essential elements jazz

A Comprehe nsive Metho d for By Mi Jazz St yle ke Steine l and Im provis ation yle t S z z r Ja inel o f d o Meth By Mike Ste e v i s hen e r p m A Co tion a s i v pro m I d n a From the trusted ESSENTIAL ELEMENTS family of band methods, ESSENTIAL ELEMENTS FOR JAZZ ENSEMBLE offers an exciting way to introduce young players to the world of jazz. Specifically designed to teach jazz basics to students with 1 or 2 years playing experience. #73999-DCAAGa HL90001883 Visit Hal Leonard Online at www.halleonard.com 59271EEJazz[guts]: 12/2/08 4:36 PM Page 1 DIRECTOR’S INFORMATION GUIDE ESSENTIAL ELEMENTS FOR JAZZ ENSEMBLE A COMPREHENSIVE METHOD FOR JAZZ STYLE AND IMPROVISATION By MIKE STEINEL WELCOME to the exciting world of jazz! This book will help you get started by introducing the important elements of jazz style and improvisation. You’ll also learn basic jazz theory and some highlights of the history of jazz. The exercises and compositions in this book can be played by a full jazz ensemble, or individually with the CD. Listening to good jazz players is an extremely important way to learn, and playing along with the CD is an excellent way to hear how jazz is played. The full band arrangements in this book include “sample” improvised solos for study and reference. And remember…have fun playing jazz! ABOUT THE AUTHOR Mike Steinel is an internationally recognized jazz artist and educator. He has recorded with the Frank Mantooth Orchestra and the Chicago Jazz Quintet, and performed with a wide variety of jazz greats including Clark Terry, Jerry Bergonzi, Bill Evans, and Don Ellis. Since 1987, he has been a member of the jazz faculty at the University of North Texas where he teaches jazz improvisation and jazz pedagogy. He is the author of Building A Jazz Vocabulary (a jazz text) and numerous compositions for jazz ensemble. The University of North Texas pioneered jazz education when it instituted the first jazz degree program in 1947. Its flagship ensemble, the One O’clock Lab Band has toured four continents and has been the recipient of four Grammy nominations. Throughout its history, UNT has produced a host of fine jazz talent. Alumni of the program can be found in all facets of jazz and commercial music. Managing Editor: MICHAEL SWEENEY Copyright © 2000 by HAL LEONARD CORPORATION International Copyright Secured All Rights Reserved 59271EEJazz[guts]: 12/2/08 4:36 PM Page 2 2 CDs WITH EVERY BOOK 4 One of the most important ways to learn to play jazz is by listening to professional players. Each book comes with complete recordings of every example and every full band arrangement. On the repeated exercises, the rhythm section only plays the second time. This allows students to hear the correct interpretation the first time, then play along the second time. The full band arrangements include “sample” improvised solos recorded on separate tracks for study and reference. YLE OF JAZZ ST THE BASICS Releases Attacks and c (Concert In traditional musi ) you use a Band and Orchestra n to begin a note “Tah” articulatio at the end. and taper the note ˙. Œ Doo - - - it Tah œ ‰ Œ J Jazz œ ‰ Œ J tiona ˙. & Œ AND RELEASES 1. ATTACKS l 4 Tradi w &4 ” attack (soft on to use a “Doo In jazz it is comm common n a note. It is also and legato) to begi This “tonguewith the tongue. to end the note mic feeling. rhyth a c musi stop” gives the Jazz Traditional & w Ó Swin g 8th Traditional Notes In swing Sound , the 2n d 8th no triplet, Dif an te of ea anslidgh4” ch beattime are ferent Th tly acce beat Accenting “2 cd the is actuall nted. 8ts in 4/4 rtant an Th impo l musi h no beats 2 y playe ey4 Loo d like For most traditiona hasis is usually ontes in sw 3 2 k however, the emp feeling.ing style are us 1 the las t 1 and 3. In jazz, the music a jazz ually pla third of a ing “2 and 4” gives yed leg hasizSW and 4. Emp6. ato. ING 8T Tradition H NOTES al D 4 Sing the 2 AN scat syl Jazz lables of 2. ACCENTING each ex ercise be Traditional fore you play it. Tah Tah Jazz Tah Tah Tah & 44 œ. œ. œ. œ. . >œ > œ œ œ œ & Tah 5 œ œ= œ œ œ or 3 j > œ œ .. œ> Œ œÓ >œ 3 STARTS WITH THE BASICS œ> œ- œ> œ- œ> ^ œ Accent œ Tah Tah 4 3 2 1 > >œ > œ œ > . .œ œœ œ œ. œ.œ . œ œ œ Œ - > œ œ œ- œ> ^ Tah Tah Tah -œ Œœ > > œ œ œ œ Jazz >œ œ >œ œ & 4 >œ &4 .. Ó it - - - - - Doo - - - - Œ Notes) Doo Ba h Doo Quart o and Bah (Full Value Bah Do er No value t to g Do Playin Tenu Quarter tes (tenuto) or an accent are played full note with a dash ” and “Bah” will (full value) Long , accented) Doo(full Bah value Doo Ba in swing denote s marksed h Dot syllables “Doo Bah tache In jazz, sty d (stacartic The scat (vocal) is n. le Doo o catoulatio usually ns. Remember in jazz it ) with ac are with a soft legat played articulatio unt of accent. cent of these amo d te n. soun opria s ulatio the on legat appr artic ats 2o an help you hear demonstrate the s with abe helps note Bah” value d les.“ full 4. syllab important to play vocalizing the scat is used only when = le “Dah.” “Bah” articulation 7. : The NoteQ UARTER on your instrument use the syllab S AN When articulating &œ œ & 44 œ. œ^ . D 8THS œ Œ œ- œ> œ- > ^ œ œ Œ Dit Dot œ œ & œ. œ^ Dit œ. Dit Doo Ba h Doo Bah Do t 8. MO RE QU ARTER S AND 8THS œ^ Dit œ. Dot œ. Dot œ^ Dit Dot œ- œ> œ- > ^ œ œ Œ Dit Students are shown how the approach to jazz is different than “traditional” music step by step. With the help of vocal “scat” syllables, the correct style inflections come naturally. The concept of swing 8th notes is taught gradually, using single pitches to start with, then reinforced using easy scale patterns. .. Œ .. Œ Doo Ba h Doo Bah Do t EASY INTRODUCTION TO JAZZ HARMONY 11 s (every other note chords built in third Chords ds are four-note Building Jazzd with Seventh Chords. Seventh Chor scale. notes of a major onize fifth, and seventh third, Most jazz is harm first, the uses Chord A Major Seventh Chord C Major Seventh 31. 4 C Major Scale &4 œ œ œ œ œ œ œ œ œ œ œ 5 3 1 8 7 6 5 of a scale). œ œ œ ˙ 7 5 3 1 One of the most challenging elements of jazz is learning the concept of jazz chords and harmony. Chords are taught by showing how they relate to familiar scales. Only the basic types are shown (major 7th, dominant 7th, minor 7th) and they are immediately reinforced with a series of simple exercises. ww ww nth Chord. 