10 EXOTIC JAZZ PIANO SOUNDS by Julian Bradley

#1. PHRYGIAN SUS CHORD Use this to reharm a major ii-V-I... Or to reham a mninor ii-V-I

Csus4¨2 Dmin7 G7 Csus4¨2 DØ G7¨9 Csus4¨2

4 œ b œ nœ œ œ œ
& 4 bw
ww
w œ™ œ œ ˙˙˙
ww
bw
w œ œ b œ˙ b œ ww
bw
w
˙
Piano (instead of C maj 7) (instead of C min 7)
? 44 b ˙˙ ˙˙˙
{ w ˙ w
w ˙ w w

#2. INTRUIGING ENDING CHORD You can use this 'C maj / Db' slash chord in the same way to reharmonize a ii-V-I:

Cmaj/D¨ Dmin7 G7 Cmaj/D¨ DØ G7¨9 Cmaj/D¨

w œ b œ nœ œ œ œ w w
& w
w
w œ™ œ œ ˙˙˙ w
w
w œ œ b œ˙ b œ
˙
w
w
w
Pno. (instead of C maj 7) (instead of C min 7)
? bw ˙ bn˙˙ ˙˙˙
{ ˙ bw bw
bw bw bw

#3. THE bII REHARM Insert this bII major 7 chord into a ii-V-I, between the V and I chords.
U
Dmin7 G7 D¨maj7 Cmaj7 Dmin7 G7 D¨maj7 Cmaj7 ˙
& œ œ
‰ jœ œ
˙œ˙˙ œ w w
w œ˙˙ œ ˙œ˙ œ w w œ
Pno. œ™ œ œ w w
w ˙ ˙ w w Sounds nice at endings
? n˙ ˙ nw nw
{ bb w
w w
w ˙ ˙ bb w
w
°
w
w

#4. WHOLE-TONE SCALE Try playing the whole-tone scale over V7 chords. Just change it to a V7#5.
C whole-tone scale: Add a dreamy sound to your playing:
C7#5 3 3 3
C7#5 3 3 b œb œ w
b œ œ 3œ œ œ œ œ œ# œ
& # œ b œ b œb œ
œœ œ œœ w œ œ œ#œ 3 3
Pno.
? #b w
w
w
w
w
w
w
w
b
#w w
w
w
w
w
w
w
{ ° °
Applied to the V7 chord of a ii-V-I:
C7#5 Fmaj9 Dmin7 G7#5 Cmaj9
& œœ #œœ #œœ bb œœ b œœ œœ œœ œœ nww œ œ œ œ b œœ b œœ # œœ # œ n w
nww œ nw w
∏∏∏

Pno. Sounds nice in 3rds: w

∏∏∏

#
? wb w
w nw ˙˙˙ ˙ G whole-tone scale

{ w w ˙ ˙˙ w
w
1
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 #5. MELODIC MINOR SOUNDS A nice ending for minor songs - arpeggiate a minor 6 chord up the piano:
C melodic minor scale: Cmin6 U
˙
œ œ
& œ œ œ œ Ó œ œ bœ
œ œ b œ œ œ bœ œ
Pno. Cmin6 Cmin^
? b ˙˙˙˙ b ˙˙˙˙ œ bœ œ
œ ˙ w
{ (2 common chords from the melodic minor scale) °
&

Cmin^ The soundtrack to 'Vertigo' plays 2 minor-major 7 chords arpeggiated in opposite directions
Cmin^9 Cmin^9
° ™ œ œb œ œ œ œ œ œ œ œ œ œ œ œb œ œ œ œ œ œ œ œ œ œ ™™ ü
& ™ w
w
3 3 3 3 3 3 3 3
w
w w
bw
w Nice jazz voicing

∏∏∏
Pno. for this chord
3 3 3 3 3 3 3 3
& ¢ ™™ œ b œ œ œ œ œ œ œ œ œ œ œ œ b œ œ œ œ œ œ œ œ œ œ œ ™™ ? bw
w
{ °
† w
The 'James Bond Ending Chord'
w

#6. MONTUNOS A feature of Cuban jazz styles. 'Montunos' work by arpeggiating the chords to syncopated rhythms.
Cmin DØ G7¨9 DØ Cmin DØ G7¨9 DØ
° ™ œ b œ œ œ œ b œœ œ œ œœ œ œ b œœ œ. œ b œ œ œ œ b œœ œ. œ œ œ œ. œ œb œ œ. ™ ü
& ™ J J J J J J J J ™
Pno. . .
.
{& ¢ ™™ œ b œ œ œ œj b œœ œj œj œœ œj œj b œœ œj œ b œ œ œ œj b œœ œj œ œ œ œ œ œ b œ œ ™™ †
Montuno pattern for a major ii-V-I: Montuno pattern for a minor ii-V-I:
Dmin7 G7 Cmaj7 C6 DØ G7¨9 Cmin7œ F7 œ
° ™ œ n œœ œ œ œœ œ œ œœ j j œœ œ. °™ ü ™ œ b œœ œ œ œœ b œ
œ nœ œj œ œJ. ™™ ü
b œ j
& ™ J J J
œ œ J ™ ™
J J J
Pno.
? ™™ œ ™ œJ œ œ œ™ œJ œ œ ™™ ™™ œ ™ œJ œ œ œ™ œ œ œ ™™
{ ¢ ¢† J †

#7. SIDE-SLIPPING' Take any chord and move it in 'parallel' - which means to transpose all of its notes by the same distance.

