CLARINET+ AMERICAN MUSIC that originated at the beginning of the 20th cemtuty + A BLEND of many Influences: + African melodies, hythms, and instruments + European melodies, harmoniesand instruments + Esrly American musical styles such as Blues, Work Songs, Spirituals and Hymns, Ragtime and Marches + More Recent Styles such as Rock, Afro-Cuban, and other Latin styles + HIGHLY RHYTHMIC MUSIC, having historical connections with movement and dance + MOSTLY IMPROVISED —jazz musicians don't ely completely on written parts = CAN VARY IN Siz From Small Combos ~ usually three te nine pleces with individual instruments To Large Ensembles ~ made up of'sections" Ibrass reeds, thythm, and strings) ‘+ EVERY PART IS IMPORTANT Unlike Concert Bands and Qrchestras which may have many players on part, Jazz Ensembles usualy have one player on each part. + HAS A RICH TRADITION, ‘The original Jaze" bands were marching bands thet played for social events, ‘Throughout the 20th century the instrumentation of jazz bands giew: Jelly Roll Morton's Band in 1926 had 7 pieces ‘Duke Bllingtonés Band in 1942 had 17 pieces ‘Stan Kenton’s Neophonic Orchestra in 1955 hat 23 players ‘The standard instrumentation of the jazz band today is: 4 trumpets 4 trombones, saxes, pieng, gultar,bass, and drums Traditional Set-up TRUMPETS 2 1 3 4 Base TROMBONES 2 1 3 4 SAXES Ww A2 Al 12 BARI.3 + IMPROVISATION IS COMPOSING AND PERFORMING JAUSIC AT THE SAME TIVE ++ Jazz is usually improvised within the structure of a song or song-form, ‘+ Music wos improvised by the Greeks as eatly as 400 8C + Musicians of al cukuresimprovise ta some degree + IS JAZZ IMPROVISATION DIFFICULT? «+ Like learning » new language it takes. Ftle time but sean gets easier «The key:to stert and not be afraid to make mistakes (a natural part of learning) + Everyone can learn to improvise with practice and help from teacher + HOW DOI START? += Bylistening to great jazzartists + By imitating the sounds you hear (and weiting them down} + By developing good technique so you can play the sounds you hear in your head + By jumping in and giving ita try! All Jazz musicians need to understand the unique rales of the RHYTHM SECTION, Normally made up of pang, bass, quitar, and drums. It provides three of the basic elements of jazz performance: + PULSE — steady time Keeping + HARMONY — playing the chords, providing harmonic accompaniment for melodies and improvisations + RHYTHMIC INTERACTION — playing the rhythmic accompaniment for melodies and improvisations Like: good conversation, jaz relies on interaction and communication. Ail three elements are needed for jazz Pulse, Harmony. and Rhythmic Interaction, Aut ne one player inthe thythm section does ail three jabs — they aredivided among the players. I you map out the relationships, ir would look tke a trienale: Bass & GuitarTHE BASICS OF JAZZ STYLE Attacks and Releases J traditional must (Concert TE Injazz itis commen to use a“Do0' attack (soft Band and Orchestra) you use 3 ard legato) to begin a note. its also common rah’ articulation to begin a note toehd the note with the tongue. This “tongue and taper the note at theend. th Doo-+-it stop gives the music. rhythmic Feeling. 1, ATTACKS AND RELEASES Traditional Jouz $< —_———— Dao - ~~ & Accenting “2 and 4” For most traditional music the important bests in4/4 time are 1 and 3, In jazz, however, the emphasis is usually on beats 2 and 4, Emphasizing"2 and 4” gives the musica jazz feeling. 