Art Tatum Tea for Two Transcription

This transcription was created by Jon Skinner (Pelisorious Editions, Portland Oregon).

Listen to the original 1933 Art Tatum Tea for Two recording at half speed:

Listen to the original 1933 Art Tatum Tea for Two recording at quarter speed:

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Art Tatum – Tea for Two

Tea for Two Transcription as played by Art Tatum in his 1933 recording:










Aebersold Comping Transcription of C Blues – Now Hear This!

Aebersold comping (piano and bass) transcription of “C Blues – Now Hear This!” from Aebersold Play-A-Long Volume 42 Blues In All Keys Track 3:

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C Blues - Now Hear This! (From Aebersold Play-A-Long Volume 42 Blues In All Keys Track 3)_Page_07

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C Blues – Now Hear This! (From Aebersold Play-A-Long Volume 42 Blues In All Keys Track 3)

Aebersold Comping Transcription of B Blues – Wiggle Waggle

Aebersold comping (piano and bass) transcription of “B Blues – Wiggle Waggle” from Aebersold Play-A-Long Volume 42 Blues In All Keys Track 2:

B Blues - Wiggle Waggle (From Aebersold Play-A-Long Volume 42 Blues In All Keys Track 2)_Page_01

B Blues - Wiggle Waggle (From Aebersold Play-A-Long Volume 42 Blues In All Keys Track 2)_Page_02

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B Blues - Wiggle Waggle (From Aebersold Play-A-Long Volume 42 Blues In All Keys Track 2)_Page_08

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B Blues – Wiggle Waggle (From Aebersold Play-A-Long Volume 42 Blues In All Keys Track 2)

Aebersold Comping Transcription of B Flat Blues – Kenny’ll Make It

Aebersold comping (piano and bass) transcription of “B Flat Blues – Kenny’ll Make It” from Aebersold Play-A-Long Volume 42 Blues In All Keys Track 1 with notes on piano voicings:

Bb Blues - Kenny'll Make It (From Aebersold Play-A-Long Volume 42 Blues In All Keys Track 1)_Page_01

  • Bar 1: drop 2 voicing with added 5th for the Bb7 chord.
  • Bar 2: drop 2 voicing with doubled 9th for the Eb7 chord.
  • Bar 3: first beat is a drop 2 voicing for Fm7 with added root, followed by drop 2’s with added 5th’s for Bb7, finishing with a Fm7 drop 2 with added 11th and root anticipating the Fm7 next bar.
  • Bar 4: drop 2 with added root for Fm7, followed by Bb7 altered with b9 and b13 with an added 5th.
  • Bar 5-6: drop 2 for Eb7 with either 5th or 13th.
  • Bar 7: drop 2 for Bb7.
  • Bar 8: drop 2 with added 3rd for D half diminished, and USbVI for (altered) G7.
  • Bar 9: drop 2 with added 11th for Cm7.
  • Bar 10: USVI altering the F7 to F7b9, then anticipating the Dm7 in the next bar, shell voicing in the left hand and rootless voicing in the right hand.
  • Bar 11: USbVI for (altered) G7.

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  • Bar 12: four note voicing for Cm7, followed by USbVI for (altered) F7.
  • Bar 13: drop 2 with root instead of 9th, varying with 13th and b13th for Bb7, followed by drop 2 for Eb7.
  • Bar 14: drop 2 for Eb7, then anticipate the Bb7 in the next bar with a F7 altered with #9 and 13th on beat 4.
  • Bar 15: drop 2 with added 5th for Bb7.
  • Bar 16: drop 2 for Fm7 with doubled 5th followed by USbVI for (altered) Bb7, then approach the next Eb7 chromatically with a E9b13 followed by a drop 2 for Eb7 with an added 5th.
  • Bar 18: parallel 4th voicings for Eb7, followed by a Bb7 anticipation with drop 2 and added 5th.
  • Bar 19: drop 2 with added 5th for the Bb7.
  • Bar 20: 4 note voicing on the left hand and shell voicing on the right hand for D half diminished, USbVI with doubled #9 and b13 on the left hand for the (altered) G7.
  • Bar 21: drop 2 with a doubled 5th for Cm7.

