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:

Download transcription as PDF file:
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:

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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.

Bb Blues - Kenny'll Make It (From Aebersold Play-A-Long Volume 42 Blues In All Keys Track 1)_Page_05

  • 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)

Two Handed Voicing With Upper Structures

Upper structure voicings are built by playing a triad in the right hand over a tritone in the left hand. They are most commonly used to voice dominant seventh chords with altered extensions with the left hand tritone defining the 3rd and 7th, and the right hand triad providing a convenience system for voicing various combinations of altered extensions.

The following example is an upper structure voicing for the chord G7b9 along with some variations based on inversions of the tritone and the triad respectively.

G7b9

Upper structures are identified by the interval between the root of the bottom chord and the root of the right hand triad. In the above example, since the interval between the root of the bottom chord (G) and the root of the right hand triad (E) is a 6th, this particular voicing is referred to as an upper structure VI.

There are many possible upper structure combinations, but the two most commonly applicable upper structures are:

  • USVI – Played on 7b9 chords from diminished harmony
  • USbVI – Played on 7alt (altered) chords from melodic minor harmony

The following shows an example of each of these two upper structures with a G7 base chord. These two are the most common dominant 7th chord alterations:

G7b9 and G7alt

Let’s try putting these voicings to work. First of all, the flat 9 is the most common alteration to the V chord in major II-V-I’s (It sounds smooth because of an implied tritone substitution). In addition, because 7b9 chords are associated with the half-whole diminished scale, the voicing for the V7b9 chord can be transposed up or down a minor 3rd (in diminished harmony, there are no avoid notes and everything that is a minor third apart are interchangeable). Thus we can voice a major II-V-I in C as follows:

Major II-V-I With Upper Structures

Or if we start with a different inversion and transpose the V7b9 voicing in the other direction:

Major II-V-I With Upper Structures 2

To get familiarized with the USVI one could try to voice II-V-I’s with it going through all 12 keys:

Descending II-V-I's By Tones From C To D With Upper Structures

Descending II-V-I's By Tones From B to Db With Upper Structures

Because there are no avoid notes in diminished harmony, not only is everything interchangeable in intervals of minor third, any chord derived from a diminished scale is interchangeable with any other chord from the same scale. This means that voicings for 7b9 chords can also be applied to diminished chords derived from the same diminished scale. In the following example, the C#dim chord is voiced with a USVI for C7b9, and the D#dim chord is voiced with a USVI for D7b9:

Diminished Voicing

Next, the USbVI can be directly applied to the Valt chord in minor II-V-I’s. In addition, recall that all three chords in minor II-V-I’s are modes from melodic minor harmony, and that everything is interchangeable for all modes from the same melodic minor scale (there are no avoid notes in melodic minor harmony), we can apply the USbVI to the other two chords as well.

The following example shows how a minor II-V-I in C minor can be voiced with upper structures:

Minor II-V-I With Upper Structures

Or if we start from a different inversion:

Minor II-V-I With Upper Structures 2

These voicings are actually very similar to the basic four note rootless voicings except for one added note. To get familiarized with the USbVI one could try to voice minor II-V-I’s with it going through all 12 keys:

Descending Minor II-V-I's By Tones From Cm To Dm With Upper Structures

Descending Minor II-V-I's By Tones From Bm To Dbm With Upper Structures

Other possible upper structures include (lower case Roman numerals denote a minor triad):

  • USII – Played on 7#11 (Lydian dominant) chords from melodic minor harmony
  • USbIII – Played on 7#9 chords from diminished harmony
  • USbV – Played on 7b9#11 chords from diminished or melodic minor harmony
  • USi – Played on 7#9 chords from diminished harmony
  • USbii – Played on 7b9b13 chords from altered scale harmony
  • USbiii – Played on 7#9#11 chords from diminished or melodic minor harmony
  • US#iv – Played on 7b9#11 chords from diminished harmony

Upper structures are typically derived from melodic minor, diminished or altered scale harmony. Although there are no avoid notes in these types of harmony, the composer of a tune may specify a particular chord over the others in order to highlight a certain note in the melody.

Let’s examine some applications of these additional upper structures in the context of tunes:

USII played on the 7#11 (Lydian dominant) chord at bar 14 of Beautiful Love:

Beautiful Love Excerpt

USbIII played on the 7#9 chord at bar 2 of Blue In Green:

Blue In Green Excerpt

USbV played on the 7b9#11 chord at bar 13 of Laura:

Laura Excerpt

USi played on the 7#9 chord at bar 11 of Inútil Paisagem:

Inútil Paisagem Excerpt

USbii played on the 7b9b13 chord at bar 34 of Chega De Saudade:

Chega De Saudade Excerpt

USbiii played on the 7#9#11 chord at bar 12 of Gloria’s Step:

Gloria's Step Excerpt

US#iv played on the 7b9#11 chord at bar 3 of Monk’s Mood:

Monk's Mood Excerpt