2 1 to a Dominant Seve d. d changes the chord the chord to a Minor Seventh Chor r Seventh Chor changes seventh) of the Majo r Seventh Chord note (called the (seventh) of a Majo note top Lowering the top and d (called the third) Chord Lowering the secon C Minor Seventh th Chord C Dominant Seven Chord 32. C Major Seventh 4 3 œ 4 &4 œ œ œ œ bœ œ œ œ œ ˙ œ bœ œ bœ œ œ ˙ œ bœ ˙ the root or the always indicates a Chord Symbol nant for example). The first letter in type (major or domi Chord Symbols. indicate the chord fic labels called ers on the right Chords have speci letters and numb The . chord the ol Chord Symb bottom note of Chord Name Cma7 C7 Cmi7 C Major Seventh th C Dominant Seven C Minor Seventh UT 37. BLUE CHORD WORKO S ENT WOHRK SEV OUT – Ro 33. MAJOR 7 ots 4 4 & 4&˙ 4 œ˙ C . ˙ ˙ ˙ -œ b œ ˙ (Cma7 ) ˙ . - ‘ ‘ > ( 7) C7 WORKOUT C ENTH CHORD DOMINANT SEV G7 34.& 4 .œ œ b œ b ˙ & 4 ˙ -˙ > ˙ 38 . . œœœœœ œ ˙ and Seve œ ˙ œ >s œ nth w F7 ‘ . .œ œ œ w œ œ œ œ œ b œ . ˙ - bœ.>œ -œ˙œ> w ˙7 œ œ œF .œ w -œ >œ ˙ . - > œ œ b . - œ ˙ ˙‘ ˙ ‘ ‘ C & n œ >œ œ b œ ˙ > ‘ G7 .œ -œ b œ ˙ > ‘ F7 œ œ œ bœ ˙ > > C7 F7 œ nœ œ œ ˙ > > Solo &’ ’ ’ ’ œ bœ œ Building th e ‘ œ nœ œ bœ ˙ Œ .. ˙. œ œ œ bœ ˙ > > 39. MAKE UP YOUR > OWN – 2-B C 7 Band ar Solos us > ing Roots , Thirds, an & Solo d Seventh s 7 Ban 44 œ œ > œ b œ œ >œ œ œ œ œ > > . - b>œ ˙ C7 (Play either note) C7 . BLUES WO > RKOUT – Roots, Th (C 7 ) C7 irds, an d Seventh s & 44 œ œ > œ bœ ˙ > 7 IMPROVISATION MADE EASY (Play either note) œ. -œ œœ> ww ‘ ˙. Œ .. ’’’’ d F ’’’’ œ œ bœ œ œ œ œ > b>œ œ > œ œ œ. -œ b œ ˙ > > 7 G 7 Band ’ ’ ’ ’ œ nœ œ > œ ˙ F œ œ œ bœ ˙ > > Dominant You can buil Scale d a “dominant scale” by inse This scale “fits rting notes ” (sounds like betwee ) the D > h C7 Solo ’ ’ ’ ’ bœ œ œ ’ ’ ’ ’ .. Building on the concept of jazz chords, the Blues Progression is taught as a series of dominant 7th chords. Improvisation is introduced gradually, starting with 2-measure phrases using only a few chord tones at a time. Students are improvising before they have a chance to be worried about it! They are shown how jazz first evolved around “jazzin’ up” the melody, and are taught basic scales to use when improvising - Blues Scale, Dominant or Mixolydian Mode, Bebop Scale, and the Dorian Mode. 59271EEJazz[guts]: 12/2/08 4:36 PM Page 3 ted a her Henderson crea n Miller, and Fletc y Goodman, Glen ic of the time. , Count Basie, Benn most popular mus the gton g Ellin e swin e Duk mad of s band” sound 40’s, the orchestra and smooth “big In the 1930’s and g. The strong beat ly Duke Ellington e music called swin and led a band near new type of danc in Washington, D.C. and 9–1974) grew up (189 his compositions gton Ellin “Duke” t remembered for mos is he Edward Kennedy ed ist, ider pian gifted Ellington is cons ough Duke was a thousand works. all of his life. Alth he wrote over one ury. is estimated that r of the 20th cent orchestrations. It ortant jazz compose imp t mos the be by many to Bank, e was born in Red Count Basie William “Count” Basi big band music 4), but his style of ’s, New Jersey (190 . In the early 1930 City sas Kan is associated with estra, a “riff” Bennie Moten Orch the ed join e Basi ing the blues specialized in play styled band that t. When arily in the midwes and performed prim over the the “Count” took Moten died in 1935 one me beca it ip his leadersh tertaining show band, and under the era. Evenmade him a recognizable figure the man. world over. ular jazz bands of of the most pop e Basi nt Cou h in 1984, The after Basie’s deat and please jazz tour to d inue cont 99. “BO estra Orch PPIN ’ AROUND” –world. the Full Band Arr angement # audiences%around The Swing Era JAZZ HISTORY AND PEOPLE The method book is laid out chronologically by important historical periods in the development of jazz music. While the students are learning the music, they are also learning about the important composers and performers associated with each stylistic period. Styles covered: Early Jazz, Swing Era, Bebop, Latin and Fusion. PERFORMAN CE SPOTLIGHT & 44 Œ Œ . . œ #œ œ œ nœ Mike Steinel œ nœ œ œ bœ Œ œ bœ nœ œ ˙ . œ œ œ œ œ nœ > ˙ . > œ œ bœ œ ^ Œ Œ œ bœ nœ œ ^ - œ œ œ œ œ nœ œ œ Œ # - œ 1. To Coda & œ # œ n œ œ œ œ œ # œ œ. # œ n œ> ˙ fi 2. div. ^ Œ œ bœ nœ œ ^ {14} Solos œ œ œ œ n œ œ Ó .. œ œ œ # œ n n œœ œœ Ó # G7 & .. w w w w w w n w # w w C7 ’’’’ ’’’’ ’’’’ # G7 w w w nw w w b w n w w ’ ’ ’ ’ D7 & w w w w w w nw # w w 7 ’’’’ w w w w # w w ’ ’ ’ ’ G w w w w w n w # w w D.S. al Coda # w w w w fi CODA ’ ’ ’ ’ .. # ^ & Œ œ bœ nœ œ div. œ œ œ œ nœ œ Ó ^ Œ œ bœ nœ œ œ œœ œœ Ó œ œ 100. DEMON œ STRATION SOL O FOR “BOPPIN’ ARO # G7 œ œ n œ œ UND” œ œ œ bœ & 44 Œ C7 œÓ nœ œ œ nœ œ œ #œ nœ œ ˙ ‰ œjœ œ b œ œ ´ œ b œ œ n œ Œ ‰ œ # G7 œ œ 7 J D # n œ œ & œ n œ# œ œ œ b œ œ G7 ˙ Œ œ œ œ œ œ #œ nœ œ œ œ bœ œ nœ œ 7 ∑ #G œ œ œj œ . & œ œ#œ œ œ#œ œ nœ œ ^ C7 œ œ œ œ . œj œ œ ∑ œ bœ œ œ œ Œ œ b œ bœ bœ bœ # G7 D7 & n œjœ . œ Œ Ó Œ ‰ œ œ œ œ´ œ œ G7 J œ n œ # œj œ . n œ Œ ∑ œ œ œ ˙. # 3 3 & œ nœ #œ œ œ nœ œ œ œ bœ 12A 7 FULL BAND ARRANGEMENTS Carefully paced throughout the book, these full arrangements provide a focal point for the material in each unit. They also provide rewarding performance pieces even in the beginning stages. The arrangements start out very easy and then gradually progress in complexity as more techniques and concepts are learned. QUICK START THE RHYTHM SECTION Critical to the success of any jazz ensemble is having a rhythm section that can play in a stylistically correct manner. In addition to learning concepts along with the other instruments, each rhythm section book includes additional material specifically designed to address the unique techniques of these important players. This allows the rhythm section to play along with the full band in a rehearsal setting, but also gives each player the individualized information they need. FOR PIANO ONLY Jazz Chord Voicings which notes are used ways. The way a specific chord is played and Jazz Chords can be played many different or as many as eight or more. Jazz voicings can have as few as two notes 4 C ma7 nt Thirds and Sevenths are Importa minor, These notes determine the quality (major, this or dominant) of the basic chord. Notice in only example how simple voicings made up of complete. roots, thirds, and sevenths sound full and &4 w 3 ? 4 ww 7Root 4 C mi7 w3 bw 7 w Root bw 3 bw 7 w Root Ninths, Elevenths, and Thirteenths Extended C Major Scale w w w 4 w w w w &4 w often To make jazz voicings sound jazzy, pianists and include upper extensions (ninths, elevenths, are thirteenths) in the chord voicing. These notes notes of the same pitches as the 2nd, 4th, and 6th the major scale from which the chord is built. Note: Ninths and thirteenths can be added 8 10 9 11 even though the chord symbol indicates Comping With Jazz Voicings 12 is called a Voicing. C7 13 14 C Major Thirteenth Chord (C ma 13 ) www www w 15 a seventh chord. 