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The jazz piano student’s indispensable online dictionary of music theory terms, concepts, definitions and vocabulary words!

How to Use this Dictionary of Music Theory Terms & Jazz Concepts

Like any high-level discipline, professional jazz musicians use a host of specialized terms to define music theory concepts and techniques. Therefore, we’ve compiled this free online dictionary of essential concepts, terms, definitions and vocabulary words that piano students will come across in their study of music theory. In particular, this dictionary gives special attention to terminology and concepts for jazz piano students. However, general music theory terms are also included.

The musical terms in this online dictionary are arranged in alphabetical order from A to Z, with numerical terms included after the letter Z. For each entry word, you’ll find a concise definition to help you understand the musical idea represented by each term.

Many terms in this index also contain links to Quick Tip blogs and full-length PWJ Courses.

• Quick Tips are stand-alone lessons that are available to anyone with an internet connection.
• PWJ Courses contain sequential lessons on specific playing concepts and are available to PWJ members.

Alphabetical Index of Music Theory Terms for Jazz

Click on any letter below to navigate to directly to music theory terms that begin with that letter.

A   B   C   D   E   F   G   H   I   J   K   L   M   N   O   P   Q   R   S   T   U   V   W   X   Y   Z  #

A

AABA Form – a common 32-bar form in which each section is 8 measures in length. The A sections features the same melody and chords with different lyrics. The B section features a contrasting melody and chord progression. Examples of jazz standards that use this form are Duke Ellington and Billy Strayhorn’s “Take the ‘A’ Train,” and Harold Arlen and Yip Harburg’s “Over the Rainbow.” Also known as song form. [learn more: Quick Tip]

accented passing tone – see passing tone.

Aeolian mode – the 6th mode of a major scale; also equivalent to the natural minor scale. Scale formula: 1–2–♭3–4–5–♭6–♭7 [learn more: Quick Tip, Course]

alterations – see chord alterations.

altered dominant – a dominant 7th chord with complex tension created by one or more chromatic alterations, which may include ♭9, ♯9, ♯11 and ♭13 (the last two alterations can also be written enharmonically as ♭5 and ♯5). [learn more: Quick Tip, Course]

altered scale – (aka “diminished whole-tone scale” or “Super Locrian mode”) a seven-note jazz scale in which all scale tones other than then root, 3rd and 7th are altered: 1–♭2–♯2–3–♭5–♯5–♭7. The altered scale is derived from the 7th mode of the ascending melodic minor scale. [learn more: Course]

anhemitonic pentatonic scale – a five-note scale that does not contain any half steps, such as the major pentatonic scale and the minor pentatonic scale. Compare to hemitonic pentatonic scale.

augmented chord – (aka “augmented triad”) a triad containing a root, a major 3rd and an augmented 5th (i.e.: C–E–G♯). [learn more: Quick Tip]

augmented interval – major and perfect intervals become “augmented” when expanded by a ½ step (i.e. C→D♯ = aug. 2nd, C→G♯ = aug. 5th).

avoid note – also known as a “weak tone,” an avoid note is a scale tone that is dissonant over a particular chord. Improvisers use avoid notes as passing tones. Generally, avoid notes are a ½ step above a chord tone.

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B

bass clef – a musical clef used for instruments that play low-pitched notes. Also called the “F Clef,” a bass clef symbol features two dots above and below the line that indicates the note F below middle C.

bass line (bassline) – the lowest pitched part of a song which underpins the harmony and rhythmically contributes to the style by creating a groove or “feel,” especially in jazz, blues, funk, R&B and dance music. [learn more: Quick Tip, Course]. See also walking bass line.

bass note – the lowest pitched note in a chord.

bebop – (aka “bop”) a style of jazz beginning in the 1940s and pioneered by Charlie Parker and Dizzy Gillespie. Bebop was a reaction against the commercialism of swing music and an era in which jazz shifted from dance music to art music. Bop is characterized by smaller ensembles, fast tempos, complex harmonies and virtuosic improvisation. Bebop pianists include Bud Powell, Thelonious Monk, Barry Harris, Billy Taylor, Al Haig, Hank Jones, Tadd Dameron and Mary Lou Williams. [learn more: Quick Tip, Course]

bebop blues – (aka “jazz-blues”) a modernization of the traditional blues form by pioneers of the 1940s-60s including Charlie Parker, Dizzy Gillespie, John Coltrane, Bud Powell and Thelonious Monk. Bebop blues tunes are usually faster than traditional blues and feature more complex jazz harmonies. [learn more: Quick Tip]

bebop scale – jazz musicians frequently improvise with several different bebop scales, such as the dominant bebop scale, the major bebop scale and the minor bebop scale. The essence of bebop scales involves transforming ordinary 7-note scales into corresponding 8-note scales by adding a chromatic passing tone. Since bebop solos are primarily comprised of 8th notes in 4/4 time, the extra passing tone serves to match the number of scale tones to the meter. Moreover, the chromatic note adds an interesting element of melodic tension and release. Bebop scales can be played upward or downward, but they are especially common in their descending form. [learn more: Quick Tip]

big band – a large jazz ensemble of 10–25 musicians with four sections: saxophones, trumpets, trombones and a rhythm section. Early big bands formed in the 1920s and dominated the Swing Era of the 1930s–1940s. Notable big band ensembles include those led by Fletcher Henderson, Duke Ellington, Count Basie, Glenn Miller, Benny Goodman, Woody Herman and Stan Kenton.

block chords – (aka “blocked chords” or “locked hands”) an arranging technique in which a melody is harmonized in 5 parts. Specifically, this technique voices the melody in octaves with 3 notes in between. Usually, the right hand plays the top 4 notes while the left hand plays 1 note. [learn more: Quick Tip, Smart Sheet Lesson]

blue note – soulful melodic inflections that characterize blues melodic expression, particularly the ♭3, ♭5 and ♭7.

blues scale – there are two types of blues scales that jazz musicians frequently use when improvising. The scale most often associated with the term “blues scale” is the minor blues scale; however, the major blues scale is also widely used in jazz improvisation. [learn more: Quick Tip]

Bud Powell voicings – two-note chord shells popularized by Bud Powell that use R3 (Root +3rd) , R7 (Root + 7) or R10 (Root+10th). [learn more: Quick Tip]

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C

cadence – a point at which the melody and harmony of a musical piece come to a sense of pause or closure.

