Embed Size (px)
Citation preview
Visit Hal Leonard Online atwww.halleonard.com
#73999-DCAAGaHL90001883
A Comprehensive Method for Jazz Style and Improvisation
By Mike Steinel
A Comprehensive Method for Jazz Style and Improvisation
By Mike Steinel
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.
ABOUT THE AUTHORMike 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 pro-
duced 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
DIRECTOR’S INFORMATION GUIDE
ESSENTIAL ELEMENTSFOR 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!
Copyright © 2000 by HAL LEONARD CORPORATION
International Copyright Secured All Rights Reserved
59271EEJazz[guts]: 12/2/08 4:36 PM Page 1
2 CDs WITH EVERY BOOKOne of the most important ways to learn to play jazzis by listening to professional players. Each bookcomes with complete recordings of every exampleand every full band arrangement. On the repeatedexercises, the rhythm section only plays the secondtime. 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 separatetracks for study and reference.
STARTS WITH THE BASICSStudents are shown how the approach to jazz is different than “traditional” music step by step. Withthe help of vocal “scat” syllables, the correct style inflections come naturally. The concept of swing 8thnotes is taught gradually, using single pitches to startwith, then reinforced using easy scale patterns.
EASY INTRODUCTION TO JAZZ HARMONYOne of the most challenging elements of jazz islearning 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.
IMPROVISATION MADE EASYBuilding on the concept of jazz chords, the BluesProgression is taught as a series of dominant 7thchords. Improvisation is introduced gradually, starting with 2-measure phrases using only a fewchord tones at a time. Students are improvisingbefore 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 scalesto use when improvising - Blues Scale, Dominant or Mixolydian Mode, Bebop Scale, and the Dorian Mode.
4
THE BASICS OF JAZZ STYLE
Attacks and Releases
In traditional music (Concert
In jazz it is common to use a “Doo” attack (soft
Band and Orchestra) you use a
and legato) to begin a note. It is also common
“Tah” articulation to begin a note
to end the note with the tongue. This “tongue-
and taper the note at the end.
stop” gives the music a rhythmic feeling.
1. ATTACKS AND RELEASES
Accenting “2 and 4”
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. ACCENTING 2 AND 4
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.
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.”
œ>
Long Accent
(full value, accented)
Bah
œ-
Tenuto(full value)
Doo
& 44
.
.Traditional
œ>
œ œ>
œ œ>
œ œ>
œ
Jazz
œ œ>
œ œ>
œ œ>
œ œ>
œ Œ Ó
&
Jazz
œ œ>
œ œ>
1 2 3 4
&
Traditional
œ>
œ œ>
œ
1 2 3 4
& 44
.
.
Traditional
w
Tah
J
œ ‰ Œ Ó
Jazz
w
Doo - - - - - - - - - -
J
œ ‰ Œ Ó
it
&
Jazz
.˙ Œ
Doo - - - it
&
Traditional
.˙ Œ
Tah
5
Swing 8th Notes Sound Different Than They Look
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.
Quarter NotesQuarter notes in swing style are usually played
detached (staccato) with accents on beats 2 and 4.
7. QUARTERS AND 8THS
8. MORE QUARTERS AND 8THS
& 44
..
œ.œ
^
œ.
ŒDit Dot Dit
œ- œ>
œ- œ>
œ^
ŒDoo Bah Doo Bah Dot
œ.œ
^
œ.
ŒDit Dot Dit
œ- œ>
œ- œ>
œ^
ŒDoo Bah Doo Bah Dot
& œœ
œœ
& œ.œ
^
œ.œ
^
Dit Dot Dit Dot
=
& 44
..
Traditionalœ.
œ.œ.
œ.œ.
ŒTah Tah Tah Tah Tah
œ.œ.
œ.œ.
œ.
ŒTah Tah Tah Tah Tah
Jazzœ- œ
>
œ- œ>
œ^
ŒDoo Bah Doo Bah Dot
œ- œ>
œ- œ>
œ^
ŒDoo Bah Doo Bah Dot
=or
œ œ
3
œ œ œ
>
3
œj
œ
>
11
Building Jazz Chords
Most jazz is harmonized with Seventh Chords. Seventh Chords are four-note chords built in thirds (every other note of a scale).
A Major Seventh Chord uses the first, third, fifth, and seventh notes of a major scale.
31.
Lowering the top note (called the seventh) of the Major Seventh Chord changes the chord to a Dominant Seventh Chord.
Lowering the second (called the third) and top note (seventh) of a Major Seventh Chord changes the chord to a Minor Seventh Chord.
32.
Chords have specific labels called Chord Symbols. The first letter in a Chord Symbol always indicates the root or the
bottom note of the chord. The letters and numbers on the right indicate the chord type (major or dominant for example).
Chord NameChord Symbol
C Major SeventhCma7
C Dominant SeventhC7
C Minor SeventhCmi7
33. MAJOR SEVENTH CHORD WORKOUT (Cma7 )
34. DOMINANT SEVENTH CHORD WORKOUT (C7 )
(C 7 )
& 44
˙˙
˙˙b ˙ ˙ w œ
.œ
-
œ
>
˙œ œ œ œ
œb.
œ.
(Play either note)
˙ œ.
œ-
œœ
>
ww
& 44
˙˙
˙˙ ˙ ˙ w œ
.œ
-
œ
>
˙œ œ œ œ
œ.
œ.
(Play either note)
˙ œ.
œ-
œœ
>
ww
& 44
C Major Seventh Chord
œœ
œœ œ œ ˙
C Dominant Seventh Chord
œœ
œœb œ œ ˙
C Minor Seventh Chord
œœb
œœb œ œb ˙
& 44
C Major Scale
œœ
œœ
1 2 3 4
œœ
œœ
5 6 7 8
C Major Seventh Chord
œœ
œœ
1 3 5 7
œ œ ˙
wwww
5 3 1
37. BLUES WORKOUT – Roots and Sevenths
38. BLUES WORKOUT – Roots, Thirds, and Sevenths
39. MAKE UP YOUR OWN – 2-Bar Solos using Roots, Thirds, and Sevenths
Building the Dominant ScaleYou can build a “dominant scale” by inserting notes betwee h
This scale “fits” (sounds like) the D
& 44
Band
œ œ
>œ œb
>
œ œ
>œ œ
>
C7
œ.
œ- œb
>˙
’ ’ ’’
Solo
œb œ œ ’ ’ ’ ’
Band
œ œ
>
œ œb
>
œ œ
>
œ œ
>
F7
œ.
œ- œb
>
˙&
.
.
’ ’ ’’
Solo
œb œ œ
C7
’ ’ ’ ’
Band
œ œn
>
œ œ
>
˙
G7
œ œ
>œ
œb
>
˙
F7
’ ’ ’’
Solo
œb œ œ
C7
’ ’ ’ ’
& 44
œ œ
>œ
œb
>˙
C7
‘‘
‘œ œ
>œ
œb
>˙
F7
‘&
.
.
œ œn
>œ œb
>˙
C7
‘œ œn
>
œ œ
>
˙
G7
œ œ
>
œ œb
>˙
F7
œ œn
>œ œb
>˙
C7
.˙Œ
& 44
œ. œ
- œb
>˙
C7
‘‘
‘œ. œ
- œb
>˙
F7
‘&
.
.