2. ACCENTING 2 AND 4 Traditional doze > > > > Playing Doo and Bah (Full Value Notes) = > trace ese nae deh ee ay atte pla fl ae f f ‘with a soft legate articulation. The scat (vocal sylables Doo" and "Bab will. Tenuto Long Accent help you hear the sound of these articulations, Remember in jazz itis (fullvalve) (fullvale accented) Important to play fll valve notes vith a legato articulation, Doo Bab Note: The “Bat? articulation is used only when vocalizing the scat syllables. * Bah helos demonstrate the aparopriate amount of accent. When articulating on your instrument use the syllable Dab." 3. DOO AND BAH teat : Jaze Th Tah Tah Th Tah Doo Boo 08 Bh Doo Boa = = =i E 4 Playing Dit and Dot (Short or Detached Notes) f f in zz notes maiked with a staccato ora roaf top accent are about co Seton Aecost halfoffull value. The seat sjlables Die" and “Dor‘will help you hear [ieceatoceented) (ehortarannte) thesound of there articulations, Dit ‘Dot DIT AND DOT “raddtiona! Jaze 4 A ‘ Tah Th Tah Tah Tah be ove Dit Oot Bt Dot — Dot DOO, BAH, Dit, AND DOT > Boo Doo Deo Beh Doo Bah Ot on Dot Dk Bot DatSwing 8th Notes Sound Different Than They Look ee In swing, the 2nd 8th note of each beat is actually played like the last thitd of a see | t=! fl 6. SWING 8TH NOTES sing thescot syllables of each exercise before you play it Teidiianal Wy oy A as Tab Teh Tah Tah Tah Tah Teh Tah Tah Tah Bae Bah Doo Bah Dot Doo Bish Doo Bah Dot Quarter Notes Quarter notes jn swing style are usually played detached (staccato) with accents on beats 2and 4. Dit Der Br Bot 7. QUARTERS AND 8THS A 4S Sot A > >A ot 7 Yee ——S—- | SS ie Dot ot Doe Bah Bon Bah Dot Dt Det Ot Doo Bah Dao Bah Dor 8. MORE QUARTERS ABD: 8THS i : = i SS Se Dit Dor Dit Bot Boo Bah Ooo Ont Dit. Sor Boo Sah Doo Bah’ Doo Bah Dao Dat Important Tips Notes artne ends of phrases are usually played short and accented. S o - = P 3 A Jazz Articulation Review f f f f ‘These are the four basic articulations Tenuto Staceate Long Accent Roof Top Accent Wiazz and the related seat syllables (full value) [short unaccented) ffullvalueaccented) (short, attented) preety Doo Dit Bah Dot Quarter Notes Stoccato Legere Swing 8th Notes Quarter notes in swing, ‘style jazz are Usually Played staccato, 8th notes In swing style jazz are usually played legoto,ao a? is 2925 -s°> 0 oo ‘Doo Bah Doo Ea Doo Bah Doo Bah continue stm, 10. MOVIN’ AROUND A A lS Ss =" = a ee 3 eS ? i te fo co cmime dh cevPhimm Gnome Bi Bx Dope bh) Dos Ooo Deo A A ——— ? >. =p ee ——s f = Dit’ Bot Deo Bah Boo Bah Doo Bah Doo Bah Doo Doo 83h Doo Bah Dk Dot to Hah Det Dao. 11, RUNNIN’ AROUND A A -s = 5 £8 =3 Deo fish Boe Boh Bes “5 = = 5 >. Dit Dot Doo Aah Doe dan _Da0 tan Coo Bah Doo Dk Dot Dov Bah Boo sah A =f oe a3 =F “9 =o) a 2 £8 De Dot Doe Bah Doo Beh Geo Bah Doo Bah Boo (Deo ah Boo Bah Doo fish Deo Gah Dao Bah Dor Boo 12. TRADIN’ OFF Trumpets Saxophones ¢ = o> 2 ¥ fy > > Boo Bah Doo Bah Dit Dot Doe fan Doo Beh Doo Doe Beh Doo Beh Dit Bot Doo Bh Deo Bah Dao Trombones All Sections ii — sf e = => =o = > = >, Doe Ba Doo Bah Sit “Dot Dao Bah Dae Bah Dido «Dea Bah Doo Gah Ooo Bah Doo Bh Deo Sah Dot Doo 13. JA-DA Bob Cateton Dit ee Dit Doe G0 Sth Deo Bah Dr Dot Dat Bit Doe Bi Dow = ay Doo Bh Deo Beh Dh Dot Dat op sah Doo Ban Bir Det Daa, Bah Ox 0 :— 3 Bad Gah Oso Bah Dt Dot Doo dah Dt Dao Dit Doo oir ~ > ~ > Doe fh Deo Bah BY Dot D0 Sah Doo Fah it oe Bah Doo Gah De Doro14, SYNCOPATING BY ANTICIPATING THE BEAT (PLAYING EARLY) ‘Synicopated) y (Syncopated y Anticipateet — Amicipated 15. SYNCOPATING BY DELAYING THE BEAT (PLAYING LATE) (Syrcopored) 6) vated) my rer “delayed — delayed 16. WHEN THE SAINTS GO MARCHING IN - Without Syncopation James Blackand Katherine Purvi 3 : ——— 17. WHEN THE SAINTS GO MARCHING IN - With Syncopetion A A > '—=.9 Bor Dt oo. Bah Det Dt Deo. Bah <= — > fo 3 Dot 0% Dee Bah eo ‘uh eo ah 18. RHYTHM STUDY FOR JA-DA > 2 > oo Bh Dao Bah Don Rah Doo Sah Dit Doo Bah Doo Bah Boo Bali Dt Dot ‘Dao Bar Doo Bah 19. JA-DA - Full Band Arrangement - With Syncopation a: wnt Meet20. READING SWING RHYTHMS “To play the corract shivthm with = god jz feel, ink (or fee!) the