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Jazz Theory
Welcome to the Jazz Theory section of The Jazz Resource.
Jazz is a language. You must immerse yourself in it by listening, analyzing and
studying the masters, past and present. Then the only way to be able to play th
is music is through constant practice and live playing with others.
You may want to review some basic theory before you learn the jazz theory.
This stuff can be a little confusing so hit me up if you have any questions or d
on't understand something.
Diatonic Seventh Chords -Gotta to learn this in order to understand how chord pr
ogressions work
Chord Tensions -Chord tensions make chords more colorful by adding the 9th, 11th
, and 13th scale degree
Guide Tones -The 3rd and 7th define the chord quality, using guide tones can be
very beneficial
Dominant V7 Chords -These are the chords that you can really spice up with natur
al or altered chord tensions
Secondary Dominant Chords -Another type of dom7 chord. These are huge in music a
nd jazz theory
More Jazz Seventh Chords -A few more types to learn
Substitute Dominant Chords -Another type of dominant 7 chord which nearly modula
te
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Diatonic Seventh Chords
Diatonic seventh chords are a good thing to understand, especially for chord pr
ogression analysis. They are just a seventh chord built on each scale degree of
whatever key a song is in. These chords can then be arranged to create a chord p
rogression. Also including other non-diatonic chords such as secondary dominants
or modal interchange chords can really spice up chord progressions.
Here are the diatonic chords of C major:

It's important to realize that whenever labeling diatonic chords, one must use r
oman numerals instead of regular numbers. Often (especially in classical music)
minor chords will be lower case roman numerals and major will be upper case, how
ever, I will always use upper case roman numerals with chord symbols on this web
site.
Go on to Chord Tensions or go back to the Jazz Resource Homepage
Chord Tensions

Using chord tensions in your melodies and chord voicings will make ordinary chor
ds sound much more lush and "jazzy". They create more options of different color
s in the sound of a chord.
The word "tensions" is really short for "extensions" because they are an extensi
on of the basic seventh chord. Chords are basically a scale stacked every other
note. For example, a C major scale is CDEFGABC with the notes numbered 12345678
and a C major7 chord is CEGB with the corresponding scale degrees 1357. The tens
ions of a C major7 are DFA with the numbers 246. Since the tensions are actually
considered an extension of the seventh chord, we give them the numbers 9, 11 an
d 13.
To summarize:
9 is the same as the 2nd note of the scale
11 is the same as the 4th note of the scale
13 is the same as the 6th note of the scale
chord tensions, 9, 11, 13
Often it's sounds nice to play the tensions above the chord tones but you also c
an place them between the chord tones as well. Some chord tensions work on some
types of chords better than others, here's a breakdown of what to use and when:
On a major 7 chord, you can use 9's and 13's to your own taste. 11's clash again
st the major 3rd too much but you can use #11's, but usually only on major 7's t
hat are NOT the Imaj7 chord (use them on IVmaj7, bIImaj7, bIIImaj7, bIVmaj7, bVI
maj7 and bVIImaj7). It's almost become cliche to play a #11 on the final major7
chord of a jazz song.
On a minor 7 chord, you can use 9's and 11's and both sound awesome and really g
ive a minor 7 a full, modern almost R&B sound. You can occasionally use a 13 on
a minor chord but it will really stick out as it rubs against the flat 7 (which
is sometimes a good thing).
On dominant 7 chords, you can play 9's and 13's. 11's are avoided because like t

he major 7 chord, it rubs against the major 3rd in a unpleasant way. In addition
to 9 and 13, you can "alter" the tensions 9, 11 and 13 by flatting or sharping
the 9, sharping the 11, and flatting the 13. This creates many options for diffe
rent colors and are explained more fully in the Dominant V7 Chords section.
Finally, when you see a chord symbol such as C-11 or C13 it means that you shoul
d play all the available chord tones and tensions below as well. So C-11 has the
1,b3,5,b7,9 and 11. But if you see something like C-7(11), then you should just
add the one tension listed. So C7(13) has the 1,3,5,b7 and 13. Sometimes you se
e chords like a C-6 but this means there is an added 6 but NO flat 7 it is writt
en as a 6 instead of 13 because the number in a chord symbol only implies the ch
ord tones below the number are played.