Bb Blues - Kenny'll Make It (From Aebersold Play-A-Long Volume 42 Blues In All Keys Track 1)_Page_03

  • Bar 22: drop 2 for Cm7 over F7, USII with an added #9 on the left hand for F7 (altered with #9 and #11), followed by USbIII for D7 (altered by #9) over Dm7.
  • Bar 23: USII for the G7 (altered with #11).
  • Bar 24: drop 2 with a doubled 7th for Cm7, followed by USbVI with an added #11 at the top for F7.
  • Bar 25: Left hand voicing with doubled 13th and added root on right hand, going to a b13 for Bb7, then left hand voicing with doubled 5th and 7th on right hand for the anticipated Eb7 in the next bar.
  • Bar 26: left hand voicing with doubled 5th and 7th on right hand for Eb7, side slipping to Db7 and back to Eb7
  • Bar 27: left hand voicing with doubled 13th and added root on right hand for Bb7.
  • Bar 28: left hand voicing with octaved 9th on the right hand for Fm7, followed left hand voicing with octaved b13 on the right hand for Bb7 (altered with b13).
  • Bar 29-30: left hand voicing with octaved 9th on right hand, followed by drop 2 with added 5th in right hand for Eb7.
  • Bar 31: drop 2 with added root on top for Bb7.
  • Bar 32: USbVI for (altered) D7 over the D half diminished, followed by USbVI for (altered) G7.

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  • Bar 33: drop 2 with doubled 5th on right hand for Cm7.
  • Bar 34: USbii for the F7 altered with b9 and b13.
  • Bar 35: drop 2 with doubled 9th for Dm7, USbVI for (alterd) G7.
  • Bar 36: drop 2 for Cm7, USbVI for (altered) F7, drop 2 for a side slipped B7 followed by drop 2 for Bb7
  • Bar 37: drop 2 for Bb7 and Eb7.
  • Bar 38: drop 2 for Eb7, then anticipate the Bb7 next bar with a F7#9 using left hand voicing and a 7th and a 9th on the right hand.
  • Bar 39: left hand voicing with the 3rd and 5th on the right hand for Bb7.
  • Bar 40: drop 2 with 4th voicing on right hand for Cm7 (or Fsus7), moving down in parallel motion for Bb7 (altered with b9, #9 and b13) and Eb7.
  • Bar 41-42: drop 2 with 4th voicing on right hand for Eb7, side slipping to D7 (or equivalently Ab7) and back, then left hand voicing with Bb triad for Bb7 next bar.

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  • Bar 43-44: USVI for A7 (b9) superimposed on Bb7, then left hand voicing with 7th and b13 on left hand for a D7 (altered with b13) superimposed on the D half diminished, the USbii for the G7#9 (altered with b9 and b13).
  • Bar 45: drop 2 for Cm7.
  • Bar 46: drop 2 for Cm7, followed by drop 2 for F7 (altered with #9 and b13) which can also be thought of as USbVI without the root on the right hand.
  • Bar 47: drop 2 for D half diminished over the Dm7, then USbV for the G7 (altered by b9 and #11).
  • Bar 48: C7 instead of Cm7, then USbVI for the F7 (altered).
  • Bar 49-51: drop 2 with a fourth on the right hand.
  • Bar 52: drop 2 for Fsus7, then USbVI for (altered) Bb7.
  • Bar 53: drop 2 for Eb7.
  • Bar 54: simple diminished chord.

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  • Bar 55: rootless voicing for Bbmaj7 and Csus7 (over Cm7)
  • Bar 56: so what chord for Dm7, USII without the 13th for Db7 (instead of Dbm7).
  • Bar 57-58: drop 2 for Cm7, followed by USbVI for F7 (altered).
  • Bar 59: fourth chord for Dm7, USbVI for G7 (altered), Cm7 anticipation with drop 2.
  • Bar 60: Cm7 drop 2 with added 11th, USbVI for F7 (altered).
  • Bar 61: drop 2 for Bb7, side slipping to A7 and back.
  • Bar 62: drop 2 for Eb7.
  • Bar 63: drop 2 for Bb7, then USbV for Bb7 (b9 and #11).
  • Bar 64: drop 2 for Fm7, then Bb7 with 13th followed by b13th.
  • Bar 65: Eb7 with an inner melody.