basic ths note pulse and the jazz sylables. pee nd) he carpe or rcepuce oat 3 ‘Dee Sah Dow Dot Doo fis Dot ‘Doo Bah Doe Dot Doe Bot A Toplay thecorrect feal binker inlecety etiae(SeDana nd) (JI) A =A a0 A A eo Bah Deo Bor ‘Boo Bah ‘Dad Bah Boo Dot Doo Dit Dat 21, SWING RHYTHM WORKOUT #1 qT h C 7 4) A__> A A A A Bk Det Doo Bah Dae Dot Dk: Det Dos Doe Dot BR Det Doo Dot acTT)) ITT) (ITT) a A A Dk Dot Ooooh Oly Got Doo Di Dot Dit Dor Doe Dit Bot 22, SWING RHYTHM WORKOUT #2 4 “i A A > > > > Deo Bah Doo Bsh Dot Ba Doo Dor Doo Bah Doo Sah Dt Dor 00 Dat A A A A > > => > > = Boo Sah B00 tah Bot Doo sh Dat Boo fah Doo Sah Dot Doo Dit Dot A > . > > So ‘ Boo Bah O90 Sh Ot Doo fh Doo Dot Dao Bah Doo ah Doo Bah Poo Dt Bat 23. SWING RHYTHM WORKOUT #3 Remember to keep the 8th note pulse going in your head. ET) CTT) rT) cTT) DR Dep Bah Dae Bah Doo Bah Doo Bit Beh. 24. SWING RHYTHM REVIEW A > >_> A > > —“Jazzin’ Up” the Melody with Syncopation Synconation i the fist step to improvising ina jazestyle: Eady jazz musicians syncopsted all types of music Including marching band tunes, hymns, and blues songs, They called It regain’the melody. 25. “JAZZIN’ UP” A-TISKET A-TASKET Original Melody A_A Jazzed Up (syncopated) Melody ? > ? > Dit Dew Di One ‘Bah Dit oa Bah, Det Oh Bolo Bah on . > $ Dt = Dot Ske Bah Dot Doo DR Dot =D Bao Bah Bot “Jazzin’ Up” the Melody by Adding Rhythms Adding rhythms to 3 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 Original Melody Phe A A AA AAA pen Jenzed Up Meiody (ihythms added) > > > > > a > Doo Bah Doo Bah Dec Bah Doo Bah Doo fh Ooo Bah Dit Boo Bah A ° > > se Dao Bth Deo Bah Dit Pot Deo Bah Dot Dit Dao sh Dae Hah Duo Ban Dit Doe ‘Ban MAKE UP YOUR OWN (IMPROVISE) 27. LONDON BRIDGE compietethemefodyinyourown jazzed up" way. Useonly the notes showin parentheses I bay, Siashes on che xafindcate when to improvise. AA A A A re Jazred Up Melody Band A Solo Banc A Solo sad Solo complete the melody Helpful Hint: Using The Melody Is Never Wrong When starting to improvise, keep the melody in your mind, Itisa helpful guide for beginning improvisers.10 Swingin’ With Jack 28. RHYTHM WORKOUT Sometimes quarter notes arefong. > > A ee Sah Due Bah DI Dot Doo Due Dat (000 Bah Desh Ok CooBah Doo Deo Dot San +h s A >A A > DGOEAK DooBak Dit O95 Bah Doo Dk Dot (020 Bah Dot o6Beh Dot O90 BH Deo. Hah es A is A A a! Doo Bah Goa Aah Di Bot os Dit Bah Dit Bot Bit Det Doo #ah Doo Dor 29. MELODY WORKOUT 34 15 A eyed 30. SWINGIN’ WITH JACK ~ Full Rand Arrangement 4: np eS Style Review - Swing + Use a soft"doo" attack rather than a"tat attack + Play quarter notes devached (staccato) Unless otherwise marked + Play notes followed by a rest staccato and accented + Play 8th notes connected (legato) unless otherwise marked + Play 8th nictes with a triplet subdivision + Accent 8th notes on the Upbaats (the“and” ofthe beat + Accent gustter notes on beats*2"and"4” = Use the scot syllables 'deo}"bah eit! arid“Gor" 16 stggest the sound ef each jazz articulationn Building Jazz Chords Nost jazz is harmonized with Seventh Chords. Seventh Chords ate four-niote chords built in thitds [every other note ofa scale), A Major Seventh Chord Uses the fist, third, fifth, and seventh notes of majorscale 31. CMajorseale Citalor Seventh Chord oe ros ay sce eel 8 Lowering the top note (called the seventh) of the Major Seventh Chord changes the chord toa Dominant Seventh Chord. Lowering the second (called the third) and top note (seventh) ofa Major Seventh Chord changes the chord to'a Minor Seventh Chord. EMojor Seventh Chard C Dominant Seventh Chord EMinoc Seventh Choid Chords have specific labe's called Chard Symbols, The frst letierin a Chord Symbol always indicates the root or the bottom nate of the chord. The letters and numbers on the tiaht indicate the