The II - V7 - I, V7 - I, and the II - V7 progressions are three of the most important building blocks of jazz and pop music. They are called cadences, and cadences have been an important unifying factor of all Western music. Most jazz greats have thoroughly mastered a few II - V7 progressions, and can improvise freely over them in all twelve keys.
（II - V7 - I、V7 - I 以及 II - V7 进行，是爵士乐与流行音乐里至关重要的构建模块。它们被称作终止式，而终止式一直是西方音乐中重要的统一元素。多数爵士乐大师，已熟练掌握若干 II - V7 进行，还能在十二个调上，借其自由即兴演奏 。）
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It is a good idea to analyze jazz or pop tunes (from records) and see how frequently they occur.
（分析爵士乐或流行歌曲（从唱片里找），瞧瞧这些进行出现的频率，是个不错的做法 。）
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If you have never improvised using scales and chord progressions such as are presented in this volume (Volume 3), it may be best to first examine Volumes 1 and 2 of “New Approach to Jazz Improvisation”.
（要是你从没借助本书（第三卷）呈现的音阶与和弦进行即兴演奏过，最好先研读《爵士乐即兴演奏新方法》的第一卷和第二卷 。）
& d3 G) G) h% C% zThe jazz musician takes a chord symbol and converts it to a scale or 13th chord from which to improvise. Knowing which tones will sound best and which tones will produce tension. Chord and scale are only guides for the jazzman to suggest the direction of the on - going harmony. The more familiar you are with the harmony to a given tune or chord progression, the easier it is to create melodies to go with the chords. Most jazz musicians memorize a chord progression as quickly as possible so they can take their eyes off the music and concentrate on shaping melodies.
（爵士乐手会拿和弦符号，转换成音阶或者 13 和弦，借此即兴演奏。要清楚哪些音听着和谐，哪些音会制造张力。和弦与音阶，不过是给爵士乐手指明和声走向的指引。你对某首曲子或者和弦进行的和声越熟，就越容易写出适配和弦的旋律。多数爵士乐手会尽快记住和弦进行，好把目光从乐谱上挪开，专心塑造旋律 。）
) c7 x2 [3 a6 o, ]1 ?Once you grasp chord and can apply harmony on your instrument, you are developing a deeper sense of music and an ear for chord changes. Volume 3 hopes to present you an opportunity to sharpen your harmonic awareness by improvising and practicing various patterns with the recorded accompaniment.（
一旦你掌握了和弦，还能在乐器上运用和声，你对音乐的感知会更深刻，对和弦变化的听觉也会更敏锐。第三卷期望给你创造机会，借即兴演奏以及配合录制好的伴奏练习各类模式，提升你对和声的认知 。）
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Side one contains four recorded tracks: (1) II - V7 - I, all keys, (2) II - V7, random progression all keys, (3) V7 - I, all keys, (4) bV7#9 - I, all keys. Side two contains four recorded tracks: (1) V7 Blues, (2) Bebop Tune, (3) II - V7 - I in three keys, (4) F Blues with the chord progressions on the first side of the record are taken at tempos which will allow the beginning - intermediate student to hear the root movement of each chord clearly.
（第一面有四首录制曲目：（1）II - V7 - I，所有调；（2）II - V7，随机进行，所有调；（3）V7 - I，所有调；（4）bV7#9 - I，所有调。第二面有四首录制曲目：（1）V7 布鲁斯；（2）比波普曲调；（3）三个调上的 II - V7 - I；（4）F 布鲁斯。唱片第一面的和弦进行，速度设定能让初中级学习者清晰听清每个和弦的根音运动 。）
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These first four tracks are what we call exercise or practice tracks because each track goes through all twelve keys and there are no written melodies - YOU improvise the melodies.
（头四首曲目，我们称作练习曲，因为每首都会遍历十二个调，还没现成旋律 —— 得你自己即兴编旋律 。）
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Side two presents four standard chord progressions using V7 - I, II - V7 and II - V7 - I in major and minor. The tempo is rather fast for a beginner but should serve as something to work toward - a goal of sorts. The intermediate - advanced player will welcome the tempo and will probably wish they were faster.