œ. œ
- œb
>˙
C7
‘œ.
œ-
œ
>
˙
G7
œ. œ
- œb
>
˙
F7
œ. œ
- œb
>˙
C7
.˙Œ
59271EEJazz[guts]: 12/2/08 4:36 PM Page 2
JAZZ HISTORY AND PEOPLEThe method book is laid out chronologically by important historical periods in the development of jazz music. While the students are learning themusic, they are also learning about the importantcomposers and performers associated with eachstylistic period. Styles covered: Early Jazz, SwingEra, Bebop, Latin and Fusion.
7 FULL BAND ARRANGEMENTSCarefully paced throughout the book, these full arrangements provide a focal point for the materialin each unit. They also provide rewarding performance pieces even in the beginning stages.The arrangements start out very easy and thengradually progress in complexity as more techniques and concepts are learned.
QUICK START THE RHYTHM SECTIONCritical 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 includesadditional material specifically designed toaddress the unique techniques of these importantplayers. This allows the rhythm section to playalong with the full band in a rehearsal setting, but also gives each player the individualized information they need.
The Swing EraIn the 1930’s and 40’s, the orchestras of Duke Ellington, Count Basie, Benny Goodman, Glenn Miller, and Fletcher Henderson created a
new type of dance music called swing. The strong beat and smooth “big band” sound made swing the most popular music of the time.
Edward Kennedy “Duke” Ellington (1899–1974) grew up in Washington, D.C. and led a band nearly Duke Ellington
all of his life. Although Duke was a gifted pianist, he is most remembered for his compositions and
orchestrations. It is estimated that he wrote over one thousand works. Ellington is considered
by many to be the most important jazz composer of the 20th century.
Count Basie William “Count” Basie was born in Red Bank,
New Jersey (1904), but his style of big band music
is associated with Kansas City. In the early 1930’s,
Basie joined the Bennie Moten Orchestra, a “riff”
styled band that specialized in playing the blues
and performed primarily in the midwest. When
Moten died in 1935 the “Count” took over the
band, and under his leadership it became one
of the most popular jazz bands of the era. Even
after Basie’s death in 1984, The Count Basie
Orchestra continued to tour and please jazz
audiences around the world.
tertaining showman.made him a recognizable figure the world over.PERFORMANCE SPOTLIGHT99. “BOPPIN’ AROUND” – Full Band Arrangement
Mike Steinel
100. DEMONSTRATION SOLO FOR “BOPPIN’ AROUND”&
#
44
Œœ œ œn œ œ œ
G7
œ œb œ Ó
œ œn œ œ œn œ œ œ# œn ˙‰ j
œ œ œ œbœ
C7œ´ œb œ œn
Œ ‰J
œ
&
#œn œ œ# œ
œ œn œ# œ
G7
œ œb œ ˙ Œœ œ œ œ œ œ
D7
œ œ# œn œ œb œ œnœ
œ œj
œ
.œ
G7
∑
&
#
œ œ œ# œ œ œ#
G7
œ œnœ
œœ œ
.œj
œ œ œ
^
∑ Œ œ œ œbœ œb
C7
œ œ œbœb œb
&
#j
œn.œ œ
Œ
G7
Ó Œ ‰J
œ œœ œ œ´ œ œ œn
D7
j
œ#.œ
œnœ œ œ .˙ Œ
G7
∑
&
#
44
.
.Œ Œ
%
œ œ# œ œ œn œ œn œœ.
œb œ
>
˙Œ œ œb œn
œœ œ
œ. œ œn
>
˙&
# 3
œ œn œ#
3œ œ œn œ œ œ œb œ œ œb œ
- œ
^
Œ Œ œ œb œnœ
œ œœ œ œn œ
œ- œ
^
Œ
&
#
.
.
œ œ# œn œ œ œ œ œ# œ.
œ# œn>
˙Œ œ œb œn
œœ œ
To Codafi
1.
œ œ œn œ
^
Ó
2.div.
œœ œ
œ# œœ
nnœœ
^
Ó
&
#..
{14} Solos
w w w w w w wn w# wG7
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
w w w wn w w wb wn w
C7
’ ’ ’ ’&
#
.
.
w w w w w w wn w# wG7
’ ’ ’ ’w w w# w w w w w# w
D7
’ ’ ’ ’ w w w w w w wn w# wG7
D.S. al Coda’ ’ ’ ’
&
#
fi CODA
Œ œ œb œnœ
œ œœ œ œn œ
^
Ó Œ œ œb œnœ
œ œœ œ
div.œœ
œœ
^
Ó
12A
Jazz Chord VoicingsJazz 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.
Thirds and Sevenths are ImportantThese 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.
Ninths, Elevenths, and ThirteenthsTo 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.
Comping With Jazz VoicingsIt 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)
Blues in Bb using three-note voicings (thirds, sevenths, ninths, and thirteenths)
These voicings are used for exercises 37–39 and 41–45.
&b
b
44
133
ww
Bb 7
‘ ‘ ‘ 97
wwb
Eb 7
‘ 133
wwn
Bb 7
b
‘ 97
ww
F7
n
97
wwb
Eb 7
133
wwn
Bb 7
b
‘
?b
b44
37
wwb
Bb 7
‘ ‘ ‘
37w
wbEb 7
‘
37
wwb
Bb 7
‘
37w
wn
F7
37w
wbEb 7
37
wwb
Bb 7
‘
& 44
Extended C Major Scale
w w w w w w w w
8 9 10 11 12 13 14 15
C Major Thirteenth Chord
( )wwwwwww
Cma13
&
?
44
44
3w
Cma7
7
Root
w
w
3w
C7
7
Root
w
w
b
3wb
Cmi7
7
Root
w
w
b
FOR PIANO ONLY
Note: Ninths and thirteenths can be added even though the chord symbol indicates a seventh chord.
6A
The Ride CymbalIn 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 PatternThe 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:
The basic Ride Cymbal Pattern sounds like:
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”.
Achieving Va i t
÷44
.
.
‹ ‹ ‹ ‹ ‹ ‹
Œ‹ Œ
‹
÷
44
.
.
‹ ‹ ‹ ‹ ‹ ‹
œ œ‹ œ œ
‹
÷44
‹
3
‹ ‰ ‹ ‹
3
‹ ‰ ‹
÷44
‹ ‹ ‹ ‹ ‹ ‹
FOR DRUMS ONLY
59271EEJazz[guts]: 12/2/08 4:36 PM Page 3
4
THE BASICS OF JAZZ STYLEAttacks and ReleasesIn traditional music (Concert In jazz it is common to use a “Doo” attack (soft Band and Orchestra) you use a and legato) to begin a note. It is also common “Tah” articulation to begin a note to end the note with the tongue. This “tongue- and taper the note at the end. stop” gives the music a rhythmic feeling.
1. ATTACKS AND RELEASES
Accenting “2 and 4”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. ACCENTING 2 AND 4
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.
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
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.
4. DIT AND DOT
5. DOO, BAH, DIT, AND DOT
& 44 .
.-̇ -̇
Doo Doo
œ- œ>
œ- œ>
Doo Bah Doo Bah
œ.Œ œ.
Œ
Dit Dit
œ. œ^
œ. œ^
Dit Dot Dit Dot
œ^
Œ Ó
Dot
& 44 .
.
Traditional
œ.Œ œ.