Bb Blues - Kenny'll Make It (From Aebersold Play-A-Long Volume 42 Blues In All Keys Track 1)_Page_07

  • Bar 66: E diminished 7th chord.
  • Bar 67: left hand voicing with octaved 9th on right hand for Bbmaj7 and Cm7.
  • Bar 68-69: rootless 4 note left hand voicing with octaved 9th on right hand for Dm7, Dbm7 and Cm7, side slipping down to Bm7 and back.
  • Bar 70: drop 2 for F7.
  • Bar 71: fourth voicing for Dm7, USbVI for G7 (altered).
  • Bar 72: drop 2 for Cm7, USbVI for F7.
  • Bar 73: drop 2 for Fm7 and Bb7 (over Bb7).
  • Bar 74: drop 2 for Ebsus7 and Ebsus (over Eb7).
  • Bar 75: drop 2 (with 13th) for Fm7 over Bb7.

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  • Bar 76: drop 2 for Fm6 (over Fm7), Bb7 altered with USbVI.
  • Bar 77: fourth voicing for Ebsus7 (over Eb7)
  • Bar 78: drop 2 for E diminished 7, with added 11th and b13.
  • Bar 79: left hand voicing with 9th and 5th on right hand for Bbmaj7, left hand voicing with 3rd and 7th on right hand for Csus7 (over C7)
  • Bar 80: fourth voicing on left hand, 5th and 9th on right hand for Dm7, drop 2 for Dbm7 with doubled 5th and 9th on right hand.
  • Bar 81: drop 2 for Cm7.
  • Bar 82: C diminished on left hand and F diminished on right hand.
  • Bar 83: so what chord for Dm7, USbVI for (altered) G7.
  • Bar 84: drop 2 for Cm7 and drop 2 for F7 altered with b9 and b13.
  • Bar 85: drop 2 for Fm7 (over Bb7).

Bb Blues - Kenny'll Make It (From Aebersold Play-A-Long Volume 42 Blues In All Keys Track 1)_Page_09

  • Bar 86: drop 2 for Ebsus7 to Eb7 (over Eb7).
  • Bar 87: Abmaj7 (Cm7) side slipping to Gmaj7 over Bb7 (Bbsus7), Cm7 over Fm7.
  • Bar 88: Cm7 of Fm7, Bb7 altered with b13.
  • Bar 89: drop 2 for Eb7 side slipping to E7 and back.
  • Bar 90: diminished voicing with raised top note.
  • Bar 91: basic voicing.
  • Bar 92: basic voicing on Dm7 to USbIII for Db7 (#9) over Dbm7.
  • Bar 93: basic voicing on Cm7.
  • Bar 94: Cm7 over Fm7, to USbVI for (altered) F7.
  • Bar 95: drop 2 for D half diminished (over Dm7), basic voicing for G7 with b13.
  • Bar 96: so what chord for Cm7, USbVI for (altered) F7.
  • Bar 97: drop 2 with fourth voicing of right hand for Bb7.

Download transcription as PDF: Bb Blues – Kenny’ll Make It (From Aebersold Play-A-Long Volume 42 Blues In All Keys Track 1)

Quartal Voicings

Quartal voicings refer to chords that consist of stacked 4th intervals (perfect or augmented). Compared to tertiary harmony (voicings based on 3rds), quartal harmony has a more ambiguous and spacious sound.

The number of voices in a quartal voicing can be between 3 (played as left hand voicings) and 6 (full voicing with 3 voices in each hand). To begin let’s take a look at 3 note left hand quartal voicings and how they may be applied to major scale harmony. There are 7 possible voicings for each key, built by stacking 4ths below each note of the major scale. It is useful to think in terms of stacking 4ths below instead of above, before the top voice for each voicing is the most dominant voice and can often be a part of the melody or countermelody. Thus for the key of C, we have:

3 Note Fourth Chords Key C

Let’s try to apply these voicings to the 4 most common chords in major scale harmony, namely I-maj7 (Ionian mode), II-m7 (Dorian mode), IV-maj7#11 (Lydian mode) and V-7 (Mixolydian mode or dominant):

3 Note Fourth Chords Key C Common Chords

In the figure above, some voicings are labeled as “avoid”, because of the presence of “avoid” notes (the 11ths of I-maj7 and V-7 chords create dissonant minor 9th intervals with the 3rds).