（第二面呈现四组标准和弦进行，用到了大调与小调里的 V7 - I、II - V7 以及 II - V7 - I。对初学者而言，速度挺快，但能当作努力方向 —— 一种目标。中高级演奏者会喜欢这速度，没准还盼着再快点 。）
* W+ X2 E' J3 X2 t! c1 A EThe supplement contains various patterns which you are to transpose to all twelve keys and practice with the recorded tracks. I suggest memorizing one or two patterns a day.（
附录里有各类模式，你得把它们移调到十二个调，再配合录制曲目练习。我建议一天记一两种模式 。）
8 N; M( K; _* T0 PPractice these patterns in all twelve keys. Practice slowly at first then gradually increase the tempo. Strive for smoothness and clean articulation on everything you play no matter what the pattern or tempo. It is particularly important to listen to current jazz players and copy their articulation and phrasing.
（在十二个调上练这些模式。一开始慢练，再慢慢提速。不管啥模式、啥速度，演奏时都得追求流畅、发音清晰。听当下的爵士乐手演奏，模仿他们的发音与节奏处理方式，尤为关键 。）
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On the tracks where the rhythm section is playing a Latin or bossa nova feel you should swing the eighths as written but in the case of a Latin feel, the eighth note is played even (sometimes called a "even - eighth" feel as opposed to the normal swing eighth note which is played long - short or tied together).
（要是节奏声部演奏的是拉丁或者波萨诺瓦风格，八分音符就照谱子弹 swing 节奏；但要是拉丁风格，八分音符得弹成均匀的（有时叫 “均匀八分音符”，和常规的 swing 八分音符一长一短或者连音不同 ）。）
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Since this record is in stereo, piano and guitar players may practice with the bass and drums by simply turning off the piano channel. Bass players may turn off the bass channel (left channel) and practice with the piano and drums on the right channel. Wind players may play with the rhythm section (piano and drums or bass and drums ).
（因为这唱片是立体声的，钢琴手和吉他手想只跟着低音与鼓练，关了钢琴声道就行。贝斯手想只跟着钢琴与鼓（右声道）练，关了低音声道（左声道）即可。管乐手能跟着节奏声部（钢琴 + 鼓，或者低音 + 鼓 ）练。）
k p K+ L) j. L3 i% NThe chord symbols/scale progressions are provided for all instruments (see Contents). Transposed chord scale use in this book are: Δ = Major 7th (Mixolydian), - = minor 7th (Dorian), C7#9 = diminished/whole tone scale, θ = half - diminished 7th (Locrian or minor with a raised second degree). When in a minor key, the II chord is usually θ (half - diminished). Instead of using II (θ) - V7#9 - I simply use θ - V7#9 - I.
（书中给所有乐器都配了和弦符号 / 音阶进行（看目录）。本书里移调后的和弦音阶用法：Δ = 大调 7 音（混合利底亚调式），- = 小调 7 音（多利亚调式），C7#9 = 减音阶 / 全音音阶，θ = 半减七和弦（洛克里亚调式，或者二级音升高的小调 ）。小调里，II 级和弦一般是 θ（半减七）。不用 II（θ）-V7#9 - I，直接用 θ - V7#9 - I 就行 。）
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Be sure to read the various pages in the supplement which give suggestions for improvising with the recorded tracks. These pages are extremely important! Consult the scale syllabus too!
（一定得读附录里那些讲配合录制曲目即兴演奏建议的页面，内容超重要！也看看音阶大纲 ！）
$ q8 b- C8 ~" h( ]4 pThe piano voicings listed in the supplement can be extremely important. Please take the time to work with them and master the sound and feel of each work voicing. They are to be played with the record. Begin by practicing without the record and work towards the tempo on the record. You can turn off the piano track (right channel) and practice with just the bass and drums on the left channel.
（附录里列的钢琴和弦配置，可能极其关键。花时间研究研究，掌握每种和弦的声响与感觉。得跟着唱片弹。先不跟着唱片练，再往唱片的速度上靠。你能关了钢琴声道（右声道），只跟着左声道的低音与鼓练 。）
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If your turntable has a pitch control you may want to alter the speed of the platter to move a recorded blues or standard to a different key. For example, the G minor blues can be speeded up to Ab minor blues or slowed down to F# minor blues. Of course you would have to transpose the chord progression to the new key. Most good jazz players can eventually transpose any melody or chord progression to any key. You should make this one of your musical goals.
（要是你的唱片机有音高调节功能，想把录制的布鲁斯或者标准曲移到别的调，调转盘速度就行。比如，G 小调布鲁斯，能加速成 Ab 小调布鲁斯，或者减速成 F# 小调布鲁斯。当然，你得把和弦进行也移到新调。多数优秀爵士乐手，最后都能把任何旋律或者和弦进行移到任意调。你该把这设成自己的音乐目标之一 。）
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雷达卡
提升卡
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沉默卡
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变色卡
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