Welcome to the Jazz Resource! This site has been made to provide information on
jazz music for listeners as well as performers and students. If you want to find
some great albums to dig, check out the best jazz albums page. If you are tryin
g to understand some theory behind the music, look into either the basic music t
heory or the jazz theory. If you want to explore some concepts about performing
and improvising, check out playing the blues.
Jazz is a deep and complex artform that developed in USA in the early 1900s and
has become popular around the world. Many wonderful musicians dedicated a lifeti
me to developing and exploring it's possibilities, if you want to continue where
they left off or just appreciate what they have done, then proceed!
Best Jazz Albums

Jazz music is a wonderful artform that is a true window into the human spirit. T
he best jazz albums can be listened to time and time again and with each listen
it's possible to hear something new in the music. Much consideration has gone in
to these lists and they are a great place for jazz fans to discover some of the
finest masterpieces from the jazz era.
If you are learning to play jazz, then listening is essential to progress. Thoug
h it's a cliche, but jazz really is a language and immersing yourself in the lan
guage is the best way to improve. There are as many different styles and ways of
playing as there are players.
Top 25 Jazz Albums part 1 and part 2 - This is a list of the 25 most influential
and popular jazz albums of all time. It's a great place to start a jazz collect
ion or to fill in any gaps in an existing collection. All of the albums had a ma
ssive affect on the jazz musical community and sometimes even popular music.
15 Jazz Albums for Musicians While not necessarily being the most popular jazz a
lbums of all time, musicians will find these albums useful for studying or just
to listen to some amazing jazz recorded on tape. These recordings capture the tr
ue magic, art, and personalities of some of the greatest players in jazz who spe
nt an entire lifetime dedicated to the artform.
Top 25 Jazz Albums of All Time
The jazz albums listed below are among the greatest ever recorded. Mostly select
ed from the golden "modern" jazz music era of 1940's to the 1970's, these record
ings captured the great passion and emotion that these musicians spent a lifetim
e developing.

Miles Davis, Kind of Blue

Kind Of Blue - Miles Davis
While it is one of the top selling jazz albums of all time, many consider this t
o be THE best jazz album of all time. This may be because this unrehearsed recor
ding session from 1959 marks a great turning point in jazz history as well as sh
owcasing the top form of some legendary musicians. Miles showed up to the Columb
ia recording studio with some rough melodies and chords jotted down on paper and
the band proceeded to track each song in one or two takes. That's how Miles lik
ed to do it, he made sure the music was spontaneous and in the moment. This albu
m also marked a departure from the traditional bebop style with songs that are s
imple melodies over simple chord progressions leaving room for the deep improvis
ational exploration. What a treat it is to listen to time and time again.
A Love Supreme, John Coltrane
A Love Supreme - John Coltrane
This album completely revolutionized the jazz scene in 1965 and even today its i
nfluence can be found in many musical styles. Instead of showcasing the complex
and dense harmonic language in a post-bop style developed with Miles Davis and T
helonious Monk, Coltrane blows over simpler chords freely with a raw spiritual p
assion. The four songs on this album convey emotions of anger, joy, sadness, ecs
tasy, tragedy and triumph. Many types of artists, such as writers or painters, u
se this album to inspire energy and passion from within themselves for their own
personal art. This album also marked a turning point in Coltrane's playing as h
e ventured into performing music from it's deepest, most spiritual roots rather
from a his previous technical perspective.

Time Out, Dave Brubeck

Time Out - Dave Brubeck
Dave Brubeck created a masterpiece which became the first instrumental jazz albu
m to sell over a million copies. The single, "Take Five" was a number one hit on
music charts which is outstanding for a jazz song, especially a song with 5/4 t
ime signature. This album had a strong influence from Eastern European culture a
s Brubeck used many of their rhythms and time signatures. The complex rhythms he
uses sound unique yet very natural and easy to listen to, probably the reason f
or it's success.
Ellington at Newport, Duke Ellington
Ellington At Newport - Duke Ellington
This historic concert was a triumphant moment for Ellington's band... It was 195
6 and many big bands were struggling due to the rise of bebop and modern small g
roup format. So at the 3rd annual Newport Jazz Festival, Ellington attempted to
please the crowd with some new suites and arrangements, but the crowd was still
sedated. Then finally on a two-section song, Dimuendo and Crescendo in Blue, Duk
e had the two sections connect with a sax solo by Paul Gonzalves and allowed him
to play the solo as long as he felt like playing. He only usually took a couple
choruses but this time Gonzalves took a 27 chorus solo that eventually had the
crowd off its feet and dancing! This historical moment changed the face of jazz
and also gave Ellington's band some new success. Duke's band continued performin
g from this newfound popularity for 18 more years.
Concert by the Sea, Errol Garner
Jazz At Massey Hall - The Quintet
This album appears reissued under the name "The Greatest Concert Ever". It is an
all star lineup of Charlie Parker, Dizzy Gillespie, Bud Powell, Charles Mingus,

and Max Roach; all who were prominent in the development of bebop about 15 year
s beforehand (1953) and thus were all seasoned veterans by the time of the conce
rt. This is the only recording of these five legends playing together and everyo
ne plays brilliantly. In addition, the recording quality is very good for its ti
me so it is a great album to really hear these masters perform at their best.

