A Comprehensive Method for Jazz Style and

A Com
prehe
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Metho
d for
By Mi Jazz St
yle
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Steine
l
and Im
provis
ation
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Meth By Mike Ste
e
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A Co
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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]:
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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
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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 ˙
Π..
˙.
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
‘
˙.
Π..
’’’’
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]:
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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 ΠΠ.
. 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]:
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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
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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.
..
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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
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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 ˙
> >
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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
..
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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.
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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
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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
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G7
^
j
.
b
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œ
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œ nœ
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D7
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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
. >
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& ˙.
C7
C7
œ œ œ bœ œ œ
.
.
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7
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. œ>
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‰ j œ œ b -œ œ œ Ó
œ
59271EEJazz[guts]:
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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
‘
‘
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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
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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
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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]:
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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]:
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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
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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]:
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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.
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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]:
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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.
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Alto Sax 2 ..............................................$6.99
Tenor Sax 1............................................$6.99
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C Treble/Vibes ......................................$6.99
Flute ........................................................$6.99
Clarinet ..................................................$6.99
F Horn ....................................................$6.99
Tuba ........................................................$6.99
CD..........................................................$14.99
59271EEJazz[guts]:
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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
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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