An Instrumental hoe Intermediate & Advanced Studies Darmon MeaderMajor Bebop Seale ~ This scale is an elaboration of the traditional major scale that incorporates an added chromatic passing tone between the 5" and 6" step of the scale, Chromatic passing tones are a staple of bebop vocabulary, as you will discover in more detail as we progress. 6 7 Cmas or Ca Dominant Bebop Seale ~ This scale is an elaboration of the traditional dominant scale that incorporates an added chromatic passing tone between the 7" and tonic step of the scale. It is particularly common as a descending passing tone, as in beat 2 of bar one, and beat 3 of bar two in the line below. Altered Dominant Scale — Also known as “Di ed Whole Tone,” and “Super Locrian,” the altered dominant scale js somewhat challenging to learn at first, but once itis in your ear, it will probably become a favorite color to use. If you sing or play a melodic minor scale, starting on the 7™ note of the scale, you get the altered dominant scale — this is how it was first explained to me. This is 2 useful way to init ially practice the scale if you already know the melodic minor scale, However, it is important to practice the altered dominant scale from the root as soon as possible. Otherwise, the scale does not make any sense theoretically, and therefore it does not sound right. Check out the scale and line below, and you will see why we love this scale, and all of the fun patterns that have been derived from it, It has all of the important altered upper extensions that we love to use on dominant chords. Here is a C altered dominant scale, resolving to F minor. As an extra exercise, analyze the scale and line below in relationship to a Gb"? chord, If you are not sure of the theory, go back to page 7 to read about “tri-tone substitutions. root b9 #9 3rd bS bI3 7th root b9 root 7th bI3 bS 3rd #9 b9 root "i Fn 22 FAAAHAKAKHEAKAKMMMMKMMMM MMMM MAMMA MMA re rereDiminished Seale ~The diminished scale is a symmetrical scale made up of altersating half steps and whole steps. There are two variations: half-whole, and whole-half. The names are self-explanatory, referring to whether the first ascending interval is a half step or whole step. The two versions are associated with two primary chord structures. The half-whole variation is associated with dominant 13, flat 9 chords. Every note in the scale fits nicely into this specific dominant chord as follows: Half-Whole Dimini: hed Seale: root b9 #9 3rd #11 Sth 13th 7th root 7th 13th Sth #11 3rd #9 b9 root 1369 ° ce Fn The whole-half diminished scale is used with diminished chords. A diminished chord is often used as a passing chord, between a iii and a ii chord for example (see below). In this context, the scale intervals are as follows: whole step, half step, whole step, half step, etc. Notice the C diminished scale below is also an Eb, F# and A diminished scale ~a symmetrical scale. In this example, the scale is used over an Eb diminished chord, Em Ehe Dns Here is an example of a diminished chord used as a passing chord between I and ii chords. This passing chord has a direct theoretical relationship to a VI chord. Here are two chord progressions that are basically the same except for the second chord in each progression, Notice that these two chords are VERY similar. ea ck De? ea cn? ame) 9 6? 23ee In the example above, the Cio” and A” chords are somewhat interchangeable, with the root being the primary difference. This is another chord progression where the diminished scale is very useful. Below is a short etude that matches the above chord progression: 9 13 Cue ck Dr Another variation of the above progression could be: CMa’, C#o’, Dm’, Ebo’, Em’, AX, pm?, G, The passing Ebo’ chord replaces the G', and the Em’ replaces the CMa’. One closing thought about diminished chords and scales: we have discussed the two variations (whole-half, half-whole), These two variations exist because we are referring to the root of the chord as the starting note of the diminished scale ~ i.e., the C diminished