chord type major ar dominant for example) Chord Name Chord Symbol CMajot Seventh Cm? ‘Dominant Seventh (ig ‘Minor Seventh Cm? 33. MAJOR SEVENTH CHORD WORKOUT (Cj7) Play eithernote) Tes 34. DOMINANT SEVENTH CHORD WORKOUT (C7) (Pay either note) 2° oe 35. MINOR SEVENTH CHORD WORKOUT (C,)7) (layeithernote) TSS The Dominant Seventh Chord is a “jazzy” chord Because ofits flattened seventh (often called a ‘blue note) the Dominant Seventh Chord has @ very “jazzy” or bluezy"sound. The Blues Progression ‘The harmony of a jaz song és called the chord progression. The mast common chord progression in jazz is the blues: Usually the blues is @ twelve-har repeated pattern using three Dominant Seventh Chords. The roots (bottom notes) of these three chords are usually the first, fourth, and fifth notesofthe key of the blues. 36. LISTEN TO THE BLUES PROGRESSION — B} Concert 7 f7 C7 67 fC? Chara WV Ghorei Ichora Vchord Vichord | chord12 37. BLUES WORKOUT - Roots and Sevenths 4 0 o7 ‘7 07 > =e Ly 38. BLUES WORKOUT - Roots, Thirds, and Sevenths 07 4, > 7 67 7 c7 = > > 3 39, MAKE UP YOUR OWN - 2-Bar Solos using Roots, Thirds, and Sevenths C7 Band Solo (im 2" ©. Building the Dominant Scale You can build a“dom nant scale" by inserting notes between the chord tones ofthe Dominant Seventh Chore! ‘This scale “Tits” (sounds lke) the Dominant Chord. Dominant Chord ‘Makes a Seale: Dominant Scale —— 7. 41, BLUES WORKOUT - Scale steps 1, 2, and 3 7 #1. C7 7 (i o742. BLUES WORKOUT - Scale steps 1 through 5 cr FL. e7 67, a c ¢? F7, Band Soo meee, Mike SteinelSt. Louis Blues (composed by WC Handy} 46. RHYTHM WORKOUT “co > om pad. > > Ses tD > oo Rah Doo Boh ‘Bih Doo Bah Dit Doo Bah Doo ith DooBh Beh Doo Bch Dit 00 Bah See ee? Se: ‘Bop Bah Doo Bah Bah’Doo Bah Dit Doo Bah 47. MELODY WORKOUT Sun: > > W.C, Handy, often called “The Father Of The Slves” was a fimous composer, bandleader, and music publisher. Ha was one of the first muticians to recognize the eornmarcial potential of African/American folk inusic and he worked ta Incorporate these Influence’ into the arangemontsfoy his nine-piaes orchostra Harmony Review IinB5c36 we leained about the blues progression In 8 concert. Our version OF St Louls Blues uses a inlay chord progression. but in adifferent key: GF concert 48. LISTEN TO THE CHORDS FOR ST. LOUIS BLUES $7 7 ¢7 7 cr og? tOhord Wehord Chore VGchord iVChord |\chord 49, BLUES WORKOUT FOR ST. LOUIS BLUES - Roots, Thirds, and Sevenths 67. cr 50. BLUES WORKOUT FOR ST. LOUIS BLUES - Scale steps 1 through 5, and >7 ” 07 ¢7 7 C7 G2.51, “JAZZIN’ UP“ ST, LOUIS BLUES - Adding Rhythms rs 52. ST. LOUIS BLUES - Add Your Own Rhythms Inthe sections merked Solo, take turns making up your own rhythms using anlya single lich (, Bond A 5060. Sand Early Jazz Jadz developed in the souther United States at the beginning of the 1900's, This new music, which wasn't even named Jazz" until 1917, borrowed elements from nearly all other styles of music: ragtime, European classical music spirituals, hymns, ‘work songs field hollers,the blues, marching band music, andl music ftom rrinstrel shows. New Orleans was the center for jazz in the early years and New Orleans musicians such as Buddy Bolden, Joe "King" Oliver, Jelly Rall Morton.and Sidney Becher were considered the finest perfarmers oftheir time, “New Orleans Jnz2"or'Diielan Jazz") focused on‘group"imprevisation with the trumpet clarinetst;end trombonist often impovsing at the same time overa steady accompaniment from a thythm section made up of piano, banjo, drums, and occasionally bass After the fli jazz recordings were made in 1917, the popularity of jazz grew rapidly. Jazz musicians traveled north to New York, Kanseé City,and Chicago and then abroad. By the mid. 1920s jazz was being performed throughout the warld. Louis