Charleston Rhythm – (aka “Charleston Groove” or “on-off chords”) a common jazz rhythm named after the immensely popular Swing-era tune composed by pianist James P. Johnson in 1923. This syncopated rhythm features a dotted-quarter-note followed by an eighth-note that is tied to a half note. Therefore, the first chord enters on the beat and the second chord enters off the beat. [learn more: Quick Tip]

chord -a harmonic sound containing 3 or more notes sounded together. [learn more: Quick Tip]

chord alterations – a means of harmonic expression in jazz music created by raising or lowering certain scale tones or chord extensions to create complex colors. The available alterations are ♭9, ♯9, ♯11 and ♭13 (the last two alterations also may be written enharmonically as ♭5 and ♯5). [learn more: Quick Tip, Course]

chord extensions – (aka “upper extensions”) notes added to 7th chords in jazz to enhance the harmonic color, including the 9th, 11th and/or 13th. [learn more: Quick Tip, Course]

chord pops – in the jazz swing style, “chord pops” are rhythmic accompaniment figures played during a long tone or gap in the melody. [learn more: Quick Tip, Course]. see also comping.

chord progression – (aka “chord changes” or “changes”) a succession of chords in a particular order, usually three or four; composers and songwriters combine chord progressions together as the building blocks for songs. Jazz musicians are able to quickly learn and memorize tunes because they are familiar with many common chord progressions. [learn more: Quick Tip]

chord shell – a left hand jazz piano voicing that contains only two or three essential chord tones, typically a combination of the root, 3rd, and 7th. Chord shells can be played alone or as the foundation for a more advanced two-hand voicing. [learn more: Quick Tip, Course]

chord symbol – a chord abbreviation found in jazz and pop music notation,  known as lead sheets, indicating the particular chord type that is to be played (i.e.: C△7, Dm7, AØ7, etc.).

chord tone – the root, 3rd, 5th or 7th of a chord.

chord voicing – a deliberate arrangement of the notes of a chord for a particular stylized sound. Chord voicings are usually described with an adjective such as “traditional, contemporary, rootless, shell, two-handed, quartal, etc.” [learn more: Quick Tip, Course]

chromatic – an adjective describing melody or harmony that is not diatonic.

chromatic mediant – two chords whose roots are a major 3rd or minor 3rd apart, and share one common tone. Additionally, chromatic mediants do not belong to the same key. For example, the chromatic mediants for a C major triad are E major, E♭ major, A♭ major and A major. [learn more: Quick Tip]

chromatic scale – the chromatic scale contains all twelve pitches arranged in ascending or descending ½ steps: C, C♯/D♭, D, D♯/E♭, E, F, F♯/G♭, G, G♯/A♭, A, A♯/B, B. [learn more: Quick Tip]

chromaticism – Harmonically speaking, secondary dominants, modal mixture and tritone substitutions are all examples of chromaticism. From a melodic perspective, bebop scales and blues scales are also examples of chromaticism. [learn more: Quick Tip]

cluster (aka “tone cluster”) – two notes that are a ½ step or whole step apart played simultaneously. [learn more: Quick Tip]

cluster voicing (aka “cluster chord”)- a chord voicing containing one or more tone clusters. [learn more: Quick Tip]

circle of 5ths – a tool that helps illustrate related keys and chords. [learn more: Course]

Coltrane changes – (aka “Coltrane cycle”) an advanced jazz chord progression pioneered by John Coltrane featured in his original tunes “Giant Steps” and “Countdown” and in his reharmonization of other standards. A Coltrane cycle is three major 7th chords descending by major 3rds, each preceded by its own dominant 7th chord. (C△7→E♭7→A♭△7→B7→E△7→G7→C△7) [learn more: Quick Tip]

comping – a jazz term the meaning both to “accompany” and to “compliment” a soloist. Instruments that provide chordal comping in a rhythm section may include a pianist, guitarist or sometimes a vibraphonist. [learn more: Quick Tip, Course]

compound meter – (aka “compound time”) any time signature which subdivides the primary pulse into 3 subdivisions (i.e.: 12/8, 9/8, 6/8). Compare to simple meters (i.e.: 4/4, 3/4, 2/4), which contains subdivisions in multiples of 2. [learn more: Quick Tip, Course]

conducting patterns – gestures that a musical conductor’s baton or hands make that correspond to the meter of the music.

consonance – the opposite of dissonance in music terminology; musical intervals and chords containing less internal tension are said to be “consonant” sounds.

countermelody – (also “counter melody”) an independent voice that responds or reacts to the melody in a complimentary manner. Melody and countermelody may be played by a single player such as a pianist, or by two separate instrumentalists. An effective countermelody is most active when the primary melody contains long tones or rests. [learn more: Quick Tip]

Cramer, Floyd (1933–1997) – a country pianist who popularized a piano technique called slip notes in the 50’s and 60’s.

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D

diatonic – an adjective describing melody or harmony that is derived from a parent scale.

diatonic chords – a family of chords that share a common parent scale and are indigenous to a particular key. [learn more: Quick Tip]

diatonic chord progression – a chord progression constructed exclusively from naturally occurring chords in a given key without need of accidentals. [learn more: Quick Tip, Course]

diatonic slides – see slip notes, see also Floyd Cramer.

diminished 7th chord – (aka “fully diminished“) a four-note chord containing a diminished triad with a double-flatted 7th (i.e.: C–E♭–G♭–B𝄫). Diminished 7th chords are denoted with the chord suffix “º7” as in “Cº⁷”. [learn more: Quick Tip, Course]

diminished chord – (aka “diminished triad” or “leading-tone triad”) a triad containing a root, a minor 3rd and a diminished 5th (i.e.: C–E♭–G♭). [learn more: Quick Tip]

diminished interval – minor intervals become “diminished” when reduced by a ½ step (i.e.: C→E𝄫 = dim. 3rd); perfect intervals become “diminished” when reduced by a whole step (i.e.: C→G𝄫 = dim. 5th)

diminished scale – an eight-note synthetic scale constructed by alternating whole steps and ½ steps. There are two varieties of diminished scales—the whole-half diminished scale (begins with a whole step) and the half-whole diminished scale (begins with a ½ step).

diminished whole-tone scale – see altered scale.

dissonance – a musical term describing two or more simultaneous notes that create tension or “clash.” From the Latin term meaning “disagreeing in sound.” For contrasting term, see consonance.