6A the rest of the band. In order to achieve this, must compliment and not compete with It is important to remember that “comping” information with the least amount of notes. that supply the most necessary harmonic pianists and guitarists improvise chord voicings FOR adequate The Ride or four-note combinations. These provide an DRUMS ONLY two-, three-, Cymbal to start with best is it chords, voice to learning first In When you are marked harmonized three different ways. progression a blues isjazz “swing” the thick or muddy. Heresup ride cymbal picture of the harmony without sounding ply the rhyt reinforces the hmic foundati qua rter note wal on of swing king bass line music. provided by the bass play er. These two instruments B b 7 E b 7 F7   The BaBsic 3 7 7 3 Ride 7 Cy 3 3 mb The 7 al ride cymbal Pattern 3 pattern is usu faster tempos ally played in a triplet feel the eighth not , however it es are played is not always more evenly. strict. At slow In this book tempos the The basic Ride we will always pattern is very notate the ride Cymbal Patt triplety but ern is and hs) pattern in eigh not thirteent at ated ninths, , as: th notes. (thirds, sevenths (thirds and sevenths) Blues in Bb using two-note voicings b7 b7 B b 7 w3 ? b 44 b w 7 b ‘ ‘ ‘ bEww  7 Blues in Bb using three-note voicings These voicings are used for exercises 37–39 B b 7 b4 & b 4 ww 133 ‘ ‘ and 41–45. ‘ E b 7 ‘ b ww ‘ w nw b ww E b 7 b 7 bal Pattern F7 BCym sounds like The basic Ride ‘ ww 97 n ww 133 b ww 97 The Basicb Swing Pa n ‘ : b ww 97 b ww ‘ ÷ 44 ‹ ‹ ‹ ‹ ‹ ‹ B b 7 ÷ 44 ‹ w 3 ‘ 3 n w 133‹ ‰ ‹ ‹ ‹ ‰ ‹ b ttern – Pla This is the bas ic swing patt ying “time ern for Jazz ” Drumming (with and with out bass dru m). Practice each until they ÷ 44 œ‹ ‹ ‹ ‹ ‹ ‹ . ‹œ œ ‹œ . Achieving Va i t ÷ 44 ‹ ‹ ‹ ‹ ‹ ‹ . Œ ‹ Œ ‹ . are “automa tic”. 59271EEJazz[guts]: 12/2/08 4:36 PM Page 4 4 THE BASICS OF JAZZ STYLE Attacks and Releases Traditional & ˙. In traditional music (Concert Band and Orchestra) you use a “Tah” articulation to begin a note and taper the note at the end. Jazz & ˙. Œ Tah In jazz it is common to use a “Doo” attack (soft and legato) to begin a note. It is also common to end the note with the tongue. This “tonguestop” gives the music a rhythmic feeling. Œ Doo - - - it 1. ATTACKS AND RELEASES Traditional 4 w &4 Jazz œ J ‰ Œ w Ó Tah œ J ‰ Œ .. Ó Doo - - - - - - - - - - it Accenting “2 and 4” Traditional > 1 3 > Jazz > > œ œ œ œ & &œ œ œ œ For most traditional music the important beats in 4/4 time are 1 and 3. In jazz, however, the emphasis is usually on beats 2 and 4. Emphasizing “2 and 4” gives the music a jazz feeling. 2 4 1 2 3 4 2. ACCENTING 2 AND 4 Traditional > 4 &4 œ > œ œ > œ œ > œ œ Jazz œ œ œ> œ œ> œ> œ œ> .. œ Œ Ó -œ œ> Tenuto (full value) Long Accent (full value, accented) Doo Bah Playing Doo and Bah (Full Value Notes) In jazz, notes marked with a dash (tenuto) or an accent are played full value with a soft legato articulation. The scat (vocal) syllables “Doo” and “Bah” will help you hear the sound of these articulations. Remember in jazz it is important to play full value notes with a legato articulation. œ Note: The “Bah” articulation is used only when vocalizing the scat syllables.“ Bah” helps demonstrate the appropriate amount of accent. When articulating on your instrument use the syllable “Dah.” 3. DOO AND BAH Traditional > 4 &4 ˙ Tah > > Jazz > ˙ œ œ ˙ Tah Tah Tah Tah ˙ ˙ œ œ> ˙ Doo Doo Doo Bah Doo 4. DIT AND DOT Traditional . . 4 &4 œ Œ œ Tah œ. œ. œ. Œ Œ Tah Tah Tah 5. DOO, BAH, DIT, AND DOT 4&4 ˙ Doo ˙- Doo -œ œ> Doo Bah Tah œ^ Staccato (short, unaccented) Roof Top Accent (short, accented) Dit Dot -œ œ> Doo Bah œ. œ^ œ. œ^ Dit Dit œ. Dit Dit Œ œ. Dit Œ Œ Doo - - - - it œ. Œ œ. Œ Jazz œ œ. Playing Dit and Dot (Short or Detached Notes) In jazz, notes marked with a staccato or a roof top accent are about half of full value. The scat syllables “Dit” and “Dot” will help you hear the sound of these articulations. .. ˙ Dot Dit Dot œ. œ^ œ. œ^ Dit Dot Dit Dot .. œ^ Œ Ó Dot .. œ^ Dot Œ Ó 59271EEJazz[guts]: 12/2/08 4:36 PM Page 5 5 Swing 8th Notes Sound Different Than They Look 3 œ œ=œ œ œ > In swing, the 2nd 8th note of each beat is actually played like the last third of a triplet, and slightly accented. 8th notes in swing style are usually played legato. 6. SWING 8TH NOTES Sing the scat syllables of each exercise before you play it. Traditional . . . 4 &4 œ œ œ œ. œ. œ. œ. œ. œ. œ. Œ Tah Tah Tah Tah Tah Tah Tah Tah Tah Tah Quarter notes in swing style are usually played detached (staccato) with accents on beats 2 and 4. 7. QUARTERS AND 8THS Dit œ^ œ. Dot Dit Œ Dit ^ œ œ. œ Dot Dit Dot Important Tip: ^ Ó -œ >œ -œ œ Doo Bah Doo Dot These are the four basic articulations in jazz and the related scat syllables for each. Quarter notes in swing style jazz are usually played staccato. œ^ œ. œ^ Dot Dit Dot -œ œ> -œ œ> œ^ Œ . &œ = œ^ œ. Dit Dot Dit ^ œ. œ Dit Dot Œ Œ ^ Ó -œ >œ -œ >œ -œ >œ -œ œ Doo Bah Doo Bah Doo Bah Doo Dot -œ œ. œ> œ^ Tenuto (full value) Staccato (short, unaccented) Long Accent (full value, accented) Roof Top Accent (short, accented) Doo Dit Bah Dot Staccato . œ^ œ. œ^ œ & Dit Dot Dit Dot .. .. Doo Bah Doo Bah Dot Notes at the ends of phrases are usually played short and accented. Jazz Articulation Review Quarter Notes œ œ. Œ Doo Bah Doo Bah Dot ^ œ > Doo Bah Doo Bah Dot Dit -œ œ> -œ œ> œ^ 8. MORE QUARTERS AND 8THS 4 & 4 œ. œ or -œ œ> -œ œ> œ^ Œ Doo Bah Doo Bah Dot &œ Quarter Notes 4. &4 œ -œ œ> -œ œ> œ^ Jazz Œ j œ œ 3 Legato -œ œ> -œ œ> -œ œ> -œ œ> Doo Bah Doo Bah Doo Bah Doo Bah Swing 8th Notes 8th notes in swing style jazz are usually played legato. .. 