Armstrong Cometist, Trumpeter, Vocalist Louis Satchma" Armstrang (1900-1971) was born in New Orleans. ‘Armstrong became famous playing with the bands of King’ Oliver and Fletcher Henderson before starting his own band in the mid 1920. in adeition to being a great trumpets he Was a great singer as well and Invented @ style of singing using nonsense syllables which is known as "scat? He traveled the world many times in his long career and became the most famious jazz musician of his day.53. ST. LOUIS BLUES - Original Melody 54. ST. LOUIS BLUES - Changing Rhythms 55, ST. LOUIS BLUES - Repeating Parts of the Melody ‘When there are pauses in the malody, repeatnotes or groups of notes. w o ST. LOUIS BLUES - Filling in the Skips Skips in the melody can be filled in with the scale steps ———— BS 2 =; 57. ST, LOUIS BLUES - Adding “Wrong” Notes (Chromatic Ornamentation) ‘A*wiong’ or dissonant note (usuelly.a half step of) can create a grest jazz effect if itleads into a "good melody note, >58. ST. LOUIS BLUES - Full Band Arrangement inten 4 @ e7soor As i sary nnn e {Solo stars here (use the melody as aguide for improvisation) 67 oF 7 67 PULL ENSEMBLE (DIXIE-STYLE) 0 End ofBuilding the Blues Scale The Blues Scale is a 6-note scale often used with the Blues Progression. Compare this sale with the major scale ‘The lowered for fated) notes are called "blue" notes and should be played with a bluesy feeling. 60. (CMajor Scale C Blues Scale CD2Track ea A es Bre sy Ff GS Ae Ss we 61. THE BLUES SCALE - With the Blues Progression 7 Track? f 2: 7 a f? cr =e 62. BLUES WORKOUT - Blues Seale (1, +3, and 4) 7 (7 02 Track3 e7 67 ‘7 07 Fs 63. BLUES WORKOUT - Blues Scale (1,23, 4, and }5) 7 (7 coz Tracks c7 67 f? 7 . - oY . 64, BLUES WORKOUT - Blues Scale (1,53, 4, 95, 5, and +7) 4 > 65. MAKE UP YOUR OWN - 2-Bar Solos C7 sane Solo FP sand SontieetRiffs and Licks FRffs and icks are short melodles that jazz musicans use when liprovising. Alffs and licks often are bulltusing the notes ofthe blues scale tn solos and songs they are often repeated two or three times. It Important thar beginning Improvisers ‘memorize common rif an licks. 66, RHYTHM WORKOUT ey CO Tark: Dea Doo fh feo Sod ae fa Doo Bah > > so. bit ~ Da Deo Bah Di © Doo “tan, 67. RHYTHM WORKOUT #2 t CDi Tiack! > bog Dh © Boo Bah boo Bh Doo Dot > A Deb Bah Dot bit Deo Bah Dor Oe Dt0 Bah Dot Dit Doo'Bh Boo Dot 68. COMMON RIFFS - Using Notes of the Blues Scale C7 ‘ corr 7 G7 “ 7 69. MORE COMMON RIFFS ~ Using Notes of the Blues Scale ane ¢? 7 07 > Oy20 70. THE MAJOR BLUES SCALE this is another type of blues scale and is made up of the 1.23,3, 5;and 6 ‘ofa majorscale. CMalorScale (Major Bizes Scale D2 Track 1 Tete Sts Foe) 7 8 rere a: 71. COMPARE THE BLUES SCALES Clues Seale CMgjac Blues Scale 2 Track 12 Jazz Expression - Bends and Scoops 72. THE BEND ~ starethe note on pitch, lower it momentary then return tothe original pitch Benes can be executed with the embouchure 0 thetingers ora combination ofboth ep Fack 13 73. THE SCOOP = sideinio the note from below pitch. Scoops canbe executed ‘with the embauchure or the fingers or'a cambination of bath. D2 Track 14 74. MAKING THE BLUES SCALES SOUND “BLUESY” ~ jo sound authertic. certain notes of the blues scales sre usually “scooped” or ‘bent Bending and scooping these "blue notes” gives these scales a sad emotional quality. The minor bives scale as three blue rites. CDITrack 15 The majpr blues sccle as twa biue rons. 75. COMMON RIFFS - Using Notes of the Major Blues Scale D2 Track 16 Cap. A je > A . A fo aA A >76, MORE COMMON RIFFS - Using Notes of the Major ane Seale rte A > >u _A 4 77. QUESTIONS AND ANSWERS corre C7 ouestion Rif F7 question Riff Repeated 7 Ansverhf, 7 ‘7 07 Ee 3 5 Question Rift Question Ar Repected CT Ay. A A A ef A A 78, TRADING