Œ
Tah Tah
œ. œ. œ.Œ
Tah Tah Tah
Jazz
œ.Œ œ.
Œ
Dit Dit
œ. œ^
œ. œ^
Dit Dot Dit Dot
œ^
Œ Ó
Dot
œ^
Roof Top Accent(short, accented)
Dot
œ.
Staccato(short, unaccented)
Dit
& 44 .
.
Traditional
˙>
˙>
Tah Tah
œ>
œ ˙>
Tah Tah Tah
Jazz
˙ ˙
Doo Doo
œ œ>
˙
Doo Bah Doo
˙ œ Œ
Doo - - - - it
œ>
Long Accent(full value, accented)
Bah
œ-
Tenuto(full value)
Doo
& 44 .
.
Traditional
œ>
œ œ>
œ œ>
œ œ>
œ
Jazz
œ œ>
œ œ>
œ œ>
œ œ>
œ Œ Ó
&
Jazz
œ œ>
œ œ>
1 2 3 4
&
Traditional
œ>
œ œ>
œ
1 2 3 4
& 44 .
.
Traditionalw
Tah
J
œ ‰ Œ Ó
Jazzw
Doo - - - - - - - - - -
J
œ ‰ Œ Ó
it
&
Jazz
.˙ Œ
Doo - - - it
&
Traditional
.˙ Œ
Tah
59271EEJazz[guts]: 12/2/08 4:36 PM Page 4
5
Swing 8th Notes Sound Different Than They LookIn 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.
Quarter NotesQuarter notes in swing style are usually played detached (staccato) with accents on beats 2 and 4.
7. QUARTERS AND 8THS
8. MORE QUARTERS AND 8THS
Important Tip: Notes at the ends of phrases are usually played short and accented.
Jazz Articulation ReviewThese are the four basic articulationsin jazz and the related scat syllablesfor each.
Quarter Notes Swing 8th NotesQuarter notes in swing 8th notes in swing style jazz are usually style jazz are usuallyplayed staccato. played legato.
&
Staccato
œ. œ^
œ. œ^
Dit Dot Dit Dot
Legato
œ- œ>
œ- œ>
œ- œ>
œ- œ>
Doo Bah Doo Bah Doo Bah Doo Bah
œ^
Roof Top Accent(short, accented)
Dot
œ>
Long Accent(full value, accented)
Bah
œ.
Staccato(short, unaccented)
Dit
œ-
Tenuto(full value)
Doo
& 44 .
.œ.
œ
^
œ.
œ
^
Dit Dot Dit Dot
œ-
œ
>
œ-
œ
^
Ó
Doo Bah Doo Dot
œ.
œ
^
œ-
œ
>
œ-
œ
>Dit Dot Doo Bah Doo Bah
œ-
œ
>
œ-
œ
^
Ó
Doo Bah Doo Dot
& 44 .
.œ. œ
^œ.
Œ
Dit Dot Dit
œ- œ>
œ- œ>
œ^
Œ
Doo Bah Doo Bah Dot
œ. œ^
œ.Œ
Dit Dot Dit
œ- œ>
œ- œ>
œ^
Œ
Doo Bah Doo Bah Dot
&œ œ œ œ
&œ. œ
^œ. œ
^
Dit Dot Dit Dot
=
& 44 .
.
Traditional
œ. œ. œ. œ. œ. Œ
Tah Tah Tah Tah Tah
œ. œ. œ. œ. œ. Œ
Tah Tah Tah Tah Tah
Jazz
œ- œ>
œ- œ>
œ^
Œ
Doo Bah Doo Bah Dot
œ- œ>
œ- œ>
œ^
Œ
Doo Bah Doo Bah Dot
= orœ œ
3
œ œ œ
>
3
œ
j
œ
>
59271EEJazz[guts]: 12/2/08 4:36 PM Page 5
6
9. SWINGIN’ THE SCALE
10. MOVIN’ AROUND
11. RUNNIN’ AROUND
12. TRADIN’ OFF
13. JA-DA Bob Carleton
& 44
œ.
.˙
Dit Doo
œ. .˙
Dit Doo
œ-
œ
>
œ-
œ
>
œ. œ
^
Doo Bah Doo Bah Dit Dot
œ
^
Œ Ó
Dot
œ.
.˙
Dit Doo
œ. .˙
Dit Doo
&œ
-œ#
>
œ-
œ
>
œ.
œ
^
Doo Bah Doo Bah Dit Dot
œn
^
Œ Ó
Dot
œ-
œ
>
œ-
œ
>
œ#.
œ
^
Doo Bah Doo Bah Dit Dot
œn-
œ
>
œ
^
˙
Doo Bah Dot Doo
& œ-
œ
>
œ-
œ
>
œ#.
œ
^
Doo Bah Doo Bah Dit Dot
œn-
œ
>
œ. ˙
Doo Bah Dit Doo
œ.
.˙
Dit Doo
œ. .˙
Dit Doo
&œ
-œ
>
œ-
œ
>
œ. œ
^
Doo Bah Doo Bah Dit Dot
œ-
œ
>
œ-
œ
>
œ.
Œ
Doo Bah Doo Bah Dit
œ-
œ
>
œ-
œ
>
œ. œ
^
Doo Bah Doo Bah Dit Dot
œ
^
Œ Ó
Dot
& 44
Trumpets
œ-
œ
>
œ-
œ
>
œ.
œ
^
Doo Bah Doo Bah Dit Dot
œ-
œ
>œ
-œ
>˙
Doo Bah Doo Bah Doo
Saxophones
œ-
œ
>
œ-
œ
>
œ.
œ
^
Doo Bah Doo Bah Dit Dot
œ-
œ
>
œ-
œ
>
˙
Doo Bah Doo Bah Doo
&..
Trombones
œ-
œ
>
œ
-
œ
>
œ.
œ
^
Doo Bah Doo Bah Dit Dot
œ
-
œ
>
œ
-œ
>
˙
Doo Bah Doo Bah Doo
All Sections
œ-
œ
>
œ-
œ
>œ
-œ
>œ
-œ
>
Doo Bah Doo Bah Doo Bah Doo Bah
œ-
œ
>
œ
^
˙
Doo Bah Dot Doo
& 44
œ.
œ
^
œ-
œ
>œ
-œ
>Dit Dot Doo Bah Doo Bah
œ-
œ
>
œ-
œ
>
˙
Doo Bah Doo Bah Doo
œ. œ
^
œ-
œ
>œ
-œ
>
Dit Dot Doo Bah Doo Bah
œ-
œ
>
œ-
œ
>
˙
Doo Bah Doo Bah Doo
&..œ
.œ
^
œ-
œ
>
œ-
œ
>
Dit Dot Doo Bah Doo Bah
œ-
œ
>
œ-
œ
>
˙
Doo Bah Doo Bah Doo
œ-
œ
>
œ-
œ
>œ
-œ
>œ
-œ
>
Doo Bah Doo Bah Doo Bah Doo Bah
œ-
œ
>
œ
^
˙
Doo Bah Dot Doo
& 44
œ.
œ
^
œ-
œ
>œ
-œ
>Dit Dot Doo Bah Doo Bah
œ-
œ
>
œ-
œ
>˙
Doo Bah Doo Bah Doo
œ.
œ
^
œ-
œ
>œ
-œ
>
Dit Dot Doo Bah Doo Bah
œ-
œ
>
œ-
œ
>˙
Doo Bah Doo Bah Doo
&..
