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Exercise
— switch — The Cycle Shells with Color Rootless Voicings Bud Powell Left Hand The Turnaround Tritone Substitution Reharm the V Diatonic Sevenths Secondary Turnaround Minor ii–V–i Minor ii-V-i with ♭9 Minor Turnaround Diatonic 7ths in Minor Backdoor Progression Twelve-Bar Blues Minor Blues Bird Blues Blues Stride LH Blues Walking Bass Rhythm Changes Boogie Blues Shuffle Rhythm Changes Bridge Blues Rootless (Evans) Coltrane Changes Blues Pedal Point Standard Intro Blues Block Chords Two-Handed Comping Blues Freddie Green Charleston Comping Bebop Blues Comp Freddie Green Comping Blues Guide Tones Walking Bass Charleston Blues Tritone-Sub Walking Bass Bud Powell Blues Drop Two Two-Handed Modern Blues Stride Bass Stride with Melody Quartal Voicings Upper Structure Triads Hybrid Voicings Kenny Barron Voicing Sus Chord Vamp The Mu Chord Maiden Voyage Chord 4-Way Close Pedal Point Lydian Vamp Phrygian Vamp Bossa Nova Guide Tones Bebop Scale Dominant Bebop Dorian Bebop Bebop Minor The Enclosure ii-V-I Lick Pentatonic Patterns Plain Locrian Melodic Minor Dorian ♭2 Lydian Augmented Lydian Dominant Mixolydian ♭6 Locrian ♮2 Altered Scale Harmonic Minor Phrygian Dominant Half-Whole Diminished Whole-Tone Scale Minor Blues Major Blues Aeolian (Natural Minor) Dorian Mode Ionian (Major) Lydian Mode Minor Pentatonic Mixolydian Mode Phrygian Mode Whole-Half Diminished
(MED. SWING ♩=80 )
26
Jazz Piano · The 4-Bar Setup
Standard Intro
iii VI7 ii V7 iii III7 ii V7 — landing on the head, twelve keys
Play exercise
The 4-bar intro is the band's runway: an 8-chord progression
that sets tempo and key before the tune's head begins on bar 5.
The most-used form is a secondary-dominant
extension of the standard iii-vi-ii-V turnaround:
| iii VI7 | ii V7 | iii III7 | ii V7 ||
Two chords per bar, half notes each. The intro modulates
through enough harmonic motion to wake the listener up, then
lands on the I chord at the top of bar 5 as the head begins.
Form iii VI7 ii V7 iii III7 ii V7 — 8 chords, 4 bars.
Lands On the I chord of bar 5 — head begins.
Jump to
C F B♭ E♭ A♭ D♭ G♭ B E A D G
2
1
O
O
O
O
E
7
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1
1
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O
D
m
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3fr
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3fr
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m
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3fr
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3fr
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O
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F
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m
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3fr
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3fr
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4fr
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The Daily Drill
Set the stage
3 min Play the intro in one key and count: "one two THREE four | one two THREE four | one two THREE four | one two | ONE" (head begins on the next downbeat). Internalize the landing point — the intro is a four-bar count-in, not a piece on its own. 8 min Cycle three keys. The intro IS the turnaround (iii-vi-ii-V) extended with a chromatic VI7 in bar 1 and a III7 in bar 3. The VI7 is a true secondary dominant (V7 of the ii that follows); the III7 is V7/vi used deceptively — it leans toward vi but steps to the ii instead. 4 min Apply: pick a standard you know (All the Things You Are , Stella by Starlight , etc.) and play this 4-bar intro before the head, landing on the tune's first chord. The intro slots in cleanly because every tune's head starts on its I (or iii, or vi). 3 min Variation: replace bar 2's V7 with a tritone-sub ♭II7. That's iii VI7 ii ♭II7 iii III7 ii V7 — bar 2 now slides into bar 3's iii from a half step above. One more chromatic approach in an intro already full of them. Why VI7 instead of vi (and III7 instead of iii)? The standard diatonic turnaround is iii-vi-ii-V — four chords, all diatonic to the major key. Turning vi into its dominant 7 (VI7) makes vi a secondary V7 of the next chord (ii). The progression now reads: iii — V7/ii — ii — V7/I. Each pair of chords is now a ii-V cell. The intro chains two such cells (bars 1-2 and bars 3-4), giving the listener the same satisfying ii-V resolution twice in a row before the actual head's I chord lands. The III7 works the same way on paper (it's V7/vi) — but here it resolves deceptively, stepping down to ii instead of landing on vi. Same trick bebop heads use throughout: swap a diatonic chord for its secondary dominant to add a tritone pull at every step.
Eight chords, four bars, then the tune. The runway before takeoff.