OFF ~ Questions and Answers aun 2 2 7 Band Repeats Question Rif 07 Trumpets Play Quesiion Rf 3 > Saxoplianes Play Answer Rift C7 C7 2 OF x a > @ 07 ticinbories ray caescin att F7 band Repeats Question Rif 3s A > £ 3 A > Do SaxapharesPley Answer Rif 2 gs eo cr22 79. MAKE UP YOUR OWN ANSWER WITH THE BLUES SCALE Sand Plays Qeston Band Repeats Question, CORTckat > 5_% > A @ — Moke Up Your Own Answer with aRitt c7 G7 e7 07 e Bq BanciPleysQvestion Band Repeat Question Be, ah [Asia A iF == oom FE oH— est * 8 page Make Up Your Own Answer ith a Rf c7 67 #7 ig e 80. MAKE UP YOUR OWN QUESTION WITH THE MAJOR BLUES SCALE CD2 Track 21 C7 rave Up Your Own Question with a Riff F7 Repeat Your Own Question with « Rift e C7 Bond Plays Answer eis A 7 C7 > A @ C7 Moke tp Your Own Question witha Riff Pr Repeat Your Own Question witha Riff = a erent ery ae A pee EA i—+# ] The Swing Era Inthe 19308 and 40%, the orchestras of Duke Bllington, Count Basie, Benny Goodman, Gletn Mille and Fletcher Henderson created ‘new type of dance music called swing, The strong beat and smooth “big band" sound made swing the most popular music of thetime. dare Kenedy ‘Duke lington (1699-1974) crew up in Washington, O.Candledabendnety — Duke Ellington all of his fe. Although Duke was a gifted pianist he is most remembered for his compostlcns and orchestrations. |t 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 — williym*Count” Basie was born in Red Bank, New Jersey (1904), but his style of big band music ‘associated with Kansas City. n the early 19305 Basie joined the Bennie Moten Orchestra, 3" styled band that specialized in playing the blues and performed primatily in the midwest. Whon ‘Moten ded in 1935 the"Count"took over the bend. and under his leadership it became one ofthe most popular jazz bands of the ea. Even for Baiies deathin 1984,The Count Basle Orchestra continued to tour and please jazz aurliences around the world24 Bebop inthe early 1949's musicians began experimenting with a new kind of music which they called Bebop. Sebop was often much faster than swing music and its melodies and harmonies were much more complex. Swing bands played music primanly for dancing and focused on ensemble" playing while the Bebop combos played for ltening and emphasized improvisations. 83. RHYTHM WORKOUT D2 Track 24 84. MELODY WORKOUT Theory Review ~ The Dominant Scale (The Mixolydian Mode) Of; page 12 We learned that the dominant scale cen be bullt by insesling notes between the tones ofa dominant chord ‘he domirant scales also known as the mixolydien mode mode" ls another name for'scale? GDominant Seventh Chord 85. MIXOLYDIAN WORKOUT - Scale Steps 1-5 G7 C7 coe Tea 86, MIXOLYDIAN WORKOUT - Scale Steps 1-7 62 : gh po 5 ehBebop Uses “Wrong” Notes (Chromatic Ornamentation) ‘On page 16 you learned how you could impravise on « melody by adding “wrong notes*io the melody. You can also Improvise on scales by adding "wrong’ notes to the sales. Adding wrong notes is called chiomatlc ornamentation and bebop musicians in the forties made these “wrong notes” an important art of their improvised melodies. 87. “WRONG NOTES” CAN SOUND WRONG 67 D2 Track 26 88. “WRONG NOTES” CAN SOUND GOOD G7 Notes that den/tbelona to thesale can sound good I'they/lecdl Into godad notes (notesin thechord). D2 Track 29 89. CHROMATIC WORKOUT - Filling in the Scale Put the "good" notes on the dawnbeats and the wrong nates on the upbeats Da Trees G2 7 90. CHROMATIC WORKOUT - Filling in the Scale with Triplets Put the ‘good notes on the downbeats and the wiong notes on the upbeat, COD Tres G7 o7 5 5 ? a 07 5 _ G7 $ $ . 