dominant – a musical term that refers to the 5th tone of a scale and also a chord built on the 5th tone. Therefore, a dominant triad is a V chord and a dominant 7th chord is a V7 chord. Dominant chords contain internal tension that creates a natural resolution to the tonic chord.

dominant 7th chord – a four-note chord containing a major triad on bottom and a minor 7th interval above the root (Think: 1–3–5–♭7, i.e.: C–E–G–B♭) [learn more: Quick Tip, Course]

dominant diminished scale – (aka “half-whole diminished scale”) an 8-note scale constructed of alternating ½ steps and whole steps beginning with a ½ step (i.e.: C–D♭–E♭–E♮–F♯–G–A–B♭). [learn more: Quick Tip, Course]

Dorian mode – (aka “Dorian scale”) the 2nd mode of a major scale. Scale formula: 1–2–♭3–4–5–6–♭7 [learn more: Quick Tip, Course]

Dorian pentatonic scale – (aka “minor 6th pentatonic scale) a five-note scale that uses the 1st, 2nd, 3rd, 5th and 6th scale tones of the Dorian mode (i.e.: C–D–E♭–G–A). This scale is especially useful scale for improvising over minor 6th chords and half-diminished chords (Note: for improv over half-diminished chords, use the Dorian pentatonic scale that is built on the 3rd of the chord.)

downbeat – a term musicians use that actually contains two meanings:

1. 1. Technically, “downbeat” refers specifically to beat one; this meaning is an allusion to a conductor’s patten in which beat one is a downward gesture.
   2. Many musicians, when speaking of 8th notes, use the word “downbeat” to refer to an 8th note that lands on a beat and the word “upbeat” to refer to an 8th note that occurs in between beats. For example, when counting “1 and 2 and 3 and 4 and,” the numbers are on downbeats and the “and”s are on upbeats.

drop 2 voicings – (aka “drop 2 chords”) 4-note open position voicings in which the outer notes are a spaced a 10th interval apart, or in some cases a 9th. The specific drop 2 spacing is accomplished by beginning with a 4-note closed position voicing and then dropping the 2nd note from the top down an octave. Jazz pianists and guitarists frequently use drop-two voicings when playing chord melodies and while comping behind a soloist. [learn more: Quick Tip, Course]

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E

eleventh chord – see 11th chord.

encircling tones – see enclosure.

enclosure – a jazz improvisation technique that approaches a target chord tone using both upper and lower neighbors. Enclosures can draw from diatonic neighbors, chromatic neighbors or both. Other terms for enclosure include encircling tones, rotations and surround notes. [learn more: Quick Tip, Course]

enharmonic – an adjective that literally means “same sound.” Therefore, the note C♯ and D♭ are considered “enharmonic equivalents.” The same terminology can be applied intervals, chords and even keys.

extensions – see chord extensions.

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F

F clef – see bass clef.

fake book – a volume of popular songs published in the lead sheet format, which includes a basic notation of tunes’ melodies with accompanying chord symbols; most modern fake books also include lyrics. All the name implies, proficient jazz musicians can “fake” their way through a tune from a lead sheet without dependency on a complete score. See also The Real Book.

Four-On-The-Floor – see 4-On-the-Floor.

four-three suspension – see 4-3 suspension.

fully altered dominant – a general term for any altered dominant voicing that comes from the altered scale. Typically, a “fully altered” voicing contains two chord alterations, such as C7(♯9♭13) or C7(♭9♯11).

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G

G clef – see treble clef.

ghost note – (a.k.a. “dead note,” “muted note” or “false note”) a quick, soft note that enhances the rhythm or swing of a musical phrase but doesn’t have a discernible pitch. Ghost notes are often described as being “felt rather than heard.” [learn more: Quick Tip]

glissando – (aka “gliss”) a performance technique in which a pianist rapidly slides up or down the keyboard with one or more fingernails.

grand staff – the standard notational format for piano which includes two staffs that are joined by a brace on the left margin. Typically, the upper staff of a grand staff features a treble clef and the lower staff features a bass clef.

Gospel Scale –  (a.k.a. “the major blues scale”) a 6-note improv scale constructed from the following tones of the Major scale: 1-2-♭3-♮3-5-6.[learn more: Quick Tip, Course]

guide tones – In jazz harmony, the term guide tones refers to the 3rd and the 7th of a seventh chord. For example, in the chord G7, the guide tones are the notes B and F because they are the 3rd and 7th of the chord. Guide tones are important because these notes determine a chord’s unique quality (major 7th, dominant 7th, minor 7th, etc.) and also guide its resolution. A chord’s guide tones can be used as a stand-alone shell voicing. [learn more: Quick Tip, Course]

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H

half diminished chord -(aka “minor 7♭5 chord”) a four-note chord containing a diminished triad and a minor 7th, often denoted with the chord suffix “ø” or “ø7”. Another common name for this chord is minor 7(♭5) because the only difference between this chord a minor 7th chord is the ♭5. [learn more: Quick Tip, Course]

half step – the smallest interval in Western music, which is represented by any two adjacent keys on the piano.

half-whole diminished scale – (aka “dominant diminished scale”) an eight-note scale constructed by alternating ½ steps and whole steps (H–W–H–W–H–W–H–W); used for jazz improv on dominant 7th chords. Scale formula: 1–♭2–♯2–3–♯4–5–6–♭7. [learn more: Quick Tip, Course]

harmonic minor scale – a common minor scale formation with ½ steps between the 2nd and 3rd degree, the 5th and 6th degree and the 7th and 8th degree. Scale formula: 1–2–♭3–4–5–♭6–♮7. In addition, a harmonic minor scale includes an augmented 2nd interval between the 6th and 7th degree. Interval pattern: W–H–W–W–H–Aug2–H.

harmonic rhythm – the rate at which the chords change in a piece of music. This frequency is often described in terms of note durations. A song may be said to have a quarter note, half note or whole note harmonic rhythm. [learn more: Quick Tip]

hemitonic pentatonic scale – a five note scale which contains one or more half steps, such as the Dorian pentatonic scale (C–D–E♭–G–A). Compare to anhemitonic pentatonic scale.

