then finally resolves to the 3 of F by moving down just a half step. The same applies to the 7.

This is known as voice leading.

Listen to Keith Jarrett playing a jazz standard. To my ears, the beautifully crafted melodic lines are partly due to his mastery of voice leading.

The VI chord This is the final chord to alter. I have already stressed the importance of the chord movement V – I (dominant – tonic). This movement contains the very essence of improvisation because it passes from tension to release. And, for reasons that will soon become apparent, it is over this dominant 7 chord, as it heads towards its tonic, that we can pepper our solo with those crunchy and dissonant notes that create the tension.

Therefore, the more V – I situations the better!

So an improviser will always seize any opportunity to create a new V – I, and this is what we are about to do within our turnaround.

Just before we perform the magic trick, here’s a checklist for creating a V – I.

1 The interval moving up from V to I has to be a perfect 4^th.

2 The tonic (I) chord can be a major or minor.

3 The V chord is always a dominant 7 (as opposed to a major or minor 7.)

Note that there will be situations where the V creates its usual tension, as though heading for its tonic, but then moves off in a completely different direction. But that’s for later.

With those points in mind, let’s take another look at our new I – VI – II – V turnaround.

Staying in the key of F major, if we assume that the final chord (C⁷) will be returning to ‘I’ (F∆), then we have our primary example of V – I (C7 – F∆).

So how can we produce another V – I from this turnaround? Let’s go through the above checklist.

1) Is there another perfect 4^th interval? Yes, from VI – II (Dm⁷ – Gm⁷).

2) The I (tonic) chord can be a major or minor It’s a minor: Gm⁷

3) The first chord has to be a dominant 7. But our first chord, Dm⁷, is a minor.

 

So here comes the magic: We simply change it to a dominant 7, so that Dm⁷ becomes D⁷.

 

This new, internal V – I relationship of D⁷ – Gm⁷ has temporarily led us away from the primary key of F major and towards G minor.

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When a dominant 7 chord functions in this way, i.e. not in the primary key, it is known as a secondary dominant.

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Our turnaround is now F∆ – D⁷ – Gm⁷– C⁷.

This means that, for the first time, we have a chord containing a note not belonging to the parent major scale of F. D⁷ contains F#. This is good news, as it should make for a more interesting solo.

We’ll now examine a second method of creating interest in your solo. This involves introducing notes that are not within the basic harmony of a chord. These extra notes are called extensions and alterations