Note that most of these voicings do not contain all of the chord quality defining chord tones. For example, for the Cmaj7 chord, only the B-E-A voicing contains both the 3rd and the 7th necessary to define the major 7th sound. This is the reason why quartal harmony can be ambiguous, because one voicing could be applied to multiple different chords. For example, the E-A-D voicing works not only for Cmaj7, but also C6, C7, Fmaj7, Bbmaj7#11 and more:

E-A-D Applications

Let’s add one more note to the voicings, and see how they apply to the commonly encountered chords in the key of C:

4 Note Fourth Chords Key C Common Chords

With more notes added, less voicings are usable for major 7th and 7th chords due to avoid notes. The minor 7th and the major 7th #11 chords, on the other hand, do not have avoid notes. However note that not all the voicings contain the color defining chord tone for the chord. For instance, only 4 out of 7th voicings contain the color defining #11th for the major 7th #11 chord.

Adding one more note we have five note fourth chords:

5 Note Fourth Chords Key C Common Chords

And finally, six note fourth chords:

6 Note Fourth Chords Key C Common Chords

Notice that with 6 notes, there are practically no usable voicing for the major 7th chord: 6 of these voicings contain the avoid note, and 1 contains a dissonant minor 9th interval. For the 7th chord, only 1 voicing is usable while the other 6 all contain the avoid note.

While minor 7th and the major 7th #11 chords have no avoid notes and all 7 voicings are technically usable, some may better be avoided because with 6 notes in the voicings we now have occurrences of dissonant minor 9th intervals. However, these can be also used to create tension especially when playing a modal tune with relatively unchanging harmony.

It is also possible to get around the issue with the avoid notes in major 7th and 7th chords by slightly modifying the chord symbols so they become major 7th #11 and sus 7th chords respectively. If we play the major 7th chord with a #11th, we are effectively re-harmonizing it to the lydian mode of a different key. And by playing the 7th chord as a sus 7th chord, we are effectively saying the 11th is no longer an avoid note and we can use all 7 voicings freely:

Lydian and Sus7

To become familiar with the shapes of fourth voicings, one should go through all 12 keys quartalising each mode of the major scale.

Key C:
5 Note Fourth Chord Key C
Key Db:
5 Note Fourth Chord Key Db
Key D:
5 Note Fourth Chord Key D
Key E:
5 Note Fourth Chord Key E
Key Eb:
5 Note Fourth Chord Key Eb
Key F:
5 Note Fourth Chord Key F
Key Gb:
5 Note Fourth Chord Key Gb
Key G:
5 Note Fourth Chord Key G
Key Ab:
5 Note Fourth Chord Key Ab
Key A:
5 Note Fourth Chord Key A
Key Bb:
5 Note Fourth Chord Key Bb
Key B:
5 Note Fourth Chord Key B

The same chord building technique can be applied to melodic minor harmony, in which there are also diminished 4th’s in addition to perfect and augmented 4th’s:

C melodic minor:
5 Note Fourth Chord C Melodic Minor
C# melodic minor:
5 Note Fourth Chord C Sharp Melodic Minor
D melodic minor:
5 Note Fourth Chord D Melodic Minor
Eb melodic minor:
5 Note Fourth Chord Eb Melodic Minor
E melodic minor:
5 Note Fourth Chord E Melodic Minor
F melodic minor:
5 Note Fourth Chord F Melodic Minor
F# melodic minor:
5 Note Fourth Chord F Sharp Melodic Minor
G melodic minor:
5 Note Fourth Chord G Melodic Minor
G# melodic minor:
5 Note Fourth Chord G Sharp Melodic Minor
A melodic minor:
5 Note Fourth Chord A Melodic Minor
Bb melodic minor:
5 Note Fourth Chord Bb Melodic Minor
B melodic minor:
5 Note Fourth Chord B Melodic Minor

Finally, the same chord building technique can be theoretically applied to diminished harmony. By quartalising each note along the diminished scale, chord sequences with very unusual sounds arise. There are probably not many chances to apply these almost eerie sounds, but it is good to know that these possibilities exist.

C, Eb, F# and A diminished:
Diminished Harmony Fourth Voicing C Eb Gb A
Db, E, G and Bb diminished:
Diminished Harmony Fourth Voicing Db E G Bb
D, F, Ab and B diminished:
Diminished Harmony Fourth Voicing D F Ab B