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I

Ionian mode – equivalent to a major scale; it is also technically the 1st mode of the major scale. [learn more: Quick Tip, Course]

inner voice movement – a compositional device or arranging technique that uses countermelodies for the purpose of embellishment or personal expression—see example below. [learn more: Quick Tip, Course]

interval – a term musicians use to describe the distance between two notes (i.e.: “major 3rd, perfect 4th, octave,” etc.). Jazz musicians are trained to recognized intervallic distances by ear. [learn more: Course]

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J

jazz combo – a smaller jazz ensemble such as a trio, quartet, quintet, etc. Combos typically consist of a rhythm section and may also include one to three horn players.

jazz comping – see comping.

jazz melodic minor scale – jazz application of the ascending melodic minor scale in which the 6th and 7th tones are raised by a ½ step whether ascending or descending.

jazz standard – a reverential term for any composition deemed significant to the collective jazz community as evidenced by frequent occurrence in live and recorded jazz performance.

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K

key – the tonal center of a musical composition, which is derived from a parent scale with an identifiable tonic note (i.e.: C major, G minor, D Dorian, etc.).

Kenny Barron voicing – (aka “Kenny Barron chord”) a particular quintal voicing structure for minor 11th chords that was popularized by American jazz pianist Kenny Barron. From bottom to top, the Kenny Barron voicing is played 1–5–9–♭3–♭7–11.

key signature – a music notation practice in which any sharps (♯) or flats (♭) that are native to the prevailing key appear at the beginning of each system immediately after the clef. Key signatures simplify the process of reading music notation by eliminating the need for an abundance of accidentals.

kicks – a common term used by jazz musicians to describe background rhythmic figures that are played by the entire ensemble or by a section of the ensemble.

Kind of Blue – the title of Miles Davis’ iconic 1959 album that pioneered a new, minimalistic approach to jazz harmony known as modal jazz.

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L

lead sheet – a music notation format used in fake books which includes the basic notation of a tune’s melody and accompanying chord symbols; most lead sheets also include lyrics. [learn more: Quick Tip, Courses]

leading tone -[learn more: Quick Tip]

licks – a short melodic phrase that is often catchy or easily imitated. Sometimes, certain licks maybe associated with a player’s “musical signature.” [learn more: Quick Tip]

Locrian mode – (aka “Locrian scale”) the 7th mode of a major scale. Scale formula: 1–♭2–♭3–4–♭5–♭6–♭7 [learn more: Quick Tip]

Locrian #2 scale – (aka “Locrian ♮2 scale”) the 6th mode of the melodic minor scale, used as a improv scale on half-diminished chords. Scale formula: 1–2–♭3–4–♭5–♭6–♭7 [learn more: Quick Tip]

The Love Progression – a term coined by Jonny May for a common diatonic chord progression that is featured in many love songs across various genres. The Love Progression is expressed in Roman numerals as I→V/7→vi→iii/5→IV→I/3→ii⁷→V.

lower neighbor – see neighbor note

Lydian mode – (aka “Lydian scale”) the 4th mode of a major scale. Scale formula: 1–2–3–♯4–5–6–7 [learn more: Quick Tip, Course]

Lydian Dominant scale – (aka “Mixolydian #11 scale,” or “Lydian ♭7 scale”) the 4th mode of the melodic minor scale, used as a improv scale on dominant 7th(♯11) chords. Scale formula: 1–2–3–♯4–5–6–♭7 [learn more: Quick Tip, Course]

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M

major 6th chord – a four-note chord constructed from the 1st, 3rd, 5th and 6th tones of a major scale. Another way to build a major 6th chord is to start with a major triad and add a major 6th interval above the root. (Think: 1–3–5–6; i.e.: C6 contains the notes C–E–G–A. ). [learn more: Quick Tip]

major 7th chord – a four-note chord constructed from the 1st, 3rd, 5th and 7th tones of a major scale (i.e.: C–E–G–B). Another easy way to build a major 7th chord is to start with a major triad and add a major 7th interval above the root. Examples of common chord symbols for major 7th chords include Cmaj7, CM7, CMA7 and C▵7. [learn more: Quick Tip, Course]

major 9th chord – rich and colorful five-note chords which contain beautiful and bright harmonic colors. The easiest way to form a major 9th chord is to start with a major triad and add a major 7th and a major 9th. Therefore, the chord C Major 9 contains the notes C–E–G–B–D. [learn more: Quick Tip]

major blues scale – (aka “the gospel scale” or “the pentatonic ♭3 scale”) a versatile six-note improv scale that is constructed by modifying any major scale according to the following formula: 1–2–♭3–♮3–5–6. For example, the C major blues scale contains the notes: C–D–E♭–E♮–G–A. [learn more: Quick Tip, Course]

major chord – (aka “major triad”) a triad containing a root, a major 3rd and a perfect 5th (i.e.: C–E–G). [learn more: Quick Tip]

major pentatonic scale – a five-note scale constructed from the following tones of a major scale: 1-2-3-5-6 (i.e.: C–D–E–G–A). Alternatively, you can think of this scale as omitting the 4th and 7th tones of a major scale. Major pentatonic scales are often used to improvise over major triads, major 7th chords and major 6th chords. [learn more: Quick Tip]

mediant – as a noun, the term mediant in music theory that refers to the 3rd tone of a seven-note scale in the same way that tonic refers to the 1st scale tone and dominant refers to the 5th scale tone. The term mediate can also be used as an adjective such that a “mediant relationship” describes chords or keys that are a major 3rd or minor 3rd apart. See also chromatic mediant.

melodic minor scale – the melodic minor scale is comparable to a natural minor scale in which the 6th and 7th degrees are raised by a ½ step in the ascending form only. In traditional music theory, the descending version of the melodic minor scale follows the same construction as the natural minor scale. Melodic minor scale formula (ascending): 1–2–♭3–4–5–♮6–♮7–1; (descending): 1–♭7–♭6–5–4–♭3–2–1. [learn more: Quick Tip, Course]

melody – the foreground part of a musical composition that has a singable character; also describe as “the tune.”

minor 2-5-1 progression – (also: “iiø-V7-i”) a common jazz chord progression which effectively establishes a minor key. For example, the chord sequence Dø7→G7→Cm identifies C minor as tonic. The numeric identifiers, which are often expressed as Roman numerals, represent the relationship of each chord to the tonal center. Thus, Dø7 is built on the 2nd tone of C minor. Likewise, G7 is built on the 5th tone of C minor. Lastly, Cm is built on the 1st tone. [learn more: Quick Tip, Course]

minor 6th chord – a four-note chord constructed from the 1st, 3rd, 5th and 6th tones of either the melodic minor scale (ascending) or the Dorian scale. Another way to build a minor 6th chord is to start with a minor triad and add a major 6th interval above the root. (Think: 1–♭3–5–6; i.e.: Cm6 contains the notes C–E♭–G–A. ). [learn more: Quick Tip]

minor 6th pentatonic scale – see Dorian pentatonic scale.