half-whole scale:is used on a C™™ chord, while aC diminished ‘ whole-half scale is used on a Co chord. This is theoretically, correct. However, I have always thought of the diminished half-whole scale as more of a theoretical coucept, itt not a necessary tool when it comes to Practical application. For me, the diminished whole-half is THE diminished scale. We just use it in two different ways. Look at the example below which shows how tie'C diminished whole-half scale functions over both a Co’ and aD!" On the Co’, the 1%, 3% 5" and 7” notes of the scale are the diminished chord tones, while the remaining tones are passing tones (notice that the passing tones also form another diminished triad), On the D'™*#" the 1*, 3°, 5" and 7 notes of the C diminished whole-half scale are the important basic chord tones — 7°, b9, 3° and 5 while the remaining notes are also great notes in the chord (root, #9, #11 and 13"), Go root Se’ Sth th took Smooth Sth 3rd {et} 7th root 69 #9 3rd HTL Sth 13th 7th root b9 root 7th 13th Sth #11 3rd #9 b9 root P 24 Ura rea ei cay adn a ava aa tas esPhrygian Scale — To play the Phrygian scale (or Phrygian mode), start on the 3" of a major scale. To understand how it functions, look at the example below. In jazz, we use this scale to navigate a couple of different chords: a root and triad a half step above the root (Db/C), or a dominant 7(b9) suspended chord 70, . Dhye or Cus” Locrian Seale ~ This is the more traditional scale used on a half diminished chord, or minor 7, bS chord. This is also the Locrian mode, which is the major scale starting on the 7" step (see page 14). In particular, this sound can be found in the Bebop era, where the b9 of the chord (which is the 3° of the key) would often V-i in a minor appear in the melodies and improvised lines. The typical application is on the ii chord of a key. Below is the scale, and a line example. 75 (69) Cu Locrian #2 Seale — This scale is the sound found in the half diminished chord when including the natural 9". The scale below would be the scale that works on the ii chord ina in C minor, (Dm, G™®, Cm’) as demonstrated in the following line. The name “Locrian #2” refers to the fact that the 2” note of the scale is a half step higher than in the traditional Locrian scale. Also, the Locrian #2 scale is one of the modes that is found in the melodie minor scale. Start on the sixth note of the melodic minor scale, and you will hear the Locrian #2 seale. One of the artists that brought this sound to the forefront was jazz pianist Bill Evans, who came to prominence in the 1960's. In its purest nomenclature, one might write “Dm” to denote the use of the natural 9 in the chord. However, most of us just stick with “Dm”",” with the understanding that the natural 9 (or #2) is available as a color when suited, #2 #2 7409 Dn i) Cn Ip 25Lydian Augmented Scale ~ The Lydian augmented scale is the Lydian mode, with a #5. It can also be viewed as a mode of the melodie minor scale, starting on the 3". This scale works well with a major 7, #5 chord, and also on a major triad based on the 3" of the major scale. Here is the scale and two examples. In example 1, a common chord progression is used where the 5" of the key ascends to the #5, up to the 6", and then back to the #5, Example 2 is the triad example. fear iy 9) cue! cud £ EX One more thing: you may have noticed that the notes in the Lydian augmented scale are the same as the notes in an altered dominant scale and an ascending melodic minor scale. We are just starting on different notes within the seale, Example 2 above would work on an Ab™®" chord, or an Am"? chord, As you can see, there is a lot of overlap with these more complicated scales, ‘Whole Tone Seale ~ This is a very self-explanatory scale, comprised of consecutive whole steps, Like the diminished scale, the whole tone scale is a symmetrical scale. This scale works best on a dominant chord with as, 26 ~Pentatonic Scale ~ The pentatonic scale is made up of the following notes of a major scale: 1, 2, 3, 5, 