œ.
œ
^
œ-
œ
>
œ-
œ
>
Dit Dot Doo Bah Doo Bah
œ-
œ
>
œ-
œ
>˙
Doo Bah Doo Bah Doo
œ-
œ
>
œ-
œ
>œ.
œ
^
Doo Bah Doo Bah Dit Dot
œ-
œ
>
œ
^
˙
Doo Bah Dot Doo
& 44 .
.
œ-
œ
>
œ-
œ
>
œ-
œ
>
œ-
œ
>
Doo Bah Doo Bah Doo Bah Doo Bah continue sim.
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
59271EEJazz[guts]: 12/2/08 4:36 PM Page 6
7
Syncopation in Jazz When beats are played early (anticipated) or played late (delayed),the music becomes syncopated. Syncopation makes the music sound “jazzy.”
14. SYNCOPATING BY ANTICIPATING THE BEAT (PLAYING EARLY)
15. SYNCOPATING BY DELAYING THE BEAT (PLAYING LATE)
16. WHEN THE SAINTS GO MARCHING IN – Without SyncopationJames Black and Katherine Purvis
17. WHEN THE SAINTS GO MARCHING IN – With Syncopation
18. RHYTHM STUDY FOR JA-DA
19. JA-DA – Full Band Arrangement – With Syncopation Bob CarletonArr. by Mike Steinel
& 44
œ-
œ
>
.˙ œ- œ
>
.˙ œ-
œ
>
œ-
œ
>
œ. œ
- œ
>
.˙
Œ
div.
œœ
-
œœ
>
.
.˙˙
œœ#
-œœ#
>
.
.˙˙
&œœn
-œœ#
>
œœ
-œœ
>
œœ.
œœ
-œœ
n
>
.
.˙˙
Œœ
-œ
>
œ-
œ
>
œ#.
œ
^
œn-
œ
>
œ- œ
>
˙
div.
œ
œ-
œ
œ
>
œ
œ-
œ
œ
>
œœ
##
.
œœ
^
& œœ
nn
-
œœ
>
œœ
-œœ
>
˙˙
œœ
-
œœ
>
.
.˙˙
œœ#
-œœ#
>
.
.˙˙
œ-
œ
>
œ-
œ
>
œ.
div.œœb
-
œœ
>
.
.˙˙
Œ
& 44 œ- œ
>
.˙
Doo Bah
œ- œ>
.˙
Doo Bah
œ- œ>
œ- œ>
œ. œ- œ>
Doo Bah Doo Bah Dit Doo Bah
.˙ Œ œ- œ>
œ- œ>
œ. œ^
Doo Bah Doo Bah Dit Dot
œ- œ>
œ- œ>
˙
Doo Bah Doo Bah
& 44 Œ
œ
^
œ.
œ-
œ
>
Dot Dit Doo Bah
wŒ
œ
^
œ.
œ-
œ
>
Dot Dit Doo Bah
w
&Œ
œ
^
œ.
œ-
œ
>
Dot Dit Doo Bah
˙ .œj
œ
>Doo Bah
˙.œ
j
œ
>
Doo Bah
w œ
Œ Ó
& 44 Œ
œ.
œ.
œ.
wŒ
œ.
œ.
œ.
w
&Œ
œ.
œ.
œ.
˙˙
˙˙ w œ
Œ Ó
& 44 ˙ ˙
(Syncopated)
Delayed
‰ .œ>
˙ œ. œ^
˙
(Syncopated)
Delayed
‰J
œ- œ^
˙
& 44 ˙ ˙
(Syncopated)
Anticipated
.œ
J
œ>
˙ œ. œ^
˙
(Syncopated)
Anticipated
œ. œ- œ>
˙
59271EEJazz[guts]: 12/2/08 4:36 PM Page 7
8
20. READING SWING RHYTHMSTo play the correct rhythm with a good jazz feel, think (or feel) the basic 8th note pulse and the jazz syllables.
21. SWING RHYTHM WORKOUT #1
22. SWING RHYTHM WORKOUT #2
23. SWING RHYTHM WORKOUT #3 Remember to keep the 8th note pulse going in your head.
24. SWING RHYTHM REVIEW
& 44 œ. œ
^œ œ
>œ œ
>œ œ
>œ œ
>˙ œ. œ
^œ œ
>œ œ
>œ œ
>œ œ
>˙
& œ.
œ
^
œ-
œ.
‰j
œ
>
œ œ
>
œ œ
>
˙ œ.
œ
^
œ-
œ.
‰j
œ
>
œ œ
>
œ œ
>
˙
&..
J
œ- .œ>
œ- œ.‰
J
œ>
œ œ>
œ œ>
˙
J
œ- .œ>
œ- œ.‰
J
œ>
œ œ>
œ œ>
˙
& 44 .
.
œ( œ œ œ )
œ. œ œ ˙
Dit Doo Bah
œ( œ œ œ )
.œ
J
œ ˙
Doo Bah
œ( œ œ œ )
J
œ .œ ˙
Doo Bah
œ( œ œ œ )
œ œ.‰
J
œ ˙
Doo Dit Bah
& 44
œ œ
>
œ œ
>
œ
^
Œ
Doo Bah Doo Bah Dot
œ.
œ œ
^
Ó
Dit Doo Dot
œ œ
>
œ œ
>
œ.
œ
^
Doo Bah Doo Bah Dit Dot
.œ
j
œ
^
Ó
Doo Dot
& œ œ
>
œ œ
>
œ
^
Œ
Doo Bah Doo Bah Dot
j
œ-
.œ
>
œ
^
Œ
Doo Bah Dot
œ œ
>
œ œ
>
œ
^
Œ
Doo Bah Doo Bah Dot
œ-
œ.
‰j
œ
^
Ó
Doo Dit Dot
&..œ œ
>
œ œ
>
œ.
œ œ
>Doo Bah Doo Bah Dit Doo Bah
.œ
j
œ
^
Ó
Doo Dot
œ œ
>
œ œ
>
j
œ-
.œ
>Doo Bah Doo Bah Doo Bah
œ-
œ.
‰j
œ
^
Ó
Doo Dit Dot
& 44 œ. œ
^œ- œ
>œ- œ
^
Dit Dot Doo Bah Doo Dot
∑
œ( œ œ œ )
œ. œ^
œ- œ- œ^
Dit Dot Doo Doo Dot
∑
œ( œ œ œ )
œ. œ^
.œ-
J
œ^
Dit Dot Doo Dot
∑
&..
œ( œ œ œ )
œ. œ^
J
œ- .œ>
Dit Dot Doo Bah
∑
œ( œ œ œ )
œ. œ^
œ- œ.‰
J
œ^
Dit Dot Doo Dit Dot
∑
œ( œ œ œ )
œ. œ^
J
œ- œ.
J
œ^
Dit Dot Doo Dit Dot
∑
& 44 œ œ
>œ œ
^
Ó
Doo Bah Doo Dot
œ( œ œ œ )
œ œ œ^
Ó
Doo Doo Dot
œ œ>
œ œ^
Ó
Doo Bah Doo Dot
œ( œ œ œ )
.œ
J
œ^
Ó
Doo Dot
&œ œ
>œ œ
^
Ó
Doo Bah Doo Dot
œ( œ œ œ )
J
œ .œ>
Ó
Doo Bah
œ œ>
œ œ^
Ó
Doo Bah Doo Dot
œ( œ œ œ )
œ œ.‰
J
œ^
Ó
Doo Dit Dot
To play the correct rhythm think of the underlying 8th note pulse.