59271EEJazz[guts]: 12/2/08 4:36 PM Page 6 6 9. SWINGIN’ THE SCALE -œ œ> -œ œ> œ œ œ œ œ œ - - -œ œ -œ œ -œ œ œ œ ˙ œ œ -œ >œ -œ >œ - > œ œ œ > > > > > > - > - > > Doo Bah Doo Bah Doo Bah Doo Bah continue sim. Doo Bah Doo Bah Doo 4 &4 œ 10. MOVIN’ AROUND 4 &4 ^ œ. œ Dit Dot &œ . Dit ^ ^ -œ >œ -œ >œ -œ >œ -œ >œ ˙ Doo Bah Doo Bah Doo Bah Doo Bah Doo œ. œ -œ >œ -œ >œ œ -œ >œ - >œ ˙ Dit Dot Doo Bah Doo Bah Doo Bah Doo Bah Doo Dit œ -œ >œ - >œ ˙ -œ >œ -œ >œ œ. œ Dot Doo Bah Doo Bah Doo Bah Doo Bah Doo Doo Bah Doo Bah Dit Dot ^ ˙ -œ >œ -œ >œ -œ >œ -œ >œ Doo Bah Doo Bah Doo Bah Doo Bah Doo œ ^ Dot œ -œ >œ -œ >œ ˙ œ- >œ -œ >œ Dot Doo Bah Doo Bah Doo Bah Doo Bah Doo 12. TRADIN’ OFF 4 &4 ^ Trumpets œ- >œ -œ >œ œ. Trombones & œ œ -œ - > œ ^ œ œ - > > Doo Bah Doo Bah Dit Dot œ - >œ Doo Dit & œ #œ œ œ œ - > - > . Doo Bah Doo Bah Dit & -œ Doo Doo Bah & œ œ œ œ œ. - > - > Doo Bah Doo Bah Dit Dit Dot Doo Bah Doo Bah Doo Bah Doo Bah Doo œ. Doo Bah Doo Bah Dit ^ -œ >œ œ ^ œ ^ ^ œ nœ Dot ^ œ Dit Dot ^ œ Dot œ -œ >œ -œ >œ . œ Doo Bah Doo Bah Dit Dot Œ n -œ œ œ. > Doo Bah Dit œ -œ >œ -œ >œ . Doo Bah Doo Bah Dit œ Doo œ -œ > -œ >œ Dot ˙ Doo Bah Doo Bah Doo ^ -œ >œ œ ˙ Doo Bah Dot Bob Carleton œ. ˙ . œ. ˙ . Dit Dit Œ Ó Dot ^ Doo ^ Doo œ n -œ œ œ ˙ Doo Bah Doo Bah Dit Dot Doo Bah Dot Doo ˙ œ. Doo Dit Œ .. Doo -œ >œ -œ >œ # œ. Ó Dot ^ .. ˙ Doo Bah Dot Doo Bah Doo Bah Doo Bah Doo Bah ^ Doo œ œ œ #œ > - > . Bah ˙ œ- >œ -œ >œ -œ >œ -œ >œ -œ >œ -œ œ > ˙ Doo Bah Doo Bah Doo œ. ˙ . ˙. -œ >œ -œ >œ œ œ œ -œ > - > 13. JA-DA 4 &4 œ . œ All Sections œ Doo œ. Doo Bah Doo Bah Doo Bah Doo Bah Doo Bah Doo Bah Doo .. ˙ Doo Bah Dot -œ >œ -œ >œ -œ >œ -œ œ > -œ >œ -œ >œ ˙ Dot œ. ^ Saxophones œ Doo Bah Doo Bah Dit Dit -œ >œ œ -œ >œ -œ >œ 4 & 4 œ. . &œ ^ œ 11. RUNNIN’ AROUND Dit ^ .. > ˙. œ. ˙. Doo Dit Doo œ -œ >œ -œ >œ . Doo Bah Doo Bah Dit ^ œ Dot ^ œ Dot Œ Ó 59271EEJazz[guts]: 12/2/08 4:36 PM Page 7 7 When beats are played early (anticipated) or played late (delayed), the music becomes syncopated. Syncopation makes the music sound “jazzy.” Syncopation in Jazz 14. SYNCOPATING BY ANTICIPATING THE BEAT (PLAYING EARLY) 4 &4 ˙ œ> ˙ J (Syncopated) ˙ œ. œ^ œ. (Syncopated) > -œ œ ˙ œ. ˙ Anticipated Anticipated 15. SYNCOPATING BY DELAYING THE BEAT (PLAYING LATE) 4 &4 ˙ (Syncopated) > ˙ ‰ œ. œ^ œ. ˙ (Syncopated) ^ ‰ -œ œ J ˙ Delayed Delayed 16. WHEN THE SAINTS GO MARCHING IN – Without Syncopation 4 &4 Œ œ. &Œ œ. œ. ˙ œ. œ. w œ. ˙ Œ ˙ w œ. œ. œ. ˙ ˙ James Black and Katherine Purvis Œ œ w Ó 17. WHEN THE SAINTS GO MARCHING IN – With Syncopation 4 &4 Œ ^ ^ &Œ œ œ. Dot Dit œ œ. Dot Dit -œ >œ Doo w ^ Œ Bah -œ >œ ˙ œ. Doo Bah Doo j œ ˙ > Bah œ œ. Dot Dit -œ >œ Doo Bah j œ w œ. œ > Doo Doo Bah -œ œ> ˙ . Doo Bah -œ œ> -œ œ> œ. -œ œ> ˙ . Œ œ- œ> -œ œ> œ. œ^ Doo Bah Doo Bah Dit Doo Bah Doo Bah Doo Bah Dit 19. JA-DA – Full Band Arrangement – With Syncopation 4 &4 œ - œ ˙. > & œ# œ œ œ œ n -œ œ -œ œ œ. > > & nœ œ œ œ ˙ n -œ œ -œ œ ˙ > > -œ œ ˙ . œ -œ >œ -œ >œ . -œ >œ ˙ . > œ -œ n >œœ ˙˙ .. œœ œœ ˙˙ .. - > Œ ^ -œ >œ -œ >œ # œ. œ # -œœ # œœ ˙˙ .. > Œ Ó Bah 18. RHYTHM STUDY FOR JA-DA 4-> &4 œ œ ˙. w Dot Doo Bah Doo Bah Bob Carleton Arr. by Mike Steinel div. Œ -œ œ> -œ œ> ˙ # -œœ # œœ ˙˙ .. œœ œœ ˙˙ .. -> > div. ^ œ œ œ œ #œ œ -œ >œ -œ >œ # œ. œ div. œ ˙. Œ œ- œ -œ œ œ. b -œœ >œ ˙ . > > n -œ œ -œ œ ˙ > > 59271EEJazz[guts]: 12/2/08 4:36 PM Page 8 8 20. READING SWING RHYTHMS To play the correct rhythm with a good jazz feel, think (or feel) the basic 8th note pulse and the jazz syllables. To play the correct rhythm think ( œ œ œ œ ) of the underlying 8th note pulse. (œ œ œ œ) 4 > ^ &4 œ œ œ œ Ó Doo Bah Doo Dot Doo To play the correct feel think of the jazz syllables. > ^ &œ œ œ œ Ó (œ œ > Doo Dot œ -œ œ> -œ œ^ Dit Dot Doo Bah Doo Dot Dit Dit Dot Doo Dit 22. SWING RHYTHM WORKOUT #2 ^ œ œ œ œ > œ. Œ > Doo Bah Doo Bah Dot ^ œ) Dit j œ- œ . > &œ œ œ œ œ > > Doo Bah Doo Bah Dot Œ & œ œ œ œ œ. > > Doo Bah Doo Bah Dit œ œ œ. Doo Bah Doo Doo Bah > ^ œ œ Ó Doo Dot ^ œ Dot ^j œ Ó Dot œ) Dot ∑ Doo Dot œ. œ^ -œ . œ^ J Dit Dot Doo Dot œ. œ^ -œ œ. J ∑ Dot Dit Dot Doo Dit ^ œ œ œ œ œ. > > ^ œ œ œ œ œ > œ^ J œ œ. Dot Doo Œ > Doo Bah Doo Bah Dot j œ œ œ œ -œ œ . > > > Doo Bah Doo Bah Doo Bah œ œ ˙ Dit Doo Bah œ. Doo œ ˙ J Bah 24. SWING RHYTHM REVIEW 4. &4 œ & œ. - > & Jœ œ . œ^ ^ œ œ œ> œ œ> œ œ> œ œ> ˙ j œ- œ. ‰ œ œ œ œ œ ˙ > > > -œ œ. ‰ œ> œ œ> œ œ> ˙ J œ œ. J ˙ Doo Bah œ œ> œ œ> ^ œ. œ -œ œ> . J -œ -œ .. ^j œ Ó Dot ^j ‰ œ Ó -œ œ. Doo Dit Dot ^j ‰ œ Ó -œ œ. Doo Dit .. Dot œ) œ œ. ‰ œ ˙ J Doo Dit œ^ œ. ∑ Dot 23. SWING RHYTHM WORKOUT #3 Remember to keep the 8th note pulse going in your head. (œ œ œ œ) (œ œ œ œ) (œ œ œ œ ) (œ œ œ 4. &4 œ ∑ (œ œ œ œ) Doo Bah Doo Bah Dit Œ œ (œ œ œ œ) œ- œ^ œ. œ^ -œ œ. ‰ œ^ J ∑ Dot Doo Bah 4 &4 œ Dot Doo œ Doo Dit (œ œ œ œ) . ^ - > & œ œ Jœ œ . Dit (œ œ œ œ. œ^ -œ Dot œ œ. ‰ œ^ Ó J Doo Bah Doo Dot ∑ (œ œ œ œ ) (œ œ œ œ œ^ Ó Doo Bah 21. SWING RHYTHM WORKOUT #1 . œ^ 4 œ &4 Doo > Ó œ^ Ó J œ. Doo Bah Doo Dot œ) œ œ. J Doo Bah Doo Dot œ œ> œ œ^ Ó œ œ^ Ó œ .. Bah œ œ> œ œ> ˙ j œ. ‰ œ œ œ œ œ ˙ > > > œ. ‰ œ> œ œ> œ œ> ˙ J .. 59271EEJazz[guts]: 12/2/08 4:36 PM Page 9 9 ”Jazzin’ Up” the Melody with Syncopation Syncopation is the first step to improvising in a jazz style. Early jazz musicians syncopated all types of music, including marching band tunes, hymns, and blues songs. They called it raggin’ the melody. 25. “JAZZIN’ UP” A-TISKET A-TASKET ^ Original Melody 4 & 4 œ. ˙ œ œ . . ^ ^ ^ ^ Jazzed Up (syncopated) Melody & œ. ˙ Dit œ Dit Dot Doo Bah œ >œ œ. Dit ˙ > Dit ^ &œ . œ œ œ. Doo ^ ^ ^ ˙ œ œ. œ. œ œ œ ˙ œ Œ œ. œ œ œ œ. œ ˙ . . . Doo Dot œ Doo Bah œ œ œ. Dot ^ ˙ > Dit Doo Bah œ >œ ˙ œ. œ œ. Doo Dit Dot Dit œ Bah œ > Dit ^ œ œ œ œ. ^ œ. œ œ œ ˙ œ. . Doo Œ œ. Dit ˙ ^ œ Bah Dot ”Jazzin’ Up” the Melody by Adding Rhythms Adding rhythms to a melody is another easy way to improvise in a jazz style. Start by filling out long notes with repeated 8th and quarter notes. Remember to swing the 8th notes (play legato and give the upbeats an accent). 26. “JAZZIN’ UP” JINGLE BELLS 4 Original Melody ^ &4 œ œ ˙ . ^ ^ œ. œ ˙ ^ ^ ^ ^ ^ œ. œ œ œ w . œ. œ œ. œ œ. œ ˙ œ œ œ œ ˙ œ œ œ >œ œ > . ^ œ. œ œ. œ J. Pierpont w Jazzed Up Melody (rhythms added) &œ œ œ œ ˙ > > Doo Bah Doo > Bah ^ Bah Doo Bah Doo Bah Dit œ œ œ œ > œ. œ œ œ œ œ œ œ. > > Dot Doo Bah Dot Dit Doo Bah Doo Bah Doo Bah Dit &œ œ œ œ œ > > . Doo Bah Doo Bah Dit Doo Bah Doo ^ > > œ >œ w œ œ w Doo Doo Bah >Bah MAKE UP YOUR OWN (IMPROVISE) 27. LONDON BRIDGE Complete the melody in your own “jazzed up” way. Use only the notes shown in parentheses. Original Melody 4 & 4 œ. ^ ^ Slashes on the staff indicate when to improvise. ^ œ œ œ œ œ ˙ . . Jazzed Up Melody Band ^ ^ œ. œ ˙ Solo & œ œ œ œ. œ œ œ œ ˙ (’œ œ’œ)’ ’ . > > Band ^ ^ &œœœ œœœ œœœœ ˙ œ œ œ >œ > > > > > ^ ^ ^ ^ œ. œ œ. œ œ œ ˙ . œ. œ ˙ ^ Band ’’’’ œ œ œ œ œ > . ( œ œ œ) ˙ œ œ œ >œ ˙ > ˙ ˙ œ. ˙ . Solo œ. œ >œ ˙ ’’’’ ’’’’ œ (œ œ ) (œ ) Solo – complete the melody ’’’’ ’’’’ ’’’’ ’’’’ Helpful Hint: Using The Melody Is Never Wrong When starting to improvise, keep the melody in your mind. It is a helpful guide for beginning improvisers. 59271EEJazz[guts]: 12/2/08 4:36 PM Page 10 10 16 Improvising on the Melody Jazz musicians often improvise “on” or “around” the melody of a song. There are many ways to change a melody to create an improvisation. 