6. This scale is associated with early Asian music, but the scale carries over into Western music seamlessly, as itis so grounded in the major scale. In jazz, this scale is very useful, as the scale can be used in various inversions ‘over major, minor and dominant chords alike. In addition to the five note scale, we often use a four note derivative of the pentatonic scale, leaving off the last note, or “6” of the scale. The “1-2-3-5” pattem permeates jazz as well. Here are some examples of both the pentatonic and “1-2-3-5” lines used in common Jazz patterns. | have included various chord options — experiment with the scale while playing the suggested chords. You will see that this is a very versatile scale! C pentatonic scale — This scale and its derived patterns work over the following chords: CMa’, BbMa%"?)), Am’, Gm’, Dm’, Gsus’,C’, Gb") G pentatonic scale ~ This scale and its various patterns work over many different chords, including the following: C, GMa’, FMa"*""), Em’, Dm’, Am’, Dsus’, G’, Db"), Pentatonic patterns are particularly effective on modal songs and on sections of songs where the chord progression is less active. You will notice bits of pentatonic scales throughout the etudes in Chapter Seven and extensive use of the scale in the “Voyage” etudes on pages 124, 125 and 126. That covers most of the mode and scale details. Learn and practice the modes and scales, but do not get caught up in mastering all of the above at once. Intersperse your scale and mode practice with some of the melodic exercises that follow in later chapters. Scales and modes can get a bit tedious to practice, and at the end of the day, they are not very melodic or expressive on their own. However, they do greatly increase your understanding of jazz harmony, and add fluidity and dexterity to your vocabulary. 27Chapter Five: ii-V-I Patterns As discussed earlier, the ii-V-I progression is one of the building blocks of jazz harmony. This chapter is, made up of a variety of ii-V-I based etudes, incorporating extensive instrumental jazz vocabulary. The pattems tend to progress from easier to more difficult on each page, and include advanced scales, upper structure notes and chromaticism as they build. We will delve further into the details of these topics in the next chapter, but for now, listen, practice and absorb as much as you can. Each page is written in a new key or new progression of keys. In addition to learning them in the written keys, practice them in other keys to see how they fit with your voice. You can work on an entire etude, or isolate specific lines and learn them in multiple keys. If range starts to become an issue, start “improvising” and figure out ways to rewrite the line so it works in your voice. The first etude below is comprised of some relatively diatonic tines in C major designed to fit over a basic i V-I progression, followed by a VI turnaround chord. (Track #3) Easy Patterns in C Major LD’ é cue 7(09) 7 © Dm é Che aye 7 13 7 ‘mbs) 13 7 9 ate9) 31ii-V-I Patterns in Eb Major - Female Range Here is a set of ii-V-1 patterns in the key of Eb, appropriate for a female voice. Starting on exercise 7, a VI chord is added as the tumaround. A few of the later patterns start to integrate some altered Sths. (Track #4) Ehwe 6. Em” Bi Ebvo 7 eet Bray 7 om) (09) 8. Fm" BP (ea) or Ehma— 3, G 9. Fm By Bir) Ewe rm) 10. Fn” Blur = BY) Ela "tt = = f- = 2 ee z ap ri Bhat Bre — ms - + SS a = oe —_— Tm) BP (13) 32'V-I Patterns in Eb Major — Male Range Here is a set of ii-V-I patterns in the key of Eb, appropriate for a male voice. Starting on exercise 7, a VI chord is added as the turnaround. A few of the later patterns start to integrate some altered Sths. (Track #3) rt By Ehva 2 Fn” Bhus Sin) Fat By Bre Ehae ic BYES) had be 7 —— f Br 12. Fm” h Bhus_ BGI} Ehna, 4 33ii-V Patterns in Descending Whole Steps Here are some basic ii-V patterns in descending whole step keys, which do not resolve to the tonic chord, As the etude progresses, more chromaticism and upper structure harmony is