minor 7th chord – a four-note chord that can be constructed from the 1st, 3rd, 5th and 7th tones of the natural minor scale, the Dorian scale or the Phrygian scale (i.e.: C–E♭–G–B♭). However, the easiest way to build a minor 7th chord is to start with a minor triad and simply add a minor 7th interval above the root. (Think: 1–♭3–5–♭7). Examples of common chord symbols for minor 7th chords include Cmin7, Cm7, Cmi7 and C–7. [learn more: Quick Tip, Course]

minor 7(♭5) chord – a common name for half diminished chords among jazz musicians.

minor 9th chord – an exquisite and sophisticated sounding five-note minor chord built from the 1st, 3rd, 5th, 7th and 9th tones of either the natural minor scale or Dorian scale. Minor 9th chords are commonly used in jazz, funk, contemporary gospel and neo soul music. [learn more: Quick Tip]

minor blues scale – (aka “the blues scale”) a versatile six-note improv scale that is constructed by modifying any major scale according to the following formula: 1–♭3–4–♯4–5–♭7. For example, the C minor blues scale contains the notes: C–E♭–F–F♯–G–B♭. [learn more: Quick Tip, Course]

minor chord – (aka “minor triad”) a triad containing a root, a minor 3rd and a perfect 5th (i.e.: C–E♭–G). [learn more: Quick Tip]

minor-major 7th chord – (aka “spy chord” or “tonic minor chord”) a four-note chord that features a major 7th interval above a minor triad. For example, a Cm(maj7) contains the notes C–E♭–G–B. [learn more: Quick Tip]

minor pentatonic scale – a five-note scale constructed from the 1st, 2nd, 3rd, 5th and 7th tones of a natural minor scale. (Think: 1-♭3-4-5-♭7, i.e. C–E♭–F–G–B♭). Minor pentatonic scales are often used to improvise over minor 7th chords. [learn more: Quick Tip]

Mixolydian mode – the 5th mode of a major scale. | scale formula: 1-2-3-4-5-6-♭7 [learn more: Quick Tip, Course]

Mixo-Blues scale – (aka “Mixolydian blues scale” or “Mixo-Dorian scale”) a 9-note hybrid scale used in blues and jazz improvisation that combines the mixolydian scale and the minor blues scale. For example, the notes of the C Mixo-Blues Scale are C–D–E♭–E♮–F–F♯–G–A–B♭. To construct a mixo-blues scale, modify the tones of a major scale according to the following formula: 1–2–♭3–♮3–4–♯4–5–6–♭7 [learn more: Quick Tip]

modal – in music theory and especially jazz theory, the adjective “modal” refers to any concept derived from musical modes.

modal jazz – a subgenre of jazz that emerged in the late 1950s in stark contrast to the harmonic complexity of bebop music from the previous decade, which featured rapid chord changes and fast tempos. Modal jazz, on the other hand, is characterized by minimal chord changes and subdued tempos. Even though modal jazz is not atonal, its prolonged harmonic stasis frees the improviser from preoccupation with conventional tonic and dominant underpinnings. See also Kind of Blue.

modal mixture – [learn more: Quick Tip]

modal mixture – (aka “modal interchange” or “borrow chords”) a compositional technique that combines chords from parallel major and minor keys to provide expanded harmonic possibilities. See also chromaticism. [learn more: Quick Tip]

modes – modes are scales that result from starting a major scale on each of its 7 tones. Each mode has a unique sound and a specific name. The names of the 7 modes in order from the 1st tone to the 7th tone are Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian and Locrian. [learn more: Quick Tip, Courses]

motif – (aka “motive”) a concise musical idea. Motifs can be melodic or rhythmic in nature and are often repeated and developed throughout a composition.

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N

natural minor scale – (aka “Aeolian mode“) a minor scale formation with ½ steps between the 2nd and 3rd degree and the 5th and 6th degree. Scale formula: 1–2–♭3–4–5–♭6–♭7. Interval pattern: W–H–W–W–H–W–W. [learn more: Quick Tip, Course]

neighbor note – a neighbor note is a non-harmonic tone that contains the following characteristics: (1) occurs on a weak beat, (2) approached form a chord tone by stepwise motion, (3) resolves to the same chord tone by stepwise motion. However, in jazz music, neighbor notes do not always meet all 3 criteria listed above. For example, if an ornament meets only 2 of the criteria, it is still considered neighbor note. [learn more: Quick Tip, Course]

ninth chord – see 9th chord.

non-harmonic tone – (aka “non-chord tone”) a note in a musical passage that is not the root, 3rd 5th or 7th of the prevailing harmony. Non-harmonic tones generally serve an ornamental purpose, such as passing tones, neighbor notes, suspensions, etc.

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O

octatonic scale – any scale with 8 notes is technically an “octatonic scale,” however the term most commonly refers to a symmetrical scale of alternating half-steps and whole-steps (see also diminished scale).

on-off chords – another name for the Charleston Rhythm.

ostinato – a repeating musical figure or pattern [learn more: Quick Tip, Course]

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P

parallel harmony (also “parallelism” or “planing”) – a modern harmonization technique that uses strict transposition to treat each melody note with an identical voicing. [learn more: Quick Tip]

passing chord – a non-essential chord that occur briefly in a chord progression. Passing chords can be diatonic (from within the key) or chromatic (from outside of the key); however, all passing chords resolve to a diatonic chord. While passing chords can appear in any genre of music, certain passing chord techniques have strong associations with particular genres. [learn more: Quick Tip, Course]

passing tone – (also “passing note”) a non-harmonic tone that contains the following characteristics: (1) approached form a chord tone by stepwise motion, (2) resolves to another chord tone by stepwise motion in the same direction. Passing tones can be ascending or descending, and may be occur on a strong beat (accented passing tone) or a weak beat (unaccented passing tone).

pentatonic – an adjective that comes from the Latin words “penta” (meaning”five”) and “tonus” (meaning “sound” or “tone”).

pentatonic scale – (penta = “five”, tonic = “tone”) any scale containing 5 notes; however, the most common pentatonic scales are those that do not contain any ½ steps and are used to improvise or compose melodies with a solid tonal character such as the major pentatonic scale and the minor pentatonic scale. [learn more: Quick Tip]

Phrygian mode – (aka “Phrygian scale”) the 3rd mode of a major scale. Scale formula: 1–♭2–♭3–4–5–♭6–♭7 [learn more: Quick Tip]

play by ear – a musician’s ability to perform songs that they have heard without the need for any sheet music. Instead, these musicians learn songs by imitating what they hear in live performances, on recordings or in their aural memory. Playing by ear is particularly common among musicians who play popular musical genres such as blues, jazz, R&B, gospel, pop and folk music. Musicians who play by ear also typically feel comfortable improvising to some extent. [learn more: Quick Tip]

popstinato – a term coined by Jonny May that describes the use of an ostinato (a repeating musical figure or pattern) in a manner that is strongly representative of contemporary pop music. [learn more: Quick Tip, Course]

progression – see chord progression.