To play the correct feel think of the jazz syllables.
59271EEJazz[guts]: 12/2/08 4:36 PM Page 8
9
”Jazzin’ Up” the Melody with SyncopationSyncopation 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
”Jazzin’ Up” the Melody by Adding RhythmsAdding 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 BELLSJ. Pierpont
MAKE UP YOUR OWN (IMPROVISE)27. LONDON BRIDGE Complete the melody in your own “jazzed up” way. Use only the notes shown in parentheses.
Slashes on the staff indicate when to improvise.
Helpful Hint: Using The Melody Is Never WrongWhen starting to improvise, keep the melody in your mind. It is a helpful guide for beginning improvisers.
& 44
Original Melody
œ.
œ
^
œ.
œ
^
œ.
œ
^
˙œ.
œ
^
˙ œ.
œ
^
˙ œ.
œ
^
œ.
œ
^
œ.
œ
^
˙˙
˙œ. .˙
&
BandJazzed Up Melody
œ œ
>
œ œ.
œ
^
œ.
œ œ
>
˙
Solo
( )’ ’ ’ ’
œ œ œ ( )’ ’ ’ ’
œ œ œ
Band
œ œ
>
œ œ.
œ
^
œ.
œ œ
>
˙
Solo
( )’ ’ ’’
œœ
( )’ ’ ’ ’
œœ
&
Band
œ œ
>
œ
^
œ œ
>
œ
^
œ œ
>
œ œ
>
˙œ œ
>
œ œ
>
˙ œ œ
>
œ œ
>
˙
Solo – complete the melody
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
& 44
Original Melody
œ.
œ
^
˙ œ.
œ
^
˙ œ.
œ
^
œ.
œ
^
w œ.
œ
^
œ.
œ
^
œ.
œ
^
˙œ.
œ
^
œ. œ
^
w
&
Jazzed Up Melody (rhythms added)
œ œ
>
œ œ
>
˙
Doo Bah Doo Bah
œ œ
>
œ œ
>
˙
Doo Bah Doo Bah
œ œ
>
œ œ
>œ.
œ œ
>
Doo Bah Doo Bah Dit Doo Bah
w
& œ œ
>
œ œ
>
œ.
œ
^
Doo Bah Doo Bah Dit Dot
œ œ
>œ
^
œ.
œ œ
>
Doo Bah Dot Dit Doo Bah
œ œ
>
œ œ
>
œ. œ œ
>Doo Bah Doo Bah Dit Doo Bah
w
& 44
Original Melody
œ.
˙œ.
œ.
˙œ.
œ.
œ.
œ
^
œ.
œ
^
˙œ
^
Œœ.
œ
^
œ.
œ
^
œ.
œ
^
˙œ.
œ
^
œ.
œ
^
˙œ.
&
Jazzed Up (syncopated) Melody
œ.
Dit
˙œ.
œ œ
>
Doo Dit Doo Bah
˙œ.
œ œ
>
Dit Doo Bah
œ œ
^
œ.
œ œ
>
Dot Dit Doo Bah
˙œ.
Œ
Dit
& œ.
œ
^
œ.
œœ
>
Dit Dot Dit Doo Bah
œ œ
^
˙
Dot Doo
œ.
œ
^
œ.
œ œ
>Dit Dot Dit Doo Bah
˙œ
^
Dot
59271EEJazz[guts]: 12/2/08 4:36 PM Page 9
16
Improvising on the MelodyJazz 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
54. ST. LOUIS BLUES – Changing Rhythms
55. ST. LOUIS BLUES – Repeating Parts of the MelodyWhen there are pauses in the melody, repeat notes or groups of notes.
56. ST. LOUIS BLUES – Filling in the SkipsSkips in the melody can be filled in with the scale steps.
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.
&
#
44
œ œb>
œn.
œœ>
œœ
œ œ# œœ
œb.
œ- œ
>
w .˙Œ
œ œ#>
œ.
œœ œ œ
>
œœ
œ œ œb.
œ- œ
>
&
#
w .˙Œ
œa œn>
œ#.
œœ
>
œ œb œ œ œ œ.
œ- œ
>
w .˙Œ
&
#
44
œ. œ. œ œ œ œ œ œ œ œ œ œ œb œ w .˙
Œœ œ œ œ ˙
œ œ œ œ œb.
œ- œ
>
&
#
w .˙Œ
œ œ œ œ œ œ œ.
œ œ œ œ œb.
œ- œ
>
w .˙Œ
&
#
44
œœ
œœ
œœ
œœ
œ.
œ œ œb.
œ- œ
>
˙œb.
œ- œ
>
.˙Œ
œœ
œœ œ œ œ
œ.
œ œ œb.
œ- œ
>
&
#
w .˙Œ
œœ
œœ
œœ œ
‰J
œb œœ
œœ
œ œ w .˙Œ
&
#
44
˙œ.
œ- œ
>
œœ
œ œ œb-
œ.
‰j
œ
>
w .˙Œ
œ.
œ
^
œ.
œ œ œœ# œ
œœb œ œ œ
&
#
w .˙Œ
œ.
œ. œ
- œ
>
œ
‰J
œb œœ
œ-
œ.
‰j
œ
>
w .˙Œ
&
#
44
œœ
œœ ˙
‰ j
œ# œœ
œb.
œ- œ
>
w .˙Œ
œœ œ œ ˙ ‰ j
œ# œœ
œb.
œ- œ
>
&
#
w .˙Œ
œœ
œœ ˙
‰J
œb œœ
œ.
œ- œ
>
w .˙Œ
10
59271EEJazz[guts]: 12/2/08 4:36 PM Page 10
17
PERFORMANCE SPOTLIGHT58. ST. LOUIS BLUES – Full Band Arrangement W. C. Handy
Arr. by Mike Steinel
59. DEMONSTRATION SOLO FOR ST. LOUIS BLUES
&
#
44
œ. œ .œ
J
œG7
œœ
œœ ˙
œœ œ œ
œb.
œ œ
>
œœ
œ ˙œ
œ œ.
œ œ œ.
C7œb
œœ
œœ.
œ œ
>
&
#
.˙œ œ
G7
˙
Œœ œn œ# œ œ# œ
œ. œ
^D7
œœn œ .œb
j
œ
C7
œ œ œ.
œ
^
œ œ
>
G7
.˙Œ
&
#
}
Œ œ. œ
œœ
œ
G7
J
œ .œ .œ
J
œ œb œ œ œ œ. œ
œ
>
w œ œ œ.
œb œœ.
C7œ œ œb
.
œ. œ
œ
>
&
#
.˙Œ
G7∑
œ œœ. œ œ
œ.
D7œ œ œ. œb
.œ œ
>
C7
˙‰ j
œœ œ
G7œb-
œ œ
^
Ó
&
#
44 .
.
Intro 4 ~5}
œœ
œœ ˙
‰ j
œ# œœ
œb.
œ- œ
>
w .˙Œ
&
#
œœ œ œ ˙ ‰ j
œ# œœ
œb.