incorporated, (Track #6) D ow’ aa wu Dine e 34Minor ii-V-i patterns ~ So far, we have been concentrating on major keys. So What about songs in minor Keys? A ii-V-1 in a minor key typically consists of a “minor 7, flat 5” or “half-diminished” chord, followed by a dominant 7” chord with a flat 9". Let’s explore some exercises with this progression, Below are a couple of simple pattems outlining this progression. It is written in two keys ~ G minor for female range, and C minor for male range. Female range: 78 769) 7 708: Am D Gm Am Male range: Dait® gt on pa” 7(e9) 7 Now that you have been introduced to the minor ii-V-i pattern, here are two etudes exploring these chords in detail. The first is written in a female range, the second in a male range. Notice that the V chord also may contain a #9 and/or a b13. We will discuss this in more detail later. Minor ii-V-i Patterns in Descending Whole Steps ~ Female Range (Track #7) De ae Das Bn En” Ye) Dn’ ©) 1) 75 7109) 7 705 ee BS Ang Dm ® 785 7169) 7 Dm G (b13) Cma S— Minor ii-V-i Patterns in Descending Whole Steps (female) ~ page 2 @ cat Fea) Bhn” Gn tea Fes, Bin” 7109) Eb ois) ® oh fG3 Fi! Dh $a @ ch cfs Fin” @ eb Be En” Cho 7109 BaD Minor ii-V-i Patterns in Deseending Whole Steps ~ Male Range (Track #8) ns 19 ii ae 7 705 103 Aes CANADA ANAUNATDAAAAANAAUDANANANNTMinor ii-V-i Patterns in Descending Whole Steps (male) ~ page 2 09 ns ot, a Ae 7(es) 7 ¢ G (o13) Cm! Fu Bh’ Gn* SSS ‘ FeD eve 70s ® Bhn”*® erg} Abn Dir oft} Fe” Df ® Gh cf 3 Fi” pa ®@ Bee Em” Cho Sa 2 == = 7¥ hii 4“ uw a @ i” Bey, 7 Toeeweweveey yee UUUOUUUUUVUVUUUUUUUUTNNIUITT Tovey © © ® ©) 9 2 5 fH 2 2 « > s (TT Chapter : Advanced Patterns Here are some patterns based on more complex chords and scales. If you have listened to a significant amount of instrumental jazz, you will probably recognize some of these more advanced lines and patterns. Good luck = you are now in the deep end of the pool! Altered Dominant Patterns ‘The altered dominant seale (also known as diminished whole-tone and super Locrian) was deseribed in detail (on page 22. Now we'll explore melodic and imtervallic options that highlight the altered sound. Below is an clude comprised of altered dominant lines in the key of D. The lines fit over an A>) chord, resolving to either Dm or DMa’. Notice that there are a couple of triads that exist in the altered dominant seale. In this key. they are the F and Eb triads. In addition to learning the notes, try to figure out the theory behind the notes as well. Altered Dominant Etude in D (Track #9) root b9 #9 3rd bS b13 7th root b9 root 7th b13 bs rd #9 b9 root a 9 LAGS Dn = = —| =e — § ee 7199) 9 Aves) 2 aes Dn’ 1 5 AGS} Due 38SUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUU YUU UU. 149) Ace alga 189 ace 149 acs 71989) AGS acy AGS 44 Ag Altered Dominant etude in D ~ page 2 Dn” Dm Dea Dm Dm Dae 39 tTAltered Dominant Patterns — Circle of 5ths Below are two altered dominant etudes that maneuver through multiple keys in a circle of fifths motion. One is ina female range and the other in a male range. They use a lot of the same material, with a few deviations to match the CD track. Notice that the ii chord of the ii-V-I progression varies. Sometimes it is ¢ minor 7 chord, and other times itis a minor 765 chord. The minor ii7b5 chord is the ii that is typically found in minor keys, but deceptive cadences are quite common. Lines 12 & 13 are prime examples, in which the ii7bS eventually leads to a major tonic chord. One might compare it to the “Picardy third” found in Renaissance and classical music, Altered Dominant Etude — Circle of 5ths — Female Range (Track #10) ot, Cue 199) 7 Ear cb aed ace) Bia #9) 4 Fm Bit) Ehwa 4 eee Abe 6. Ehn” aye, Dh 1 Abn we, iy Give 40 GAQRAARAKRAHRAMAMMAAKAANANAANAAMAAAM AAD AD eeeAltered Dominant Etude — Circle of Sths (female) ~ page 2 Le ae Bea, En % Bn” ee) An” En ae, Dn’ fay og, Gna oh Dne ote Ce Altered Dominant Etude ~ Circle of Sths — Male Range (Track #11) 71489) te De ts Mar) Cue Gal oe, Fire A aCe Fee Bove ar A* ee Bre is) Ebwe 