The Best of the Hot 5 & Hot 7 Recordings - Louis Armstrong

No greatest jazz album list is complete without Louis Armstrong. Besides being a
legendary entertainer and musician, he helped bring jazz out of it's dixieland
roots into a more contemporary sound. This album is a compilation of some of his
best recordings from his early years in the 1920's as he set up the template fo
r modern jazz era to come having musician taking turns soloing individually rath
er than the group jam style of dixieland. The musicians on these recordings are
tight, joyous, and even a little silly at times. Louis Armstrong is jazz's first
superstar and this album showcases him at his best.
Blue Train, John Coltrane
Blue Train - John Coltrane
Recorded in 1957, this album was Coltrane's first album as a leader. It's very i
nteresting to hear how Coltrane was playing before he started heading to the fre
er, passionate playing that he later developed in the mid 60's. Did you know tha
t just a few years earlier, Coltrane was considered just a mediocre player? He s
tudied and performed so much that he has became an icon of musical discipline. H
e was known to constantly practice after gigs late into the night while other ba
nd members partied. These songs and performances show his immense strength and p
ower he had developed up to this point.

Getz/Gilberto
Getz/Gilberto - Stan Getz & Joao Gilberto
This album was very popular and even won the 1965 Grammy Award for Best Album. A
dditionally, it created a bossa nova craze in the United States as people embrac
ed it's lush chords and subtle, mellow style. Stan Getz, Joao and Astrud Gilbert
o are extremely graceful and intimate as they float along through this wonderful
material composed by the great Antonio Carlos Jobim. I think the best word to d
escribe this album is relaxing.
Mingus Ah Um, Charles Mingus
Mingus Ah Um - Charles Mingus
Charles Mingus had a way of making his bands sound complex, original, and of cou
rse swing like crazy. In addition to the swinging tunes, there are some amazing
ballads filled with colorful and inventive horn arrangements. I personally love
the song "Fables of Faubus", a track dedicated to the infamous former governor o
f Arkansas who strongly opposed racial integration in schools in 1957. It is a g
reat example of musicians using their art to make a powerful political statement
.
Concert by the Sea, Errol Garner
Concert By the Sea - Errol Garner
Errol Garner is a legendary pianist who has a wonderful recognizable style. It's
worth mentioning that he couldn't read a note of written music and plays entire
ly by ear. This album is very interesting both harmonically and rhythmically. Hi

s left hand swings so hard in a way that was not typical of other pianists. Whil
e his playing exudes joy he is also quite technically fluent and plays extravaga
nt arrangements of many popular standards like Autumn Leaves and I'll Remember A
pril.

Bitches Brew, Miles Davis

Bitches Brew - Miles Davis
This album was a triumph for Miles Davis later in his career in 1970. Two drumme
rs, two bassists, three keyboardists consisting mostly of free spontaneous elect
ric improvisation. Also for the first time, the recording tape was sliced and di
ced a bit in the studio to make certain parts repeat and to add effects which wa
s unheard of on a jazz record. Yet even with all that... or maybe because of all
that... it is Miles' second best selling album of all time behind Kind of Blue.
When it was released, people were debating whether it was a great album or just
experimental nonsense but today in hindsight it is easy to see that it is truly
is a timeless masterpiece.
Saxophone Colossus, Sonny Rollins
Saxophone Colossus - Sonny Rollins
This is one of Sonny Rollins best albums he ever recorded among the hundreds he
has made over a long lifetime that still continues today. Recorded in 1956, ever
y song is feels so sophisticated yet soulful and smooth. It only has five songs
but each one is a hit and Sonny's playing never fails. Sonny plays complex bebop
that is very accessible because he plays every note with conviction and has a g
reat sense of melody.
Well, that's the first half. Click here for Page 2 of the Top 25 Albums
or go back to jazz albums or go to the The Jazz Resource home page