œ- œ
>
w .˙Œ
œœ
œœ ˙
&
#..‰
J
œb œœ
œ-
œ- œ
>
1.
w .˙Œ
2.
˙
div.œœ
b
.
œœ
^
œœ- œ
œ- œ
œ
^
Œ œœ
- œœ
>
&
#..
Solos
’ ’ ’ ’
{19}
Solo starts here (use the melody as a guide for improvisation)
Play 1st time only(
.
.˙˙
œœ
-
)œœ
^G7
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
C7
’ ’ ’ ’
&
#..’ ’ ’ ’
G7
’ ’ ’ ’ ’ ’ ’ ’
D7
’ ’ ’ ’
C7
’ ’ ’ ’
G7
’ ’ ’ ’
&
#
Full Ensemble (Dixie-Style){31}
œ.
œœ
œœ>
œœ œ œ œ
œb- œ
>
œœn.
œœ
œœ
œœ .˙ œ œ# œ
.œ œn .œ
j
œ
&
#œb œ œ
. œ. œ
œ
>
˙ œ œ œ œœ.
œ- œ
^
Œœ
œ œ.
œœ
œœ œ œb œ œ
. œœ œ œa
.œ
œœ
œ œ
&
#œb.
œ- œ
^
Ӝ.
œœ
œœ œ
div.œb œ œ
.
œœ.
œœ
-
œœ
^
œ
-
œ
.
‰
J
œ
œœ
œnœ
œœ
œ
bœ
œb
œ
œœ
œn
Œ œœ
bn
-
œœ
>
˙˙
U
11
59271EEJazz[guts]: 12/2/08 4:36 PM Page 11
12A
Jazz Chord VoicingsJazz 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.
Thirds and Sevenths are ImportantThese 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.
Ninths, Elevenths, and ThirteenthsTo 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.
Comping With Jazz VoicingsIt 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 adequatepicture 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)
Blues in Bb using three-note voicings (thirds, sevenths, ninths, and thirteenths)These voicings are used for exercises 37–39 and 41–45.
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
&
?
bb
bb
44
44
131
3
www
Bb 7
7wb
‘
‘
‘
‘
‘
‘
597
wwwb
Eb 7
3w
‘
‘
131
3
wwwn
Bb 7
7wb
‘
‘
597
www
F7
3wn
597
wwwb
Eb 7
3w
131
3
wwwn
Bb 7
7wb
‘
‘
&
?
bb
bb
44
44
133
ww
Bb 7
7wb
‘
‘
‘
‘
‘
‘
97
wwb
Eb 7
3w
‘
‘
133
wwn
Bb 7
7wb
‘
‘
97
ww
F7
3wn
97
wwb
Eb 7
3w
133
wwn
Bb 7
7wb
‘
‘
?b
b44
37
wwb
Bb 7
‘ ‘ ‘37w
wbEb 7
‘
37
wwb
Bb 7
‘
37w
wn
F7
37w
wbEb 7
37
wwb
Bb 7
‘
& 44
Extended C Major Scale
w w w w w w w w
8 9 10 11 12 13 14 15
C Major Thirteenth Chord
( )wwwwwww
Cma13
&
?
44
44
3w
Cma7
7
Root
w
w
3w
C7
7
Root
w
w
b
3wb
Cmi7
7
Root
w
w
b
FOR PIANO ONLY
Note: Ninths and thirteenths can be added even though the chord symbol indicates a seventh chord.
12
59271EEJazz[guts]: 12/2/08 4:36 PM Page 12
12B
How to Build Jazz VoicingsAlthough 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. Find the notes of the chord (all the way to the thirteenth)2. Omit the root and fifth3. For best results put the third or seventh at the bottom4. Add ninths and thirteenths to make the chord sound jazzy5. Connect smoothly between chords (keep common tones if possible and move voices by step)
The Importance of Three-Note VoicingsThree-note voicings are very important to jazz pianists because they can be played by one hand. Jazz pianists use three-note voicingsthree ways.
1. As a chord in the left hand while the right hand improvises a melody2. 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 VoicingsBy 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.
Two-Handed VoicingsOften pianists will need to play voicings that use both hands. These are the most commonly used when accompanying the entire bandor when added excitement is needed.
Expanding Three-Note VoicingsOne of the easiest methods of producing excellent two-handed voicings is to expand the basic three-note voicing by adding notes in theright hand which fill out the chord. Here are three simple ways to do that:
&
?
Bb 7
133
7
˙˙
˙b
R.H.11
˙
˙
b
b
Bb 7
133
7L.H.
˙˙
˙b
R.H.
135 ˙
˙˙b
Bb 7
133
7L.H.
˙˙
˙b
R.H.159
˙˙˙
Bb 7
133
7L.H.
˙˙
˙b
Basic Three-NoteLeft Hand Voicing
Adding the Rootin Octaves
Adding a Triad Built onthe Root of the Chord
Adding Root,Fifth, and Ninth
?
973
www
Cma7www
b
C7www
bb
Cmi7
& 5
73
www
Cma7
13
73
wwwb
C7
5
73
www
bb
Cmi7
& www
G7
wwwb
C7
www
b
F7
Piano
When chords change, keep the motion between chord voices to a minimum. Avoid voicings entirely above or below middle C.
973
5 or 1337
FOR PIANO ONLY13
59271EEJazz[guts]: 12/2/08 4:36 PM Page 13
12A
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 tobuild 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 theharmony is always the root, however a bass line made up entirely of roots sounds boring:
A bass line which arpeggiates chord tones sounds slightly better. It provides a complete picture of the harmony, however it does notsound smooth or melodic:
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 thebassist. Notice that each of these melodies contain three chord tones and one scale tone. Each is harmonically and melodically strong.
1, 2, 3, 5 8, 7, 6, 5
?44
œ œ œœ
Cma7
œ œ œœ
C7
œ œ œbœ
Cmi7œ œ œ œ
Cma7œ œb œ œ
C7œ œb œ œ
Cmi7
?b
b44
œœ
œœb
Bb 7
œœ
œœb
œœ
œœb
œœ
œœb
œœ
œœbEb 7
œœ
œœb
?b
bœ
œœ
œbBb 7
œœ
œœb
œœ
œœ
F7œ
œœ
œbEb 7
œœ
œœb
Bb 7
œœ
œœb
?b
b44
œ œ œ œ
Bb 7œ œ œ œ
œ œ œ œ
œ œ œ œœ œ œ œ
Eb 7œ œ œ œ
?b
bœ œ œ œ
Bb 7œ œ œ œ
œ œ œ œ
F7œ œ œ œ
Eb 7
œ œ œ œ
Bb 7
œ œ œ œ
FOR BASS ONLY14
59271EEJazz[guts]: 12/2/08 4:36 PM Page 14
6A
The Ride CymbalIn 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 PatternThe 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 atfaster 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:
The basic Ride Cymbal Pattern sounds like:
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”.
Achieving Variety of the Ride PatternAlthough 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. 2. 3. 4.
5. 6. 7. 8.
Using the Bass Drum in the Swing PatternWhen 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”.
÷ 44 .
.
‹ ‹ ‹ ‹ ‹ ‹
Œ ‹ Œ ‹
÷ 44 .
.
‹ ‹ ‹ ‹ ‹ ‹
Œ ‹ Œ ‹
÷ 44 .
.
