Here are various etudes that I’ve written for the study of jazz improvisation. Some address the jazz basics, others are more advanced. A few of the more advanced studies are things that I’ve been practicing lately. Each etude is usually aimed at one of two things: increasing tonal vocabulary (chords, scales, interval shapes, etc., and how they can be applied) , or developing rhythmic freedom (phrasing, polyrhythm, polymeter). Some etudes entail both of these aims. Each is available in a downloadable pdf form for free. Just click on the link below each description. Though most of these etudes are written for the easy range of the saxophone (no altissimo, unless specifically stated) they can be played by any instrument. (You of course would have to alter range where necessary and be able to read in treble clef.)
I’d appreciate any feedback you have about the etudes. Also, feel free to contact me with a particular request. I’ve been playing, studying and teaching improvisation for over thirty five years, and have lots of ideas and exercises. I’ll be adding new etudes fairly regularly, so check back if you want more.
If you like these etudes, please consider taking a look at some of my downloadable pdf jazz etude books. Or, please consider making a donation to express your appreciation and support for the work I’m offering on this page.
Etude 1-Rootless Melodic Minor Scale In Triad Form (Minor Triad with Augmented Triad 1/2 Step Higher)
Etude 2-Triad Patterns Over ii-V-I (Major triads moving in circle of 5ths with tritone shift on Dom 7)
Etude 3-Implied Resolution To Whole Tone Scale On Major Chord (-9, +9 of v to +11 of I)
Etude 4-Polyrhythmic Study: Four Within Three (4 note rhythm patterns over triplets)
Etude 5- Major And Minor Triad Pairs Extracted From The Diminished Scale (harmonic substitution over V7 chords)
Etude 6- Hearing Scales As Harmonic Extensions (part 1: jazz melodic minor scale formed from 5th degree of V7 chord)
Etude 7- Hearing Scales As Harmonic Extensions (part 2: jazz melodic minor scale formed from the lowered 3rd of V7 chord)
Etude 8- Hearing Scales As Harmonic Extensions (part 3: jazz melodic minor scale formed from the 7th of V7 chord)
Etude 9- Hearing Scales As Harmonic Extensions (part 4: jazz melodic minor scale formed from the -9th of V7 chord)
Etude 10-Minor Triads As Harmonic Substitution Over ii-V-I (ascending in whole steps with chromatic passing tone)
Etude 11-Augmented Scales (Part 1: Introduction to scales, and diatonic triads derived from scales)
Etude 12–Augmented Scales (Part 2: Melodic explorations of scalar and chordal material)
Etude 13–Augmented Scales (Part 3: Resolution From Dominant To Tonic Chords)
Etude 14-7/8 Patterns Over 4/4-Melodic Minor Scales
Etude 15-Double Whole Tone Scales Derived From Melodic Minor Over ii7-V7-I
Etude 16-Wide Interval Saxophone Etude Based Upon The Chord Changes To Stella By Starlight
Etude 17–Diatonic Triad Pair Combinations Over Dominant 7th Chords
Etude 18-7th Chords Inverted Into Wide Interval Patterns
Etude 19-10 Different Ways To Use Melodic Minor Over ii-V7-I
Etude 20–Harmonic Substitution Using Symmetrical Intervals
Etude 21-The Coltrane Matrix: Major/Augmented Triad Pairs
Etude 22-Polymeter Study: 5/4 Over 4/4, Melodic Minor Scale 7th Chords
Etude 23-“Cry Me A River” Variation Over The Coltrane Matrix
Etude 24-Minor Key ii-V7 Substitution Over The Coltrane Matrix
Etude 25-Three Pentatonic Scale Colors Over ii-V7-I
Etude 26-Symmetrically Related 7th Chords Over V7-I
Etude 27-Polymeter Study: 7/8 Over 4/4 Displacing 16th Notes
Etude 28-Triad Pairs Formed From Two Scales Over V7-I
Etude 29-7/8 Over 4/4 Major Scale Pattern
Etude 30-Lydian Major From Diminished Scale
Etude 31-4ths With Chromatics Over ii-V7-I
Etude 32-Polyrhythm Study: Five-Note Pattern Within Triplets
Etude 33-The Coltrane Matrix: Intuitive Melodic Line With Voice Leading
Etude 34-Major Triad And Major 7+5 From Melodic Minor
Etude 35-Symmetrically Related Triad Shapes Moving from V to I
Etude 36-Four-Note Triad Cells with Leading Tones in Major Keys
Etude 37-Four-Note Triad Cells Over ii-V7-I
Etude 38-Mystery Jazz Standard
Etude 39-Mystery Jazz Standard #2: Four-Note Diatonic Triad Cells
Etude 40-Augmented Scale Variations Over V7 to I
Etude 41-Augmented Scale Pattern in 4ths and 5ths
Etude 42-Polymetric Blues: 3/4 Over 4/4