53. ST. LOUIS BLUES – Original Melody #4 œ & 4œ œœ ˙ # ‰ j œ œ b œ. -œ œ w #œ > ˙. & w Œ ˙. œœœœ ˙ Œ ‰ b œ œ œ œ. -œ œ w J > œ œ œ œ ˙ 54. ST. LOUIS BLUES – Changing Rhythms & #4 4 # & w ˙ j œ. œ - œ œ œ œ œ b-œ œ. ‰ œ w > > ˙. Œ ‰ j œ œ b œ. -œ œ #œ > ˙. œ. œ. -œ œ œ > ˙. Œ ^ œ. œ œ. œ œ œ # œ œ œ b œ œ œ œ Œ ‰ b œ œ œ -œ œ. ‰ œj w J > ˙. Œ 55. ST. LOUIS BLUES – Repeating Parts of the Melody When there are pauses in the melody, repeat notes or groups of notes. #4 œ . . œ & 4 œ œ œ œ œ œ œ œ œ b œ -œ œ ˙ b œ -œ œ ˙ . . > > # & w ˙. Œ œ œ œ œ œ œ œ Œ œœœœœœœ ‰ bœ œ œ œ œ œ œ w J b œ. œ. œ œ -œ >œ ˙. Œ 56. ST. LOUIS BLUES – Filling in the Skips Skips in the melody can be filled in with the scale steps. # 4 . œ. œ œ œ œ œ œ œ œ œ bœ œ w & 4œ œ # & w ˙. Œ œ œ œ œ œ œ œ . ˙. Œ œœœœ˙ b œ. -œ œ w œ œ œ œ > b œ. -œ œ œ œ œ œ > ˙. Œ 57. ST. LOUIS BLUES – Adding “Wrong” Notes (Chromatic Ornamentation) A “wrong” or dissonant note (usually a half step off ) can create a great jazz effect if it leads into a “good” melody note. # 4 > . œ> . & 4 œ b œ n œ œ œ œ œ # œ œ œ b œ -œ œ w > # & w ˙. Œ a œ n œ # œ. œ œ œ > > ˙. Œ b œ. œ # œ œ. œ œ œ >œ œ œ œ œ -œ >œ > b œ œ œ œ œ. -œ œ w > ˙. Œ 59271EEJazz[guts]: 12/2/08 4:36 PM Page 11 1117 PERFORMANCE SPOTLIGHT 58. ST. LOUIS BLUES – Full Band Arrangement #4 Intro & ~5} 4 4 # ‰ j œ œ b œ. #œ .. œ œ œ œ ˙ ‰ j œ b œ. #œ œ & œ œ œ œ ˙ -œ œ > -œ œ w ˙. ˙. Œ œ œ œ œ ˙ > w 1. # W. C. Handy Arr. by Mike Steinel ^ 2. div. -œ œ . Œ ‰ b œ œ . ˙ b œœ œœ & ˙. - œ w J œ . > - ^ {19} G 7 Solos C7 œœ œœ Play 1st time only # . (˙˙ .. ) & . ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ Œ > -œœ -œœ œœ^ Œ -œœ œœ ’ ’ ’ ’ ’ ’ Solo starts here (use the melody as a guide for improvisation) D7 C7 G7 # G7 & ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ .. {31} Full Ensemble (Dixie-Style) # œ. œ œ œ> œ & œ # > œ # œ œ. œ n œ œ . j œ ^ . œ œ œ œ œ -œ œ Œ œ œ œ. œ œ œ œ œ b œ œ œ. œ œ œ a œ. œ œ œ œ œ U . div. ^ œ œ œ œ. œ œ œ œ œ b œœ œ œœ œœ. œœ œœ ‰ Jœ n œ œ b œœ œ œœ œ Œ n b-œœ œœ ˙˙ bœ nœ > - . & b œ œ œ. œ. œ œ ˙ > ^ # . b œ & -œ œ Ó n œ. œ œ œ œ œ œ ˙ . œ œ œ œ b-œ œ œ 59. DEMONSTRATION SOLO FOR ST. LOUIS BLUES # 4 Gœ.7 œ œ . œ œ œ œ œ ˙ & 4 J # G7 & ˙. b œ. œ œ œ œ œ >œ œ œ œ ˙ D7 ^ Œ œ nœ #œ œ #œ œ œ . œ œœ ˙ G7 ^ j . b œ œ œ œ œ œ. œ œ œ ˙ . œ nœ > } D7 Œ ∑ œ œ œ. œ œ œ. b œ œ œ œ œ. œ œ œ œ œ. œ œ œ. > C7 # GŒ7 œ. œ œ œ œ œ œ . œ . œ b œ œ œœœ œœ w & J J . > # G7 & ˙. C7 C7 œ œ œ bœ œ œ . . C7 7 G œ œ œ. b œ. œ œ ˙ > Œ œ œ b œ. œ œ . œ> ^ ‰ j œ œ b -œ œ œ Ó œ 59271EEJazz[guts]: 12/2/08 4:36 PM Page 12 12A 12 FOR PIANO ONLY Jazz Chord Voicings Jazz Chords can be played many different ways. The way a specific chord is played and which notes are used is called a Voicing. Jazz voicings can have as few as two notes or as many as eight or more. C ma 4 &4 w 3 7 Thirds and Sevenths are Important These notes determine the quality (major, minor, or dominant) of the basic chord. Notice in this example how simple voicings made up of only roots, thirds, and sevenths sound full and complete. ? 4 ww 7 4 Ninths, Elevenths, and Thirteenths To make jazz voicings sound jazzy, pianists often include upper extensions (ninths, elevenths, and thirteenths) in the chord voicing. These notes are the same pitches as the 2nd, 4th, and 6th notes of the major scale from which the chord is built. 4 &4 w 8 Root C7 C mi7 w3 bw 7 w Root bw 3 bw 7 w Root w w w w w w w Extended C Major Scale 9 10 11 12 13 14 C Major Thirteenth Chord (C ma 13 ) ww ww www 15 Note: Ninths and thirteenths can be added even though the chord symbol indicates a seventh chord. Comping With Jazz Voicings It is important to remember that “comping” must compliment and not compete with the rest of the band. In order to achieve this, pianists and guitarists improvise chord voicings that supply the most necessary harmonic information with the least amount of notes. When you are first learning to voice chords, it is best to start with two-, three-, or four-note combinations. These provide an adequate picture of the harmony without sounding thick or muddy. Here is a blues progression harmonized three different ways. Blues in Bb using two-note voicings (thirds and sevenths) B b 7 w3 ? b 4 bw 7 b 4 b7 ‘ ‘ ‘ bEww   7 3 B b 7 ‘ b ww 37 Fw7 ‘ nw b7 7 3 B b 7 b Eww  7 b ww 37 3 ‘ Blues in Bb using three-note voicings (thirds, sevenths, ninths, and thirteenths) These voicings are used for exercises 37–39 and 41–45. bb 4 4 B b 7 ww 13 3 ? b 4 bw 7 b 4 & ‘ ‘ ‘ ‘ ‘ ‘ E b 7 b ww 97 w3 B b 7 ‘ ‘ n ww 133 bw 7 ‘ ‘ F7 E b 7 B b 7 ww 97 b ww 97 nw 3 w3 n ww 133 bw 7 ‘ ‘ Note: In a jazz chord, the Thirteenth (which is actually the 6th note of a scale) is often used in place of the fifth. Blues in Bb using four-note voicings B b 7 b4 & b 4 www 113 3 ? b 4 bw 7 b 4 ‘ ‘ ‘ ‘ ‘ ‘ E b 7 w b ww 759 w3 B b 7 ‘ ‘ w1 n ww 13 3 bw 7 F7 ‘ ‘ E b 7 ww 59 w7 w b ww 759 nw 3 w3 B b 7 w1 n ww 13 3 bw 7 ‘ ‘ 59271EEJazz[guts]: 12/2/08 4:36 PM Page 13 13 12B FOR PIANO ONLY How to Build Jazz Voicings Although voicings are often provided for you in the music you play, it is important to be able to build your own voicings. Here is a simple procedure. 1. 2. 3. 4. 5. Find the notes of the chord (all the way to the thirteenth) Omit the root and fifth For best results put the third or seventh at the bottom Add ninths and thirteenths to make the chord sound jazzy Connect smoothly between chords (keep common tones if possible and move voices by step) The Importance of Three-Note Voicings Three-note voicings are very important to jazz pianists because they can be played by one hand. Jazz pianists use three-note voicings three ways. 1. As a chord in the left hand while the right hand improvises a melody 2. As a chord in the right hand while the left hand plays a bass line (when there isn’t a bassist) 3. As a chord in the left hand while the right hand adds notes to fill out the voicing Six Basic Three-Note Voicings By following the guidelines in the box above you can build two basic voicings for each of the three basic chord qualities (Major, Dominant, and Minor). Note: Ninths and thirteenths can be added even though the chord symbol indicates a seventh chord. 