41SSS Altered Dominant Etude — Circle of Sths (male) — page 2 5. Bhn’ re Aba & Ebn Area, Dh By” 7H) 9 1 Ey Ang, ” Mt Aa vey, Gua 5 $8. Dm" oh, ne 6 ——— esi joe fe] 5 oa ee fe tae The altered dominant patterns may take a while to setle in. It is a challenging scale, but one worth leaning. As the lines become more comfortable, you will start hearing them as melodic ideas and not just unusual upper extension notes, 42 AOARAAAAAANANANKNAMAMN MMM NMBA MMA meee llHere are some more advanced lines over ii-V-I chord progressions which contain a lot of chromaticism and upper structure color. The V chord alternates between a regular 13 chord and an altered chord (b9 or #9 and 13). Notice that the altered dominant scale is used on the altered V chords. Also, the tonic chord is a no longer a major chord, but is now a dominant chord, it-V-1 Patterns in Cirele of 5ths — Female Range (Track #12) Ps ® ow ot e Cn" Fes BF ® a! eves ° ang Following is a matching etude for a male voice. The vocabulary is similar, but the two etudes are not the same. 43ii-V-1 Patterns in Circle of 5ths — Male Range (Track #13) ® ° 13 a ® Ae D 00) oh Bin’ EF) ae are g Hopefully, the altered dominant sound is starting to make some sense. As your vocabulary builds, this sound will likely become an important part of your repertoire. Now, let’s move on to another sophisticated color — the diminished dominant sound.Diminished Dominant Patterns As discussed in the earlier Scales and Modes chapter, the diminished scale can be used in two different ways: over the V chord when the flat 9 and natural 13 are involved, or over a passing diminished chord Review the scale on page 23, and then take a look at the pattems below. Because of the symmetrical nature of the diminished scale, you can get into some very angular and aggressive patterns. Use the patterns in the following two etudes as a starting point, and see what else you can come up with. The following etude features diminished lines that work over a V'""”” chord in two keys. Numbers 1-4 fit a female range, and 5 ~ 9 are for a male range, but they are all sing-able by everyone, Dim 13(b9) pit ished Dominant Patterns Over V'*"” Chords (Track #14) 2 A sab9 7 ei Da >. 13(b9) 7 ? 1ab9 ou Due 5 piste 7 2009) 7 569) Gwe = 7 pp) ras a pe oa i 45Diminished Patterns Over Passing Diminished Chords (Track #15) ‘The following etude features diminished lines that work over a diminished passing chord in two keys (F and ‘Ab). In the key of F, notice that the F#o” chord has the same notes as a D"”, In essence, the Fo acts as a Vi"™ chord. Another use of the diminished is demonstrated in bars 33 and 37, in which a diminished version of the tonic is used (Fo” instead of FMa’). A prominent sound in this type of diminished chord is a major triad built on the natural 7. In this case, this would be an E major triad, Notice the hints of the E major triad in those bars. 5 O Fue FR Gr Abe ald ee 3169) he) LHOHOHHHHHAHHHHHKAAKHHAKANHAKAHAHANAAHANUAAAUAANUAANANANANAUNNChromatic Patterns In bebop vocabulary, you will see an extensive amount of chromaticism and “side-stepping,” where important chord tones are circled by chromatic passing tones. The following exercises explore this technique in detail. ‘Notice the chromatic movement between two chord tones in bar 1, beat 3 and 4. In bar 5, you will see an ‘example of “side-stepping.” The first four notes are all “circling” the F destination note on beat 3. Thave written two chromatic etudes. The first fits a female range, and the second is for a male voice. The two exercises are NOT identical, so check out both of them. Note: there is an excessive use of chromatic movement in these etudes. You will probably want to use this technique a bit more sparingly in “real world” applications! Female range (Track #16): Ehue b9) rm is ae Avot Dhive @ eb’ ar Alt, ate 47Chromatic Patterns (female) — page 2 bs) Ff FH) Bue 7 @ ky @ E’ ee ma ®@ pve @, hw O° Ge Eva 7149) D's) Gime ee ce ® Fwd pithy Ga Sis 0 @aoo Fa 48 RAN ANN NN ER RR AE ll llIn bar one of the