‹ ‹ ‹ ‹ ‹ ‹
Œ ‹ Œ ‹
÷ 44 .
.
‹ ‹ ‹ ‹ ‹ ‹
Œ ‹ Œ ‹
÷ 44 .
.
‹ ‹ ‹ ‹ ‹
Œ ‹ Œ ‹
÷ 44 .
.
‹ ‹ ‹ ‹ ‹
Œ ‹ Œ ‹
÷ 44 .
.
‹ ‹ ‹ ‹ ‹
Œ ‹ Œ ‹
÷ 44 .
.
‹ ‹ ‹ ‹ ‹
Œ ‹ Œ ‹
÷ 44 .
.
‹ ‹ ‹ ‹ ‹ ‹
Œ ‹ Œ ‹
÷ 44 .
.
‹ ‹ ‹ ‹ ‹ ‹
œ œ‹
œ œ‹
÷ 44
‹
3
‹ ‰ ‹ ‹
3
‹ ‰ ‹
÷ 44
‹ ‹ ‹ ‹ ‹ ‹
FOR DRUMS ONLY15
59271EEJazz[guts]: 12/2/08 4:36 PM Page 15
27
Charles Christopher Parker (1920–1955) who was known Dizzy Gillespieto jazz fans as “Bird” grew up in Kansas City. As a young boyhe idolized Count Basie’s star tenor saxophonist, Lester Young.“Bird” became a virtuoso performer on alto sax whose solosdisplayed fire, brilliance, and a keen understanding of theblues. Although he died before he received the recognitionhe 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.
Charlie Parker His puffed cheeks and bent horn made him a recognizable figure the world over.
PERFORMANCE SPOTLIGHT99. “BOPPIN’ AROUND” – Full Band Arrangement
Mike Steinel
100. DEMONSTRATION SOLO FOR “BOPPIN’ AROUND”
&
#
44 Œ
œ œ œn œ œ œ
G7œ œb œ Ó
œœn
œœ œn œ œ œ# œn ˙
‰ j
œœ œ œb
œ
C7œ´ œb œ œn
Œ ‰J
œ
&
#œn œ œ# œ
œ œn œ# œ
G7
œ œb œ ˙ Œœ
œ œœ
œœ
D7œ œ# œn œ œb œ œn
œœ œ
j
œ
.œ
G7
∑
&
#
œ œ œ# œ œ œ#
G7œ œn œ
œœ œ
.œ
j
œ œ œ
^
∑ Œ œ œ œbœ œb
C7œ œ œb œb œb
&
# j
œn .œ œŒ
G7Ó Œ ‰
J
œ œœ
œ œ´ œ œ œn
D7j
œ#
.œ
œnœ œ
œ .˙Œ
G7∑
&
#
44 .
.Œ Œ%
œ œ# œ œ œn œ œn œœ.
œb œ
>
˙
Œ œ œb œnœ
œ œœ.
œ œn>
˙
&
# 3
œ œn œ#
3
œ œ œn œœ œ œb œ œ œb œ
- œ
^
Œ Œ œ œb œnœ
œ œœ œ œn
œœ
-œ
^
Œ
&
#..
œ œ# œn œ œ œ œ œ# œ.
œ# œn>
˙ Œ œ œb œnœ
œ œ
To Codafi
1.
œ œ œn œ
^
Ó
2.div.
œœ œ
œ#œœ
nn
œœ
^
Ó
&
#..
{14} Solos
w w w w w w wn w# wG7
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’w w w wn w w wb wn w
C7
’ ’ ’ ’
&
#..w w w w w w wn w# wG7
’ ’ ’ ’w w w# w w w w w# wD7
’ ’ ’ ’ w w w w w w wn w# wG7 D.S. al Coda’ ’ ’ ’
&
#
fi CODA
Œ œ œb œnœ
œ œœ œ œn œ
^
Ó Œ œ œb œnœ
œ œ
œœ
div.œœ
œœ
^
Ó
16
59271EEJazz[guts]: 12/2/08 4:36 PM Page 16
• 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
CorrelatedArrangements
ALL OF MEarr. Michael Sweeney 07011159/$40.00
BALLAD FOR A BLUE HORNMike Steinel 07010955/$40.00
BASIN STREET BLUESarr. Michael Sweeney 07010951/$35.00
BLUES FOR A NEW DAYMike Steinel 07010836/$40.00
BOSSA DE CANCUNMike Steinel 07011457/$40.00
BUBBERT GOES RETROMike Steinel 07011055/$40.00
BUBBERT GOES UNDERCOVERMike Steinel 07010834/$35.00
BUBBERT GOES WESTMike Steinel 07011293/$40.00
BUBBERT IN LOVEMike Steinel 07011459/$40.00
BUBBERT KICKS BACKMike Steinel 07010953/$35.00
BUBBERT’S GROOVEMike Steinel 07010748/$40.00
BUBBERT TAKES THE TRAINMike Steinel 07011161/$35.00
COMIN’ HOME BABYarr. Michael Sweeney 07011057/$35.00
JA-DAarr. Michael Sweeney 07010832/$40.00
MISTER COOLMike Steinel 07011061/$35.00
ON BROADWAYarr. Michael Sweeney 07010838/$40.00
PERFIDIAarr. Dominguez/Sweeney 07011165/$35.00
RIFFOLOGYMike Steinel 07011163/$35.00
SATIN DOLLarr. Michael Sweeney 07010740/$40.00
SO THERE!Michael Sweeney 07011059/$35.00
SO WHATarr. Michael Sweeney 07010742/$40.00
SONG FOR SAN MIGUELMike Steinel 07011295/$40.00
SUNDAY AFTERNOONMike Steinel 07010746/$35.00
TAKE THE “A” TRAINarr. Michael Sweeney 07010925/$40.00
59271EEJazz[guts]: 12/2/08 4:36 PM Page 17
A great resource for:➺ Teaching improvisation➺ Combo performance➺ Jazz Ensemble supplementary study
ESSENTIAL ELEMENTS JAZZ PLAY-ALONG(Jazz Standards)
By Michael Sweeney and Mike Steinel
60
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 whobecame and remained a trend setter for the rest of his career. He had a particular gift for finding and nurturing the most talentedyoung musicians of the day. The list of musicians who played in his bands is a veritable who’s who of modern jazz and includesJohn 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 Ab7 chord is used in the 11th and12th measure, where a Bb7 would be more typical. Use the scales shown as a reference, or use either of the blues scales throughout.