7 3 91. CHROMATIC WORKOUT - Enclosing the Good Notes Play 1/2 step above, then play 1/2 step below, then play the “good” note (a note from the chord). ot 07 coed The Bebop Lick ‘The Bebop lick starts on a scale tone, moves by half steps down a step, and then returns to the original note. It is a very common Bebop melodic device, 92. CHROMATIC WORKOUT - Using the Bebop Lick 7 a 02 treed Seta 3 % a - 7 9726 Bebop Scale ‘On page 25 you feared how jazz musicians adel "wrong notes" to scales, Its very common for Improvisels to add a note beeen seventh and root of the mixolydian mode to make a new seale called the Bebop Seale. 93. COMPARE THE MIXOLYDIAN MODE AND THE BEBOP SCALE GiMlapiytion Mode GBebop Scale Adda — CO2 Track 34 ote Bebop scales sound good with dominant chocds because when they are played in Sth nates, the downbeats are always notes In the chord 94, BEBOP SCALE WORKOUT - Running Down the Scale a ig cpa Trae oF, 97 67 oe 95. BEBOP SCALE WORKOUT - Running Down from 3 to 7 G7 (7 coz Trae 67. 97 7. 96. BEBOP SCALE WORKOUT - Running Up from 5 and Ending on 7 G7 C7 cb2 Trae 67 o7 G7 97. BEBOP SCALE WORKOUT ~ Keeping the 8th Notes Going G7, cba rec 98. TRADING OFF WITH THE BEBOP SCALE GL rangers Everyone C7 Trombones D2Trael See ee 5 Priddis Al sell tepile tee ee G7 Everyone 07 sores ¢7 EveryoneCharlie Parker Charles Christopher Parkes (1920-1955) whowas known to jazz fans a6"Bird" grew up in Kansas City, As@ young boy he idolized Count Basie’ startenor saxophonist, Lester Young, “Bird bocarme a virtuoro performer onalto sax whose solos Gisplayed lire. brilliance, anda teen understanding of the blues. Although he died before he received the recognition, he deserved his style became widely stusied and imitated. Jelhn Btks Gillespie (19171983) was born in South Carolina While touring with the Tedy Hill Band, he earned the name“Dizay” because of his lowing oni horseplay. his meln Influence was Roy Eldridge who was perhaps the most brillant trumpet solo of the swing era. In addition to being a great trumpetes,"Dizzy’ wasan entertaining showrma) His puffed cheeks and hentharn made hima recognizable figure the world over 99. “BOPPIN’ AROUND” - Full Band Arrangement 2te 67 07 oat28 Latin and Rock Styles Latin Jezz or Jazz Rock styles are played much differently than swing style: The 8th notes in Latin and Rock are played evenly, ancl articulations are often quite different thar in swing style. 101. COMPARE THE 8TH NOTES D2 Track 42 Sivlig Style (with erjoler feel) atin or Rock Style (with even 8th notes) corraceas 102. ee NOTES talotin and Rock these are often legato, sin swing. ncesfolowed mse a tatnerReckSyle SR ee z ce Sua De [be Sk Ge OK DH Do Boo Bh Deo BN Dey eh Det 103, 8TH NOTES Ofer stacato oF acombinatinofstoccatoand lita con Track 44 Swing Style A Latin or Rack Style > i>: Dit Doo dah Dk Doo sh Ooo Dit Dot Deo Dit Dit Ove It DE Ik Bah Dot 104. LATIN/ROCK RHYTHM ‘WORKOUT a A CO? Trach 4: > 3 Doo fish Dh Dr Dit Dit Doo Dit Dot Dit Dit Dit Of Doo Gah Bde Dt Dot A A Dk Dit dit Dt Doo Dit Dit Boo Dot Doo Dit Bit bit Ot Dit Ot Boo Dot 105. LATIN/ROCK RHYTHM WORKOUT #2 4 D2 Track 4 > > > Deo sah Bh HDR Dit Dot Ot Heh Dt Doo Yah DE-DE Dt Dot A > > Dk Dit Gen OH Bay Ot Poo ON Dot ‘it Bah Dt Oi De Bay — Boa OH Dar 106. LATIN/ROCK RHYTHM Woes #3 Da irack + ¢ £ > = Deo Bah. Da Dk Df Doo oie Dot Du Dit Dit Dee Bah —D9@—Dit_Dot A Doe bit Bt It DL OF Dt Dit Det Dir Dit Cr Dee De Dik it DIE Dot 107. MAKE UP YOUR OWN In the sections marked “Solo,” take turns making up your own rhythms using only a single pitch (G) Band A Solo coz TrackSalsa Caliente 108. RHYTHM WORKOUT C02 Treckas x s-# Note: Someiimes in Latin Jazz 81h notes are played legato orconnected. 