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• Helps to strengthen your jazz band by
developing a strong core of improvisors
• Can become self directed, thereby taking the onus off you
• Highly “transportable”. Great for taking out into the public and promoting your program.
• It’s fun!!
• 1 to 4 horns: Good combinations include
tpt/alto, tpt/tenor, alto/tenor, tpt/alto/tenor, tpt/alto/tenor/trombone
• Bass: An upright is great, but an electric will do
• ONE chordal instrument: piano or guitar
• Drums
• Get at least one recording of each tune
you are working on
• Students should know (and have listened to) at least five players of their instrument
• A great way to develop a sense of style and generate improvisation ideas
• iTunes and emusic.com are great (and inexpensive) resources
• Hal Leonard: arr Frank
Mantooth• Parts for C, Eb, Bb, BC• Fully notated parts for
piano, bass, and drums• Three-part arrangements • Scales for improvisation
included• Includes CD• 30+ volumes published,
each with 4 tunes• Tunes are often too
difficult for beginners
• Sher Music: Stanford Jazz
Workshop• Published for C, Eb, Bb, BC.• Most tunes work well with
beginners• Include sample bass lines,
piano voicings,and guitar voicings
• Scales for improvisation• Two volumes available• Melody only, no arrangement,
backgrounds, etc• No CD Included• Paino voicings are sparse• Bass Line is repetitive
• Huge library of tunes• Usually published for
C, Bb, Eb and BC• Price ranges vary• Contains only melody
and chord changes• No recordings
’• Intro: last four bars, drum set-up, rhythm
section only
• Head In: Once or twice, harmonized, backgrounds
• Solos: one or two choruses, backgrounds, trade fours (with drums)
• Head Out:
• Ending: tag the last four
• Keep it simple: start with tunes that require only one (or two) scales• The blues scale works well on blues tunes and a number of other
simple tunes• Gets students up and running quickly• Does NOT teach students to listen
• Blue Monk (Bb)• Tenor Madness (Bb)• Bessie’s Blues (Eb)• Sonnymoon for Two (Bb)• Now’s The Time (F)• Mercy, Mercy (Bb)• Doxy (Bb)• Watermelon Man (F)• Song For My Father (F)• Equinox (C)• Blue Trane (Eb)
• Black Orpheus: A dorian
• Impressions: D dorian and Eb dorian
• So What: D dorian and Eb dorian
• Blue Bossa: C dorian and Db Major
• Dear Old Stockholm: D aeolian, F major, C mixolydian (all versions of the same scale)
• St. Thomas: C pentatonic
• Countless volumes of
tunes and exercises.• Comes with play
along CD• Cannot change speed
or key• Many volumes are
beyond beginning improvisers
• PG Music• Comes with a huge library of
pre-programmed tunes, styles, solos, harmonizations
• Easy to program your own tunes and input melodies
• Speed up, slow down, change keys
• Easy to generate lead sheets• Export to CD or MP3• Lists for around $80.00
• Intelligent Accompaniment• Large library of pre-
programmed jazz tunes• Works well with Abersold.• Allows tempo and key
changes.• Melody lines not included• Recording allows export to
MP3• Requires annual subscription
fee ($60.00)• Difficult to create your own
files (requires Finale)
• Writing bass lines
• Writing piano voicings
• Ideas for Drumming
• Playing The Head
• Guide Tone Writing
• Play the root of the chord at the change (sometimes the third).
• Try to connect across the bar lines with a whole or half step.
• Avoid leaps across bar lines (except for 5ths and octaves)• Use chord and scale tones to “connect the dots”
• Major 7th: Major Scales• Dominant 7th: Mixolydian Scales• Minor 7th: Dorian or Aeolian Scales
• Latin bass lines are easier to write, and easier for students to learn.
Use mostly roots and fifths.
• “Beginning” jazz pianists will not know how to voice chords• Voicing in 4ths is very effective• Major 7th chords: voice down in perfect 4ths from the root or the fifth
• Dominant 7th chords: voice the treble down in perfect 4ths from the root or fifth, use the 3rd and 7th in the bass.
• Minor 7th chords: voice down in perfect 4ths from the third, or voice
down in perfect 4ths from the root with 3rd and 7th in the bass.
• When writing a progression, keep common tones in the same voice.
• When writing piano for piano, just provide the basic voicing. Avoid
writing rhythms.• Instead, provide a list of “suggestions”. Allows students to develop a
better sense of time and style.
• Basic voicings become:
• The Essential Equipment: Ride cymbal, high hat, snare drum.• The basic swing pattern: quarter notes line up with the bass line.
• Most drummers overuse the stock pattern: Booooooring!
• Mix up the ride cymbal pattern:
• Many tunes in fake books are written with very straight or non-
swinging rhythms.• Syncopation: Accenting beats other than the fake book version.
• Some standard alterations
• Guide Tones: Use 3rds and/or 7ths of the chord. Works best with
standard type chord progressions.• Can be smooth or rhythmic:
• Retails for $80.00• Up to 24 staves• Part Extraction• Numerous templates• Easy to use• Free Version: Finale
NotePad
’• Blue Monk• Mercy, Mercy, Mercy• Equinox• Doxy• Blue Bossa• Birk’s Works• Dear Old Stockholm• Song For My Father• PP Presentation• Desert Island list of Jazz CDs.
January 9th – 12th, 2008
Toronto,ON
www.iaje.org
dgueulette@ashbury.ca
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