& # 44Medium Swing
P˙ ˙G7 .˙ Œ ˙ ˙ .˙ Œ ˙ ˙C7 .˙ Œ
& # ....˙ ˙G7 .˙ œn . 1. .˙# œn .D 7 .˙ œ- œb >C7 wF 7 .˙ Œ
& #2. .˙# œn .D 7 .˙ œb .C7 ˙n ˙G7
(D.C. Only ).U̇ Œ
& # ....Solos (3 choruses)
w w w w w w wn wG7
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
& # w w w wn w w wb wC7
’ ’ ’ ’ w w w w w w wn wG7
’ ’ ’ ’
& # ....w w w w w w w wD 7 w w w wn w w wb wC7
wn w w wb w w wb wnF 7 D.C. al Fine(last time)’ ’ ’ ’
FREDDIE FREELOADER
E∫ Version By Miles Davis
CD%: FULL PERFORMANCE
˘: RHYTHM SECTION ONLY
Copyright © 1959 Jazz Horn MusicCopyright Renewed
This arrangement © 2004 Jazz Horn MusicAll Rights Administered by Sony/ATV Music Publishing, 8 Music Square West, Nashville, TN 37203
International Copyright Secured All Rights Reserved
CD includes 2 full-length recordings of everytune (Full Performance or Rhythm Only)
Biographical information gives insighton the composer and on jazz history
Improvisation hints help students to createmelodies while teaching jazz chords and rhythms
At last, a jazz play-along book for developing players!Besides being a perfect introduction to some of the best-known jazz standards, this book includes hints forimprovising (every tune!), a guide to jazz articulations, ascale/chord correlation chart, and biographical sketches ofkey jazz figures. And if that weren’t enough, each tunecomes with its own sample solo for reference orperformance, and the professionally recorded CD/CD-ROMincludes tempo adjustment software for students to start attheir own pace and gradually “ramp” it up!
Includes: Now’s the Time • Killer Joe • Blue Bossa • C-JamBlues • Footprints • Song for My Father • Autumn Leaves •Freddie Freeloader • St. Thomas • Blue Train.
00841987 Bb, Eb & C Instruments ..................................$14.9900841988 Flute, F Horn, Tuba ........................................$14.9900841989 Rhythm Section ..............................................$14.99
(includes bass lines, piano voicings, and drum patterns)
59271EEJazz[guts]: 12/2/08 4:36 PM Page 18
• 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 acclaimedEssential Elements for Jazz Ensemble series –15 repertoire pieces designed specifically toaccompany 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 afantastic collection of arrangements in a varietyof styles. As a bonus feature, each arrangement
includes a teaching unit with exercises inmelody, rhythm and improvisation. A valuable
teaching tool in addition to filling yourprogramming needs!
By Michael Sweeney and Mike Steinel
07011461 Conductor ............................................$24.99 07011472 Trombone 3............................................$6.9907011462 Alto Sax 1 ..............................................$6.99 07011473 Guitar......................................................$6.9907011463 Alto Sax 2 ..............................................$6.99 07011474 Piano ....................................................$11.9907011464 Tenor Sax 1............................................$6.99 07011475 Bass........................................................$6.9907011465 Tenor Sax 2............................................$6.99 07011476 Drums ....................................................$6.9907011466 Baritone Sax ........................................$6.99 07011477 C Treble/Vibes ......................................$6.9907011467 Trumpet 1 ..............................................$6.99 07011478 Flute ........................................................$6.9907011468 Trumpet 2 ..............................................$6.99 07011479 Clarinet ..................................................$6.9907011469 Trumpet 3 ..............................................$6.99 07011480 F Horn ....................................................$6.9907011470 Trombone 1............................................$6.99 07011481 Tuba ........................................................$6.9907011471 Trombone 2............................................$6.99 07011482 CD..........................................................$14.99
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.
®
59271EEJazz[guts]: 12/2/08 4:36 PM Page 19
00841357 Conductor.....................................................................$29.9900841347 E b Alto Saxophone ......................................................$12.9900841348 B b Tenor Saxophone...................................................$12.9900841349 E b Baritone Saxophone..............................................$12.9900841350 B b Trumpet....................................................................$12.9900841351 Trombone......................................................................$12.9900841352 Guitar.............................................................................$15.9900841353 Piano .............................................................................$15.99
00841354 Bass...............................................................................$15.9900841355 Drums............................................................................$15.9900841356 C Treble/Vibes..............................................................$12.99
Also Available:00841620 Flute...............................................................................$12.9900841621 Clarinet..........................................................................$12.9900841622 F Horn............................................................................$12.9900841623 Tuba...............................................................................$12.99
00841987 B b, E b & C Instruments ..............................................$14.9900841988 Flute, F Horn, Tuba ....................................................$14.9900841989 Rhythm Section ..........................................................$14.99
ESSENTIAL ELEMENTS JAZZ ENSEMBLE METHOD
ESSENTIAL ELEMENTS JAZZ PLAY-ALONG
CORRELATED ARRANGEMENTS(Grade 1.5)
(Jazz Standards)
07011159 All of Me (Sweeney) ................................................$40.0007010955 Ballad for a Blue Horn (Steinel) ............................$35.0007010951 Basin Street Blues (Sweeney)................................$35.0007010836 Blues for a New Day (Steinel) ................................$35.0007011457 Bossa de Cancun (Steinel) ......................................$40.0007011055 Bubbert Goes Retro (Steinel) ..................................$35.0007010834 Bubbert Goes Undercover (Steinel) ......................$35.0007011293 Bubbert Goes West (Steinel) ..................................$40.0007011459 Bubbert in Love (Steinel) ........................................$40.0007010953 Bubbert Kicks Back (Steinel) ..................................$35.0007010748 Bubbert’s Groove (Steinel) ......................................$35.0007011161 Bubbert Takes the Train (Steinel) ..........................$35.00
07011057 Comin’ Home Baby (Sweeney) ..............................$35.0007010832 Ja-Da (Sweeney) ......................................................$35.0007011061 Mister Cool (Steinel) ................................................$35.0007010838 On Broadway (Sweeney) ........................................$35.0007011165 Perfidia (Sweeney) ..................................................$35.0007011163 Riffology (Steinel) ......................................................$35.0007010740 Satin Doll (Sweeney) ................................................$35.0007011059 So There! (Sweeney)................................................$35.0007010742 So What (Sweeney)..................................................$35.0007011295 Song for San Miguel (Steinel) ................................$40.0007010746 Sunday Afternoon (Steinel) ....................................$35.0007010925 Take the “A” Train (Sweeney) ................................$35.00
ESSENTIAL ELEMENTS FOR JAZZ ENSEMBLEComplete Order Information
07011461 Conductor ..................................................................$24.99 07011472 Trombone 3 ..................................................................$6.9907011462 Alto Sax 1 ....................................................................$6.99 07011473 Guitar ............................................................................$6.9907011463 Alto Sax 2 ....................................................................$6.99 07011474 Piano ..........................................................................$11.9907011464 Tenor Sax 1 ..................................................................$6.99 07011475 Bass ..............................................................................$6.9907011465 Tenor Sax 2 ..................................................................$6.99 07011476 Drums............................................................................$6.9907011466 Baritone Sax ................................................................$6.99 07011477 C Treble/Vibes..............................................................$6.9907011467 Trumpet 1......................................................................$6.99 07011478 Flute ..............................................................................$6.9907011468 Trumpet 2......................................................................$6.99 07011479 Clarinet..........................................................................$6.9907011469 Trumpet 3......................................................................$6.99 07011480 F Horn............................................................................$6.9907011470 Trombone 1 ..................................................................$6.99 07011481 Tuba ..............................................................................$6.9907011471 Trombone 2 ..................................................................$6.99 07011482 CD ................................................................................$14.99
THE BEST OF ESSENTIAL ELEMENTS FOR JAZZ ENSEMBLE
59271EEJazz[guts]: 12/2/08 4:36 PM Page 20
Visit Hal Leonard Online atwww.halleonard.com
#73999-DCAAGaHL90001883
A Comprehensive Method for Jazz Style and Improvisation
By Mike Steinel
A Comprehensive Method for Jazz Style and Improvisation
By Mike Steinel
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.