9 7 3 5 or 13 3 7 C7 C ma7 Piano ? ww 97 w3 C mi7 b ww w C7 C ma7 b ww b w ww 13 b w 37 & ww 5 w C mi7 3 7 w5 b b ww 37 When chords change, keep the motion between chord voices to a minimum. Avoid voicings entirely above or below middle C. G7 C7 ww w & F7 ww bw b ww w Two-Handed Voicings Often pianists will need to play voicings that use both hands. These are the most commonly used when accompanying the entire band or when added excitement is needed. Expanding Three-Note Voicings One of the easiest methods of producing excellent two-handed voicings is to expand the basic three-note voicing by adding notes in the right hand which fill out the chord. Here are three simple ways to do that: Basic Three-Note Left Hand Voicing Adding the Root in Octaves B b 7 B b 7 & ? ˙˙ 13 3 b˙ 7 1 1 L.H. b˙ b ˙˙ ˙ b˙ Adding a Triad Built on the Root of the Chord Adding Root, Fifth, and Ninth B b 7 B b 7 R.H. 13 3 7 5 3 1 L.H. ˙ b ˙˙˙ ˙ b˙ R.H. 13 3 7 1 5 9 L.H. ˙˙ ˙˙ ˙ b˙ R.H. 13 3 7 59271EEJazz[guts]: 12/2/08 4:36 PM Page 14 12A 14 FOR BASS ONLY Constructing Bass Lines Although all of the exercises and songs in this book will have bass lines written in the part, it is important that young bassists know how to build simple “walking” bass lines. Remember these bass lines are for jazz which is marked “swing” and in 4/4 time. Effective walking bass lines provide the harmony (notes of the chords) in a smooth and melodic fashion. The most important note in the harmony is always the root, however a bass line made up entirely of roots sounds boring: B b 7 œ œ œ œ ? b4 b 4œ œ œ œ B b 7 ? b b œ œ œ œ œ œ œ œ œ œ œ œ F7 œ œ œ œ œ œ œ œ E b 7 œ œ œ œ E b 7 œ œ œ œ œ œ œ œ B b 7 œ œ œ œ œ œ œ œ A bass line which arpeggiates chord tones sounds slightly better. It provides a complete picture of the harmony, however it does not sound smooth or melodic: b7 B  bœ ? b4 œ œ b 4œ b7 B  ? b œ bœ b œ œ bœ œ œ œ œ bœ œ œ bœ œ œ œ F7 œ œ œ œ bœ œ œ œ œ bœ œ œ E b 7 œ bœ œ œ E b 7 B b 7 œ bœ œ œ œ bœ œ œ œ bœ œ œ Two Basic Walking Melodies – 1, 2, 3, 5 and 8, 7, 6, 5 You can build effective bass lines with two basic melodies (1, 2, 3, 5 and 8, 7, 6, 5). The numbers indicate which scale tones are to be used. Notice that each melody starts with the root (1 or 8) of the chord. Providing the root on beat 1 of each bar is an important role for the bassist. Notice that each of these melodies contain three chord tones and one scale tone. Each is harmonically and melodically strong. 1, 2, 3, 5 C ma7 ?4 œ œ œ œ 4 8, 7, 6, 5 C7 œ œ œ œ C mi7 œ œ œ bœ Cœma7 œ œ œ Cœ 7 bœ œ œ Cœmi7 bœ œ œ 59271EEJazz[guts]: 12/2/08 4:36 PM Page 15 6A 15 FOR DRUMS ONLY The Ride Cymbal In jazz marked “swing” the ride cymbal reinforces the quarter note walking bass line provided by the bass player. These two instruments supply the rhythmic foundation of swing music. The Basic Ride Cymbal Pattern The ride cymbal pattern is usually played in a triplet feel, however it is not always strict. At slow tempos the pattern is very triplety but at faster tempos the eighth notes are played more evenly. In this book we will always notate the ride pattern in eighth notes. The basic Ride Cymbal Pattern is notated as: ÷ 44 ‹ ‹ ‹ ‹ ÷ 44 ‹ ‹ ‰ ‹ ‹ ‹ ‰ ‹ 3 The basic Ride Cymbal Pattern sounds like: ‹ ‹ 3 The Basic Swing Pattern – Playing “time” This is the basic swing pattern for Jazz Drumming (with and without bass drum). Practice each until they are “automatic”. ‹ ‹‹‹ ‹‹ ÷ 44 œ œ œ œ .. ‹ ‹ ‹ ‹‹‹ ‹‹ .. ÷ 44 Œ Œ ‹ ‹ Achieving Variety of the Ride Pattern Although many drum parts are notated with a strictly repetitive ride cymbal pattern, in practice jazz drummers use a wide variety of cymbal rhythms. Practice each of the rhythms below so that you can execute them with steady time and good feel. When playing the exercises and songs in this book feel free to use any of the rhythmic patterns listed below. 1. ÷ 44 5. ‹ ‹ ‹ ‹‹ . Œ ‹ Œ ‹ . ‹ ‹‹‹‹‹ .. ÷ 44 Œ Œ ‹ ‹ 2. ÷ 44 6. ‹ ‹‹‹ ‹ . Œ ‹ Œ ‹ . ‹‹‹ ‹ ‹‹. ÷ 44 Œ . ‹ Œ ‹ 3. ÷ 44 7. ‹ ‹ ‹‹‹ . Œ ‹ Œ ‹ . ‹‹‹‹‹ ‹ . ÷ 44 Œ . ‹ Œ ‹ 4. ÷ 44 ‹‹‹ ‹ ‹ . Œ ‹ Œ ‹ . 8. ‹ ‹ ‹‹‹‹ .. ÷ 44 Œ Œ ‹ ‹ Using the Bass Drum in the Swing Pattern When playing the basic swing pattern the bass drum can play quarter notes on all four beats of the bar very softly or it can be omitted. It is important to develop a very light bass drum as it can easily sound heavy and cover up the notes of the bass line. It is often said that the bass drum should be “felt but not heard”. 59271EEJazz[guts]: 12/2/08 4:36 PM Page 16 16 27 Dizzy Gillespie Charles Christopher Parker (1920–1955) who was known to jazz fans as “Bird” grew up in Kansas City. As a young boy he idolized Count Basie’s star tenor saxophonist, Lester Young. “Bird” became a virtuoso performer on alto sax whose solos displayed fire, brilliance, and a keen understanding of the blues. Although he died before he received the recognition he deserved, his style became widely studied and imitated. John Birks Gillespie (1917–1993) was born in South Carolina. While touring with the Teddy Hill Band, he earned the name “Dizzy” because of his clowning and horseplay. His main influence was Roy Eldridge who was perhaps the most brilliant trumpet soloist of the swing era. In addition to being a great trumpeter,“Dizzy” was an entertaining showman. His puffed cheeks and bent horn made him a recognizable figure the world over. Charlie Parker PERFORMANCE SPOTLIGHT 99. “BOPPIN’ AROUND” – Full Band Arrangement #4 % Mike Steinel Œ œ bœ nœ œ œ & 4 Œ Œ .. œ # œ œ œ n œ œ n œ œ œ b œ œ ˙ œ œ. œ n >œ ˙ . > 3 ^ ^ # 3 & œ n œ # œ œ œ n œ œ œ œ b œ œ œ b œ -œ œ Œ Œ œ b œ n œ œ œ œ œ œ n œ œ œ œ Œ 1. 2. To Coda fi ^ div. ^ . > # œ #œ nœ œ # œ œ # œ n œ ˙ œ . œœœ Ó . œ œ nœ œ Ó Œ bœ nœ œ & œ #œ n œ œ œ œ œ œ nœ œ {14} Solos C7 # . G7 w w w w n w # w w & . ww ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ w w w nw w w b w n w w ’ ’ ’ ’ D7 G7 # G7 w w w w n w # w w w n w # w w D.S. al Coda. w w w # w w w w w w w & w ’ ’ ’ ’ w w #w w ’’’’ w ’’’’. fi CODA div. ^ ^ # Œ œ bœ nœ œ œœ œœ Ó œ Ó Œ b œ n œ œ & œ œ œ œ œ nœ œ œ œ œ 100. DEMONSTRATION SOLO FOR “BOPPIN’ AROUND” # 4 GŒ7 œ œ n œ œ œ œ œ b œ Ó œ & 4 # G7 œ nœ œ œ #œ nœ ˙ œ nœ œ D7 ‰ j œ œ b œ œ ´ œ bœ œ n œ Œ ‰ œ J œ C7 G7 œ œ Œ œ œ œ œ œ œ #œ nœ œ bœ œ nœ œ ∑ & n œ œ# œ œ n œ# œ œ b œ œ ˙ œ œ œ œjœ . ^ C7 # G7 j œ œ # œ n œ ∑ Œ œ œ b œ œ b œ œ œ bœ bœ bœ œ œ œ œ. œ œ œ & œ œ#œ œ œ # G 7j & nœ œ . œ Œ D7 Ó G7 Œ ‰ œ œ œ œ´ œ œ œ n œ # œj œ . n œ J œ œ œ ˙. Œ ∑ 59271EEJazz[guts]: 12/2/08 4:36 PM Page 17 Correlated Arrangements • Grade 1.5 • Written for full band, playable with 3 Saxes, 2 Tpts., 1 Tbn., Rhythm Section • Each arrangement is a self-contained teaching unit with exercises for Melody, Rhythm, and Improvisation • Full-length recordings included with each arrangement ALL OF ME COMIN’ HOME BABY arr. Michael Sweeney 07011159/$40.00 arr. Michael Sweeney 07011057/$35.00 BALLAD FOR A BLUE HORN JA-DA Mike Steinel 07010955/$40.00 arr. Michael Sweeney 07010832/$40.00 BASIN STREET BLUES MISTER