Etude 43-Diminished Scale Diatonic Triads with Passing Tones
Etude 44-Twelve Melodic Patterns with Mixed Polymeter (2/4 and 3/4)
Etude 45-Augmented Triad Pairs with Chromatic Leading Tones
Etude 46-Symmetrically Related Triad Pairs with Leading Tones
Etude 47-Diminished Scale Organized in 7ths
Etude 48-Pentatonic Study Over the Chord Changes to “Just Friends”
Etude 49-The Coltrane Matrix: Minor/Augmented Triad Pairs to Imply Minor
Etude 50-Minor Triad Cells Ascending in Minor 3rds
Etude 51-Secondary Triad Cells in Major, Part One: Ascending
Etude 52-Secondary Triad Cells in Major, Part Two: Descending
Etude 53-Mixed Polymeter Over Turnbacks (ii-VI-ii-V-I)
Etude 54-Minor Shapes Resolving to Relative Major Over Minor
Etude 55-Rhythmic Displacement of Bebop Melody
Etude 56-Augmented Scale Organized In 4ths
Etude 57-Suspended Shapes Over The Coltrane Matrix
Etude 58-Diminished Scale Polymeter Study
Etude 59-Sus Chord Combined with Altered Melodic Shape
Etude 60-5/4 Implied Over Minor to Major Turnbacks in 4/4
Etude 61-4ths and 5ths With Chromatic Passing Tones
Etude 62-5/8 Combined With 3/4 Over ii-V7-I in 4/4
Etude 63-Harmonic Major Wide Interval Study
Etude 64-Triads With Passing Tones Organized Into Wide Intervals
Etude 65-Phrasing Study Based On “Out Of Nowhere”
Etude 66-Two Melodic Minor Scales Organized Into 4ths
Etude 67-The Coltrane Matrix: Ascending 1-3-7 Shapes
Etude 68-Dominant Chord Five-Note Shapes Over ii-V Turnbacks
Etude 69-Diminished Scale Diatonic Triad Pairs Over Dom 7
Etude 70-Diatonic Triad Pairs From Augmented Scale Over V7-I
Etude 71- Diminished Scale Polyrhythm Study (Five-note Group within Triplets)
Bill,
I just came upon your various websites and am finding them extremely interesting and useful. Having spent the past 25+ years playing, writing, and teaching jazz, I’m ready to dive into the Alexander Technique!!
Liz, What a great surprise to hear from you! I hope you’re doing well. The Alexander Technique has helped me more than anything else I’ve yet encountered to play better and to think more clearly about playing. Let me know if you’d like a recommendation for a good teacher in your area (are you still in Santa Monica?) The last time I spoke with you, you were playing lots of Brazilian music as well as jazz. My wife is Brazilian, so I’ve grown very close to the music. Here’s wishing you all the best!
Bill
Great stuff here Bill. Do you have a book with all of this stuff included?? I’m a vibraphone player and drummer from upstate N.Y. and find all of this material fascinating. I cannot wait to plunge into it. Thank you
Hi Paul, I’m glad you’re finding the etudes interesting. They are excerpts from various books that I’ve put together over time for my own use, and for my students. I’m now in the process of editing and converting the format for several books that I’ll be selling as digital downloads. I’ve also just completed a new book, which should be ready for downloading in about one to two weeks from now. It is a deep exploration into the use of the melodic minor scale over dominant chords. Two more will soon follow, one involving wide interval applications over ii-V-I, and the other about unusual phrasing over standard song forms. Please check back, if you’re interested. Best wishes!
Bill,I´ve been playing piano for 10 years. I was wondering how I can improve my first sight reading skills, get the rhythm and not get lost when I play with a band.
Thanks
Hi Pablo, that is not an easy question to answer in a few words. But here are some things to think about:
1. Make sure you always practice with a metronome.
2. To improve your sight reading, practice reading something new every day. Find a good book on rhythms to practice from. (I really like Bellson’s Modern Reading Text in 4/4 Time).
3. When playing in a band, make sure you are listening very carefully. Listen especially closely to the bass player for time and the harmonic form.
4. Consider practicing with backing tracks. They are widely available now (even some good smartphone apps available, too). You can get a chance to practice listening and reading. It will increase your skill and confidence as you perform with a band.
5. Play as much as you possibly can with other people (especially if they play better than you do; you’ll learn a lot!)
Hope some of this helps. Best wishes!
Bill