Cmin9 Dmin9 Cmin9 Cmin9 Bmin9 Cmin9 Cmin11 Dmin11 Cmin11 Cmin11 Bmin11 Cmin11
& b œœœ n œœœ b ˙˙˙ œ ˙˙˙ œ
bœ œ ˙ bb œœœ ## œœœœ ˙ bn œœœ nn œœ ˙˙˙ b œœœ # œœœ ˙˙˙
Pno.
? œ œ ˙ b œœœ œœœ ˙˙ b œœœ #œœœ ˙˙
{ œ œ ˙ ˙ ˙
I use side-slipping when the melody moves away by step, and then returns (e.g. C D C). It sounds nice if you bring the chord with it too.
Cmin9 Bmin9 B¨min9 Cmin9 Dmin9 E¨min9 C#min9 Dmin9
j
& b œœœ ™™™ # œ
# œœœ œœœ bn n œœœ w bbn œœœœ nnœœœœ bbb œœœœ ## œœœ w
ww
w
Pno.
bœ™ œ bœ ww
w nœ
? œ™ j œ œ bœ #œ w
{ œ œ bœ w
2
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 #8. 'GLIDE PROGRESSIONS' 'Gliding' is when you move half of the chord's notes up or down a half-step, while keeping the other
notes the same.You can create interesting chord progressions using this technique:

Cmin7 Bmaj7
j B¨min7 Amaj7 C#min9
° j ™™ ü
& ™™ bb œœ ™™ œœ ˙˙
bb œœ ™™ œœ ˙˙ ## w w
ww
w ww
w
Pno. Glide Glide j
? ™™ œœ™™ #œœ ˙˙ bnœœ ™
™ œ ˙ ™™
{ ¢ J œ ˙
#w w †
Cmaj7 C#min7
j Dmaj7 D#min7
j B¨min11
° ™™ ü
& ™™ œœ ™™ œœ ˙˙ #œ ™
# Ϫ
œ ˙
œ ˙ bbb w
w w
w
w w
Glide
Pno. Ϫ Glide
## œœ ˙˙ œ ™™ # œ ˙ w w
? ™™ nœœ ™™ œ ##œœ ˙˙
{ ¢ #œ
J
˙ nœ ™
J bww w
w ™™
†

It's normal to change scale over every chord in jazz. So when writing a melody or solo
#9. 'EMPHASIZING THE CHANGES' it's effective to aim for the notes that change from the previous chord's scale.

Fmin9 B¨7 Emin7 A7¨13 Dmin9

& œ n œ˙ œ œ # œ˙ œ nœ œ œ œ nœ b œ
bœ œ bœ œ
F# changes to F natural Eb changes to E
nw
nw
w
w
Pno. Eb changes to E natural F changes to F#
b˙
{ ?
˙ b ˙˙ #n˙˙˙
˙ w
Write out the scales you want to play above each chord. Then identify the changing notes from one scale to the next, and then aim for those.
Emphasizing the change in scale
Dmin7 G7alt Cmaj7
Dmin7 G7¨13 Cmaj7
b œ b œ b œ nœ nœ œ
& œ˙ œ nbb ˙œ˙ b œ nw œ˙ œ œ œ b œ
b ˙˙ n˙ nœ nœj œ ™
Pno.
˙˙ ˙ nw
w
w w
? ˙ ˙ w
{ ˙ ˙ w
˙ w
A modern soloing technique. First, decide which scale you would normally play over a chord. Next, identify all of the
#10. 'PLAYING OUT' 'wrong notes' (the notes that aren't found in your normal scale):
Cmaj7 Cmaj7 Cmin7 Cmin7
& œ œ œ b œ b œ nœ b œ
bœ œ nœ b œ nœ #œ #œ nœ #œ
œ œ œ #œ œ nœ b œ œ
Pno. 'Right notes' = C Lydian scale 'Wrong notes' = Db Pentatonic scale 'Right notes' = C Dorian scale
w
w
? w w
w bw
w b'Wrong
w
w
notes' = E Pentatonic scale

w bw bw
{ w w w w
'Playing out' works best when you play IN - OUT - IN. So start by playing 'in' the normal scale, then play 'out', then end back 'in' - like this:

Cmin7 Cmin7 Cmin7

& b œ nœ nœ b œ œ œ œ nœ #œ #œ nœ œ œ œ b œ nœ nœ b œ œ œ œ œ œ b œ œ œ
Pno. 'In' = C Dorian scale ˙˙˙ 'Out' = E Pentatonic scale 'In' = C Dorian scale
? bb ˙˙˙˙ ˙
b
bww
w
w
{ (The chord doesn't change)
3
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