109, MELODY WORKOUT ‘C2 Track $0 Ses Theory Review — The Minor Seventh Chord On page 11 we learned! that lowering the third and seventh of a Major Seventh Chote changes the chord to a Minoe Seveinth Choe 110. — GMojorSeventh Chord G Minor Seventh Chord CDP Track 51 se ees a nin ase st ag Building the Dorian Mode from the Minor Seventh Chord Adding notes between the chord tones of the Minor Seventh Chard creates a new scale called the Oorlan Mode. The Dorian Made “its"or sounds like the Minor Seventh Chord, G Minor Seventh Chord . §BorianMode ————— Se ———— 2. 2 111, DORIAN MODE WORKOUT - Scale Steps 1-5 ‘ CO? Tree 112, DORIAN MODE WORKOUT - Scale Steps 1-8 ae 113. DORIAN MODE WORKOUT - Scale Steps 1-9 EEE pet Erp eat et 114. DORIAN MODE WORKOUT - Skipping notes and moving around D2 Trae D2 Trae30 115. MAKE UP YOUR OWN - 2-Bar Solos Using the Dorian Mode fat ne corte ee 116. BLUES SCALE WORKOUT - 1,23, 4, and 5 CO? Track § 117. BLUES SCALE WORKOUT - 1,53, 4, 95, 5, and 57 cortiact 5 118. MAKE UP YOUR OWN - 2-Bar Solos Using the Blues Scale D2 Track 5 ac Solo Band x The term Jazz Fusion is used to describe a type of jazz that combities non-jazz styles With jazz: In the 1950, jazz musicians began experimenting by borrowing rhythms forms, and instruments from many other types of music. Since that time jazz has been fused (or combinec) with classical music latin music.fock music-and indian music. to name & few, Jazz Fusion offen features a shythiric style that uses even eighth notes. in adltion 10 playing betiop and swing, Miles Davis (1926~1991) was a pionver of Jazz Fuston’ styles. Hewas truly one of the most innovative jazz musicians of the 20th century. Niles began is career with ihe great bebop saxipphontst Charlie Parker but quickly emerged asa leader who becameand remained atrend setter forthe restof his career, He had a particular gift for finding and nurturing the most talented young musicians of the day. The lst of musicians who pldyed in his hands Is 8 veritable who's whe of modern jazz and includes John Coltiane, Cannonball Adderley, Haile Hancock, Chick Cores, ‘Tony Whitlam sill Evans and John McLaughlin.119, SALSA CALIENTE - Full Band Arrangement D2 Tock For solos on this tune. use either the G Dorian Made {shovin) or the G Blues Scale, Both will sound good with Gmi? and\C7. On the accompariment CD the sclo section is played a total af 6 times, n performance, the solo section may be repeated 3s many times a5 needed. ete 1 5M > av, A 10.CO0A e T @ scves Gm? Tow. A S0LoGn? PLAY 6 TIME C7 Gui? C7 44 Use this scale for both chords in this section A # 4 98. AL ooo OW. +— Rit. 120, DEMONSTRATION SOLO FOR SALSA CALIENTE Gai? cr Gm? cr ei? Coa Tracks C1 Gait C7 Gmi7 cr “5 oe? fc or Gm? c7 Gal | C =. Gai? —_ 7 . mit C7 gas. SSeS121. Jazz Ornamentation and Expression cD? Trae in order for music 0 sound jazzy it must be played with appropriate jazz expression. There are many othaments and articulations which are pecullarto jazz and necessary to achlevea cheracteristic jazz feeling, These are some of the most common omaments: & wv Start the note on pitch, lower it momentarily, oer then return to otiginal pitch. # ‘Atthe end of the note let the pitch fail oft Falls may be execut Fall ‘with the emboucher othe fingers er @ combination of both + Fallscan be shortorlong. Slide into the note fiom below plich, Scoops can be executed mith the embouicher or the fingers or eccambination of both. Slide the pitch Upwards at the end of the note. Slide down to’a note from above slightly before the note is to be played. Plops can be short of tong Slide from one note to the naxt'smoathly. Glssandes may be ‘executed with the emboucher or the fingers or'a combination of Often called a tum, the flip is executed by quictly playing a no above the original note {usually a step or haf step), eturning t the original note and then proceeding to the next written nateBlues Scales c F Bs 5 Chord/Scale Workout fMejorScale _Alajar 7th Chord §— Muxolydian Seale Dominant 7th Chard Bolan Made ‘Minor 7h Chora