COOL arr. Michael Sweeney 07010951/$35.00 Mike Steinel 07011061/$35.00 BLUES FOR A NEW DAY ON BROADWAY Mike Steinel 07010836/$40.00 arr. Michael Sweeney 07010838/$40.00 BOSSA DE CANCUN PERFIDIA Mike Steinel 07011457/$40.00 arr. Dominguez/Sweeney 07011165/$35.00 BUBBERT GOES RETRO RIFFOLOGY Mike Steinel 07011055/$40.00 Mike Steinel 07011163/$35.00 BUBBERT GOES UNDERCOVER SATIN DOLL Mike Steinel 07010834/$35.00 arr. Michael Sweeney 07010740/$40.00 BUBBERT GOES WEST SO THERE! Mike Steinel 07011293/$40.00 Michael Sweeney 07011059/$35.00 BUBBERT IN LOVE SO WHAT Mike Steinel 07011459/$40.00 arr. Michael Sweeney 07010742/$40.00 BUBBERT KICKS BACK SONG FOR SAN MIGUEL Mike Steinel 07010953/$35.00 Mike Steinel 07011295/$40.00 BUBBERT’S GROOVE SUNDAY AFTERNOON Mike Steinel 07010748/$40.00 Mike Steinel 07010746/$35.00 BUBBERT TAKES THE TRAIN TAKE THE “A” TRAIN Mike Steinel 07011161/$35.00 arr. Michael Sweeney 07010925/$40.00 59271EEJazz[guts]: 12/2/08 4:36 PM Page 18 ESSENTIAL ELEMENTS JAZZ PLAY-ALONG (Jazz Standards) By Michael Sweeney and Mike Steinel A great resource for: ➺ Teaching improvisation ➺ Combo performance ➺ Jazz Ensemble supplementary study At last, a jazz play-along book for developing players! Besides being a perfect introduction to some of the bestknown jazz standards, this book includes hints for improvising (every tune!), a guide to jazz articulations, a scale/chord correlation chart, and biographical sketches of key jazz figures. And if that weren’t enough, each tune comes with its own sample solo for reference or performance, and the professionally recorded CD/CD-ROM includes tempo adjustment software for students to start at their own pace and gradually “ramp” it up! Includes: Now’s the Time • Killer Joe • Blue Bossa • C-Jam Blues • Footprints • Song for My Father • Autumn Leaves • Freddie Freeloader • St. Thomas • Blue Train. 00841987 B b , E b & C Instruments ..................................$14.99 00841988 Flute, F Horn, Tuba ........................................$14.99 00841989 Rhythm Section ..............................................$14.99 (includes bass lines, piano voicings, and drum patterns) 60 CD FREDDIE FREELOADER %: FULL PERFORMANCE ˘: RHYTHM SECTION ONLY E∫ Version By Miles Davis Medium Swing G7 # ˙ & 44 P G7 & # ˙ 2. & CD includes 2 full-length recordings of every tune (Full Performance or Rhythm Only) Biographical information gives insight on the composer and on jazz history D7 # #˙ . ˙ ˙. ˙ n œ. ˙. ˙ Œ 1. D7 n œ. #˙ . C7 n œ. b œ. ˙. ˙. ˙ C7 ˙. G7 n˙ Œ -œ b œ> ˙ C˙7 ˙ F7 w ˙. Œ ˙. (D.C. Only U ) ˙. Œ .. Œ Solos (3 choruses) 7 # G w nw w & .. w w w w w 7 w # C w w nw w w bw & w ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ G7 ’ ’ ’ ’ w nw w w w w w w ’ ’ ’ ’ D.C. al Fine 7 w C7 bw w F7 (last time) Improvisation hints help students to create # Dw w w w w w w nw w nw w w b w w w w w b w & ’ ’ ’ ’ .. nw w w melodies while teaching jazz chords and rhythms Copyright © 1959 Jazz Horn Music Copyright Renewed This arrangement © 2004 Jazz Horn Music All Rights Administered by Sony/ATV Music Publishing, 8 Music Square West, Nashville, TN 37203 International Copyright Secured All Rights Reserved MILES DAVIS (1926–1991) Miles Davis began his career as a trumpet player with bebop legend Charlie Parker, but he quickly emerged as a leader who became and remained a trend setter for the rest of his career. He had a particular gift for finding and nurturing the most talented young musicians of the day. The list of musicians who played in his bands is a veritable who’s who of modern jazz and includes John Coltrane, Cannonball Adderley, Herbie Hancock, Chick Corea, Tony Williams, Bill Evans, and John McLaughlin. HINTS FOR IMPROVISATION This classic blues tune uses a unique variation of the traditional blues progression. A concert A b 7 chord is used in the 11th and 12th measure, where a B b 7 would be more typical. Use the scales shown as a reference, or use either of the blues scales throughout. 59271EEJazz[guts]: 12/2/08 4:36 PM Page 19 ® By Michael Sweeney and Mike Steinel • Economical – 15 easy jazz charts in one book • Written for full band, playable with 3 Saxes, 2 Trumpets, 1 Trombone and Rhythm Section • All arrangements correlated to the acclaimed Essential Elements for Jazz Ensemble series – 15 repertoire pieces designed specifically to accompany your jazz curriculum! • Series includes optional books for Flute, Clarinet, F Horn and Tuba • CD includes full-length recordings of every chart From Hal Leonard’s acclaimed series, here is a fantastic collection of arrangements in a variety of styles. As a bonus feature, each arrangement includes a teaching unit with exercises in melody, rhythm and improvisation. A valuable teaching tool in addition to filling your programming needs! Includes: All of Me • Ballad for a Blue Horn • Basin Street Blues • Blues for a New Day • Bubbert Goes Retro • Bubbert’s Groove • Ja-Da • Mister Cool • On Broadway • Perfidia • Satin Doll • So What • Song for San Miguel • Sunday Afternoon • Take the “A” Train. 07011461 07011462 07011463 07011464 07011465 07011466 07011467 07011468 07011469 07011470 07011471 Conductor ............................................$24.99 Alto Sax 1 ..............................................$6.99 Alto Sax 2 ..............................................$6.99 Tenor Sax 1............................................$6.99 Tenor Sax 2............................................$6.99 Baritone Sax ........................................$6.99 Trumpet 1 ..............................................$6.99 Trumpet 2 ..............................................$6.99 Trumpet 3 ..............................................$6.99 Trombone 1............................................$6.99 Trombone 2............................................$6.99 07011472 07011473 07011474 07011475 07011476 07011477 07011478 07011479 07011480 07011481 07011482 Trombone 3............................................$6.99 Guitar......................................................$6.99 Piano ....................................................$11.99 Bass........................................................$6.99 Drums ....................................................$6.99 C Treble/Vibes ......................................$6.99 Flute ........................................................$6.99 Clarinet ..................................................$6.99 F Horn ....................................................$6.99 Tuba ........................................................