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Q

quartal voicing – any jazz piano chord voicing that uses stacks of two or more 4th intervals. Quartal voicings can be played in one hand with three notes or in two hands with four, five or even six notes. Ideally, quartal voicings seek to maximize perfect 4th intervals. However, it is common for some of the intervals to be a 3rd or augmented 4th depending on the chord type and melody note. [learn more: Quick Tip, Course]

quintal voicing – (aka “stretch voicing”) a chord voicing that are formed primarily from perfect 5th intervals. For example, if you play a perfect 5th on piano with middle C on bottom, you have the notes C and G. Then, if you add another perfect 5th above the G, you get the note D. This “stretch voicing” spans a major 9th from bottom to top and contains two perfect 5th intervals. Pianists who are well versed in contemporary jazz harmony often combine different quintal stretch voicings in each hand to construct various chord qualities, such as minor eleventh, major thirteenth and dominant 7(#11) chords. [learn more: Quick Tip]

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R

The Real Book – the title of a fake book containing popular jazz standards developed by students at the Berklee College of Music in the 1970s. The original volumes of The Real Book were printed illegally without securing copyright releases or paying royalties. While nearly all jazz students likely use The Real Book at some point in their journey, it is important to note that it is not without errors.

reharmonization – changing the chords to an existing melody. [learn more: Quick Tip, Course]

Rhythm Changes – a widely used 32-bar AABA song form that is based on George Gershwin’s popular 1930 hit, “I Got Rhythm.” Aside from the 12-bar blues, rhythm changes is the most commonly employed song form in jazz repertoire. The most common key for rhythm changes is B♭ major. [learn more: Quick Tip]

rhythm section – the musicians in a jazz ensemble that establish the time and feel and also play behind a soloist. The most common rhythm section instruments are drums, bass, piano, guitar and percussion.

riff – a catchy, rhythmic or melodic pattern that is often associated with guitar or piano and helps drive a song. [learn more: Quick Tip]

root – the fundamental note on which a chord is built.

rootless voicings – a stylized chord sound popularized in the mid-to-late 1950s by jazz pianists like Bill Evans, Red Garland and Wynton Kelly. By omitting the root from their left-hand chord shapes, they freed up their fingers to include additional “color tones” or “pretty notes” in the middle register of the piano. Depending on the type of chord, the added color notes are either chord extensions such as the 9th, 11th and 13th or chord alterations such as the ♭9, ♯9, ♯11 or ♭13. [learn more: Quick Tip, Course]

rotations – see enclosure

rubato (also “tempo rubato”) – a term that comes from the Italian word meaning “to rob.” A performer applies rubato by stretching and compacting the tempo at different parts of a phrase to create a highly expressive effect.

run(s) – a performance technique that uses a rapid scale or arpeggio pattern to create a sophisticated special effect. Professional pianists often use runs for intros, fills and endings to engage their audience. [learn more: Quick Tip, Course]

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S

scale – a intentional ordering of pitches that creates a tonal environment. While there are literally hundreds of scale types, the most frequently used scales are constructed from stepwise motion (i.e.: half steps or whole steps).

scale of limited transposition – an exclusive characteristic of symmetrical scales such that they have less than 12 unique transpositions. For example, there is only 1 unique transposition of the chromatic scale and there are only 2 unique transpositions of the whole tone scale.

secondary dominant – a chord imported from outside of the primary key for the purpose of making a non-tonic chord sound like a temporary tonic. The imported chord precedes a targeted resolution chord and functions as its dominant. [learn more: Quick Tip, Course]

The Sentimental Progression – a term coined by Jonny May for a common minor chord progression that is featured in many jazz standards including “My Funny Valentine” and “Blue Skies.” The Sentimental Progression is expressed in Roman numerals as Im→V/7→Im/♭7→VIm7(♭5).

sequence – a type of repetition in music that involves restating a melodic or a harmonic idea from another pitch level. [learn more: Quick Tip]

seventh chord – see 7th chord.

shell, or shell voicing – see chord shell.

sidestepping – (aka “parallel chords,” “chromatic drops”) a passing chord technique that slides chromatically into a resolution chord by approaching it from a ½ step above (or below) with the exact same chord voicing. [learn more: Quick Tip]

simple meter – (aka “simple time”) any time signature which contains subdivisions in multiples of 2 (i.e.: 4/4, 3/4, 2/4). Compare to compound meters (i.e.: 12/8, 9/8, 6/8), which subdivide the primary pulse into 3 subdivisions. [learn more: Quick Tip]

sixth chord – see 6th chord.

slash chord – a chord symbol that contains a “slash,” such as E♭/G or C▵7/G. In slash chord notation, the hypothetical chord symbol X/Y represents a chord of X over a bass note Y. Slash chords are especially common in pop music and most often indicate a chord inversion. For example, the chord symbol E♭/G represents an E♭ major chord in 1st inversion. Similarly, the slash chord C▵7/G represents a C▵7 in 2nd inversion. [learn more: Quick Tip]

slip notes – an ornamental piano technique popularized in the 50s and 60s by country pianist Floyd Cramer. Slip notes brighten a melody or accompaniment by slipping up to a target note from a whole step below, producing a “sparkle” or “twang” effect. Slip notes commonly feature a harmony note on top. In notation form, the slip note appears as a grace note, but it should be played simultaneously with the upper note when harmonized as in the following example.