$6.99 CD..........................................................$14.99 59271EEJazz[guts]: 12/2/08 4:36 PM Page 20 ESSENTIAL ELEMENTS FOR JAZZ ENSEMBLE Complete Order Information ESSENTIAL ELEMENTS JAZZ ENSEMBLE METHOD 00841357 00841347 00841348 00841349 00841350 00841351 00841352 00841353 Conductor.....................................................................$29.99 E b Alto Saxophone ......................................................$12.99 B b Tenor Saxophone...................................................$12.99 E b Baritone Saxophone..............................................$12.99 B b Trumpet....................................................................$12.99 Trombone......................................................................$12.99 Guitar.............................................................................$15.99 Piano .............................................................................$15.99 00841354 Bass...............................................................................$15.99 00841355 Drums............................................................................$15.99 00841356 C Treble/Vibes..............................................................$12.99 Also Available: 00841620 Flute...............................................................................$12.99 00841621 Clarinet..........................................................................$12.99 00841622 F Horn............................................................................$12.99 00841623 Tuba...............................................................................$12.99 ESSENTIAL ELEMENTS JAZZ PLAY-ALONG (Jazz Standards) b b 00841987 B , E & C Instruments ..............................................$14.99 00841988 Flute, F Horn, Tuba ....................................................$14.99 00841989 Rhythm Section ..........................................................$14.99 CORRELATED ARRANGEMENTS (Grade 1.5) 07011159 07010955 07010951 07010836 07011457 07011055 07010834 07011293 07011459 07010953 07010748 07011161 All of Me (Sweeney) ................................................$40.00 Ballad for a Blue Horn (Steinel) ............................$35.00 Basin Street Blues (Sweeney)................................$35.00 Blues for a New Day (Steinel) ................................$35.00 Bossa de Cancun (Steinel)......................................$40.00 Bubbert Goes Retro (Steinel)..................................$35.00 Bubbert Goes Undercover (Steinel) ......................$35.00 Bubbert Goes West (Steinel) ..................................$40.00 Bubbert in Love (Steinel) ........................................$40.00 Bubbert Kicks Back (Steinel)..................................$35.00 Bubbert’s Groove (Steinel) ......................................$35.00 Bubbert Takes the Train (Steinel) ..........................$35.00 07011057 07010832 07011061 07010838 07011165 07011163 07010740 07011059 07010742 07011295 07010746 07010925 Comin’ Home Baby (Sweeney) ..............................$35.00 Ja-Da (Sweeney) ......................................................$35.00 Mister Cool (Steinel) ................................................$35.00 On Broadway (Sweeney) ........................................$35.00 Perfidia (Sweeney) ..................................................$35.00 Riffology (Steinel)......................................................$35.00 Satin Doll (Sweeney) ................................................$35.00 So There! (Sweeney)................................................$35.00 So What (Sweeney)..................................................$35.00 Song for San Miguel (Steinel) ................................$40.00 Sunday Afternoon (Steinel) ....................................$35.00 Take the “A” Train (Sweeney) ................................$35.00 THE BEST OF ESSENTIAL ELEMENTS FOR JAZZ ENSEMBLE 07011461 07011462 07011463 07011464 07011465 07011466 07011467 07011468 07011469 07011470 07011471 Conductor ..................................................................$24.99 Alto Sax 1 ....................................................................$6.99 Alto Sax 2 ....................................................................$6.99 Tenor Sax 1 ..................................................................$6.99 Tenor Sax 2 ..................................................................$6.99 Baritone Sax ................................................................$6.99 Trumpet 1......................................................................$6.99 Trumpet 2......................................................................$6.99 Trumpet 3......................................................................$6.99 Trombone 1 ..................................................................$6.99 Trombone 2 ..................................................................$6.99 07011472 07011473 07011474 07011475 07011476 07011477 07011478 07011479 07011480 07011481 07011482 Trombone 3 ..................................................................$6.99 Guitar ............................................................................$6.99 Piano ..........................................................................$11.99 Bass ..............................................................................$6.99 Drums ............................................................................$6.99 C Treble/Vibes..............................................................$6.99 Flute ..............................................................................$6.99 Clarinet..........................................................................$6.99 F Horn............................................................................$6.99 Tuba ..............................................................................$6.99 CD ................................................................................$14.99 A Com prehe nsive Metho d for By Mi Jazz St yle ke Steine l and Im provis ation yle t S z z r Ja inel o f d o Meth By Mike Ste e v i s hen e r p m A Co tion a s i v pro m I d n a From the trusted ESSENTIAL ELEMENTS family of band methods, ESSENTIAL ELEMENTS FOR JAZZ ENSEMBLE offers an exciting way to introduce young players to the world of jazz. Specifically designed to teach jazz basics to students with 1 or 2 years playing experience. #73999-DCAAGa HL90001883 Visit Hal Leonard Online at www.halleonard.com