“so what” voicing – a specific quartal voicing structure popularized by jazz pianist Bill Evans on the legendary recording “So What” from the 1959 Miles Davis album Kind of Blue. Built from the bottom up, this voicing uses the following tones of the Dorian Scale: 1–4–♭7–♭3–5. [learn more: Quick Tip]

spy chord – see minor-major 7th chord.

standard – see jazz standard.

stride piano – a musical term with two different meanings. (1) Generally speaking, stride piano refers to a left-hand accompaniment technique. Stride accompaniments move from a bass note on beats 1 and 3 to an after-chord on beats 2 and 4. Moreover, this combination of bass-note/after-chord is often characterized as having and “oom-pah” sound. In short, left-hand stride accompaniments can be found in American music spanning from ragtime in the 1890s to bebop in the 1950s. (2) Stride piano also refers to the musical genre of the Harlem piano school that emerged in the 1920s and 30s led by pianists James P. Johnson,  Willie “the Lion” Smith, Fats Waller and Lucky Roberts. Stride pianists of the ’20s and ’30s frequently harmonized their bass notes in 10ths and played more complex after-chords. Stride pianists also displayed virtuosic embellishments, none of whom exceeded Art Tatum. [learn more: Quick Tip, Course]

strong beat(s) – metric accents created by a time signature itself, for example:

simple meters

• • in 4/4 time—beats 1 and 3, but especially beat 1
  • in 3/4 time—beat 1
  • in 2/4 time—beat 1

compound meters

• • in 12/8 time—the primary pulses occurring on 1, 4, 7 and 10
  • in 9/8 time—the primary pulses occurring on 1, 4 and 7
  • in 6/8 time—the primary pulses occurring on 1 and 4

subdominant – a musical term for the 4th scale degree.

submediant – a musical term for the 6th scale degree.

subtonic – a musical term for the ♭7 scale degree.

super tonic – a musical term for the 2nd scale degree.

Super Locrian mode – a synonym for the altered scale, which is also the 7th mode of the ascending melodic minor scale.

surround notes – see enclosure

suspension – a type of non-harmonic tone that occurs on a strong beat and resolves to a chord tone on a weaker beat. Traditional suspensions in classical music contains three elements: (1) a preparation note, (2) a suspended note, and (3) a note of resolution. The note of preparation is typically the same pitch as the suspended note, but it occurs in the context of a consonant interval. In fact, the preparation note is often tied to the suspended note as if to “hang on to” or “suspend over from”  the previous chord. [learn more: Quick Tip]

symmetrical chord – a special characteristic of select chord types in which all of the chord tones are the exact same intervallic distance apart. Examples of symmetrical chords include: (1) augmented triads, where all the chord tones are a major 3rd apart, and (2) diminished 7th chords, where all the chord tones are a minor 3rd apart.

symmetrical scale – a special characteristic of select scale types in which all of the scale tones are the exact same intervallic distance apart. Examples of symmetrical scales include: (1) the chromatic scale, where all the scale tones are a half step apart, and (2) the whole tone scale, where all the scale tones are a whole step apart.

syncopation – a compositional device that places accents on weak beats in a manner that contrasts with the established meter. You can think of syncopation as “rhythmic dissonance.” Just like harmonic dissonance, the rhythmic dissonance created by syncopation draws the listener in by creating a tension which is resolved when the anticipated metrical pulse is restored. [learn more: Quick Tip]

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T

technique – one’s ability to efficiently control the anatomical mechanics needed to produce precisely desired sounds. [learn more: Quick Tip]

tempo rubato – see rubato.

tenor register – the range of the piano from approximately C3 to A4 that is best-suited for jazz comping with rootless voicings and/or guide tones.

tone cluster – see cluster.

tonic – in tonal music, the term tonic refers to the 1st tone of the scale that corresponds to the overall key. For example, in C major, the tonic note is C. Therefore, musicians also think of tonic as the “home note” or the “home chord,” which they also describe as the “One.” The term tonic can also be used as an adjective to describe a musical device that is based on the “home note” of the key (i.e.: the “tonic chord,” a “tonic substitution,” or a “tonic pedal”).

tonicization – a compositional device in which a non-tonic chord is made to sound like a temporary tonic. This typically involves proceeding the target chord with its own dominant chord and one or more other related chords. [learn more: Quick Tip]

transcribe – strictly speaking, to transcribe is to notate a tune or a musical excerpt that has been learned by ear. However, musicians frequently use the term “transcribe” loosely to refer to learning licks and riffs by ear, even if they skip the final step of writing them down. [learn more: Quick Tip]

treble clef – a music clef for instruments that play high-pitched notes. Also called the “G Clef,” a treble clef symbol encircles the line that indicates the note G above middle C.

tremolo – a special performance technique that pianists use to sustain a chord beyond the instrument’s natural decay. This is accomplished by rapidly alternating between two or more notes. Piano tremolo chords mimic the sound and energy of a Hammond organ, which sustains its tones until the keys are released. [learn more: Quick Tip, Course]

triad – the most basic building block of music. A triad contains 3 notes and is built by playing every-other-note of a scale. There are 4 types (or qualities) of triads: major triads, minor triads, diminished triads and augmented triads. Each type of triad contains unique internal intervals. Triads are named by their root (the bottom note) and quality. The image below shows each type of triad starting on C. [learn more: Quick Tip]

tritone – an interval spanning 3 whole steps [learn more: Quick Tip, Course];

Tritones may be written as an augmented 4th (C to F#) or a diminished 5th (C to Gb) and naturally occur within serval common jazz chords including:

• • dominant 7th chords between 3rd and 7th (i.e.: G-B–D-F)
  • half diminished chords between root and 5th (i.e.: B-D-F-A)
  • diminished 7th chords between root & 5th and 3rd & 7th (i.e.: B–D–F–Ab)
  • minor 6th chord between 3rd and 6th (i.e.: D-F-A-B)

tritone substitution – a type of chord substitution in which a dominant 7 chord is substituted for another dominant 7 chord a tritone away. [learn more: Quick Tip, Course]

turn – a ornamentation technique that decorates a target note by means of a quick, melodic flourish involving the upper and lower neighbors of the target note. [learn more: Quick Tip]

turnaround progression – (aka “the turnaround”) a jazz chord progression that repeats upon itself and is often used as a vamp or to create harmonic momentum back to the beginning of a song. A turnaround progression uses the chords 1-6-2-5 (aka “Ⅰ-Ⅵ-Ⅱ-Ⅴ”). [learn more: Quick Tip, Course]

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U

unaccented passing tone – see passing tone.

upbeat – a term musicians use that actually contains two meanings:

1. 1. Technically, “upbeat” refers specifically the final beat in a measure; this meaning is an allusion to a conductor’s patten in which the final beat is an upward gesture.
   2. Many musicians, when speaking of 8th notes, use the word “downbeat” to refer to an 8th note that lands on a beat and the word “upbeat” to refer to an 8th note that occurs in between beats. For example, when counting “1 and 2 and 3 and 4 and,” the numbers are on downbeats and the “and”s are on upbeats.

upper neighbor – see neighbor note.

upper structures – (i.e.: “upper structure triads,” “upper structure quartals”) a voicing technique that uses familiar shapes or “structures” as the top portion of a more complex chord. The most common upper structures are major and minor triads that contain two or more chord extensions or alterations. More advanced upper structures include augmented triads, sus chords and quartal shapes. Jazz pianists most often use upper structure triads to voice altered dominant chords by playing a triad in the right hand against a two-or-three-note chord shell in the left hand. [learn more: Quick Tip, Course]

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V

Voice leading –the consideration given to the manner in which each pitch moves from chord-to-chord. Generally speaking, good voice leading seeks to do the following:

• retain common tones in the “same voice” from chord-to-chord (think SATB choral texture)
• resolve other tones with close movement (stepwise or 3rds) as in a melody
• avoid disjunct or unnecessary leaps

voicing – see chord voicing.

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W

walking bass line – a bass line that outlines the harmony with continuous quarter-note movement and occasional 8th-notes to heighten the swing. [learn more: Quick Tip, Course]

weak beat – weak beats are generally beats two and four in 4/4 time, or beats two and three in 3/4 time. Also, a subdivided note that occurs on an “upbeat” is metrically weak when compared to any note that falls on a beat.

weak tone – also known as an “avoid note,” a weak tone is a scale tone that is dissonant over a particular chord. Improvisers use weak tones as passing tones. Generally, weak tones are a ½ step above a chord tone.

whole-half diminished scale  – an eight-note scale constructed by alternating whole steps and ½ steps (W–H–W–H–W–H–W–H). [learn more: Quick Tip, Course]

whole step – (aka “whole tone”) a distance of two ½ steps; also, a major 2nd interval.

whole tone scale – a six-note scale that is constructed entirely from whole-steps. For example: C–D–E–F♯–G♯–A♯. Since the interval between each note of the whole tone scale is exactly the same, it is considered a symmetrical scale. [learn more: Quick Tip]

whole tone slur – a term coined by country pianist Floyd Cramer for the piano technique more commonly known as slip notes.

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X

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Y

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Z

zone – a concise way to refer to a “scale zone” or a “scale fragment.” A zone  can be any portion of a scale that is intentionally targeted in when improving. For example, a jazz musician may use the zone that extends from the 3rd up to the 9th as boundaries for melodic improvisation.

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#

2-5-1 Progression – (also “ⅱ-Ⅴ-Ⅰ progression”) a common jazz chord progression which effectively establishes a key. For example, the chords Dm7→G7→Cmaj7 create a pleasing sound that identifies C major as a tonal center. The numeric identifiers in a 2-5-1 progression represent the relationship of each chord to the tonal center—aka the “tonic.” [learn more: Quick Tip, Course]

4-On-The-Floor – a piano accompaniment technique that employs quarter notes to pulsate on all four beats in 4/4 time. [learn more: Quick Tip, Course]

4-3 Suspension – A non-harmonic tone that occurs on a strong beat, is a perfect 4th above the bass note, and resolves down by step to a major or minor 3rd. In classical usage, the approach note to a suspension is the same pitch and is often tied. [see also suspension]

6th chord – (also “sixth chord”) a type of four-note chords that comes in two varieties—major 6th chords and minor 6th chords. Sixth chords are created by adding a major 6th interval above the root of either a major or minor triad. For example, the chord symbol C6 (pronounced “C six” or “C major six”) contains the notes C–E–G–A. Similarly, the chord symbol Cm6 (pronounced “C minor six”) contains the notes C–E♭–G–A. Music dictionaries often refer to 6th chords as “added sixth chords,” also though this term is rare in musical conversations. Sixth chords occur most frequently in popular styles of music, especially jazz. [learn more: Quick Tip]

7th chord – (also “seventh chords”) four-note chords that are built from the 1st, 3rd, 5th and 7th tones of a parent scale. There are five main types of 7th chords, which include major 7th chords, dominant 7th chords, minor 7th chords, half diminished 7th chords and diminished 7th chords. While 7th chords appear in many styles of music, they are the foundational harmonic concept in jazz theory and composition. [learn more: Quick Tip, Course]

9th chord – (also “ninth chord”) a colorful, five-note chord built from the root, 3rd, 5th, 7th and 9th tones of a parent scale. The most common types of ninth chords are major 9th, dominant 9th and minor 9th chords. [learn more: Quick Tip]

10th interval – (also, simply “10th”) a compound interval that is equivalent to a 3rd plus an octave. Generally speaking, 10ths are the maximum range that an adult pianist with medium-to-large sized hands can reach.

11th chord – (also “eleventh chord”) an extended chord that contains the 11th scale tone above the root, which is also equivalent to the 4th. The most common type of 11th chord is the minor 11th chord. Theoretically, an 11th chord is built up from the root in thirds such that it includes the root, 3rd, 5th, 7th, 9th and 11th of a parent scale. However, in actual practice, the 9th is an optional note in 11th chord voicings. [learn more: Quick Tip]

12-Bar Blues – a must-know chord progression that occurs in hundreds of traditional blues songs, jazz standards and early rock ‘n roll tunes . The traditional 12-bar blues form is comprised of 3 phrases, each of which are 4 measures long. Often, this appears in music notation as 3 systems (lines of music) with 4 bars each. However, even if the publisher prints the 12-bars in more or fewer systems, from a conceptual standpoint, musicians still think of the blues structure as 3 four-bar units, as indicated in the example below.

13th chord – (also “thirteenth chord”) an extended chord that contains the 13th scale tone above the root, which is also equivalent to the 6th. The most common type of 13th chords are the dominant 13th and major 13th chords. Theoretically, a 13th chord is built up from the root in thirds such that it includes the root, 3rd, 5th, 7th, 9th, 11th and 13th tones of a parent scale. However, in actual practice, the 9th and especially the 11th are optional in 13th chord voicings. [learn more: Quick Tip]

32-Bar Form – see AABA form.

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