etude below, the “side-stepping” technique is used, with the three key scale notes being the first two notes, and then the Ab. The notes in between are the “side-stepping notes.” You will also notic some of the chromaticism can also be connected to both altered dominant lines and diminished lines. Chromatic Patterns ~ Male Range (Track #17): By Ebme oe @® Fr” Br 71489) (13) ab Dhva’ Brey ‘ey Dh ay? ar" 49(Chromatic Patterns (male) ~ page 2 Buse ® Ff FEED) if e Ey @ Fe bs @ vo” Ge Ey 789) 7 D tis) ® Fue vy sa @ Ge" 33 50Quartal Patterns ‘Quartal patterns are based on the interval of the 4". Up until now, most of the patterns and lines we have explored involved intervals of whole steps, half steps and thirds. Below are lines that contain extensive use of fourths. These lines usually highlight important chord tones, but occasionally a quartal pattern will slide “outside” of the chord. Even though the notes are not in the chord, the line works because the shape of the line is strong, and it creates an interesting tension, which eventually resolves back to “inside” notes, First set for women, second for men’ Quartal Patterns — Female Range (Track #18): Ehud £ Bhs t ° ane) chal 8 Bhs Bhus Bh” Ebve %3 ‘ Blas BHR Ebve Br hua 6. En? ai? Ba 89) bag oe 7. Bhu, Bri) Bi"? ‘ Fas 5-1 BR (ei) Eb x iF. Bree Ebve chad 51Quartal Patterns ~ Male Range (Track # 19): 4 Bhous Ehud $ Bhus Bhd BP had ae) Bhat Ebae $a Both) Eig nee Be Eh, 7. Bhat Bete, Ene MP Eo Bt By Br) Eve 309) es) Ebva Eh 1 at ti g ee In the quartal lines above, we started touching on the idea of singing “outside” the changes. Starting on page 57, we will address this idea further, through the specific technique of “planing.” TUTATAATAAUTAAATAAAARAAANANAAARAARUANAARAAAAAAAAAARAARAAAAAi-VI-ii-V-I Etude — Female Range Here is an etude that reviews many of the lines and colors that we have practiced so far. (Track #20) 9 13 8 9 7109) Cm F Dm G G (613) 5 ee? Dr os, 9 13 9 7135) Gm F Dr oes ° prise) had Eb? 9 7169) Cm Dm Gis) ¢ ° os GS Bima a Dn 63 mS cho ethos 53‘V -iii-V1-ii-V-I Etude — Male Range Here is an etude that reviews many of the lines and colors we have practiced so far. (Track #21) Ge ee Dn” oe 7169) G (bis) pre) Bhd eb ° Dm 5 Bhao EF” 54Circle of Fifths ~ Big Intervals Here is an etude that concentrates on larger intervals. This includes 4ths, as explored previously, but it also includes larger intervallic jumps. We tend to concentrate on scales, 3rds and chromatic movement, but do not forget about larger intervals. They add drama and contrast, and allow you to center in on strong upper structure notes, creating interesting melodic tensions and shapes. Circle of Fifths ~ Big Intervals ~ Female Etude (Track #22) © es ee a ® tw at dD ° 78 5 ® 6 ¢ ® Gm tS FP @ Gr Fes} a” ® Fr ae) ge ® Bh eve ay ape) 55Circle of Fifths — Big Intervals — Male Etude (Track #23) e° ae ae ov” 3169) 13 Br ep 3 er ar 56 an AMAARAAHAAARAHRAARARAAARAAAAAARARAHRANRAAAAAAAAAAAAUARANANAANVOUT VTV VV UV VU UU UU UU UY UUUU UU UU UU UU UU UU ging Outside the Changes — Planing Ifyou are digging into this section, then you are now walking the tightrope without a net! {am not really sure if “planing” is @ real term, but that is what I call this approach. Basically, itis a fun way to slide “outside” the changes for a minute. After sliding outside, itis also very cool if you can then find your way back into the chords. Often times, these patterns will be based on simple scale ideas, triads, or combinations, such as the ubiquitous “1-2-3-5” pattem. These lines take on # new level of complexity when pushing through the chord changes in dissonant ways. Note: this approach requires a VERY high level of note accuracy in order for ito sound cohesive and convincing. Below is a wacky etude tat explores this “planing” idea, Here are two choruses over a 24 bar blues form. I ‘composed the first chorus, while the second chorus was improvised and then transcribed. You will notice that the first chorus is more siryctured, whereas the second chorus is looser. (Track #24) 13 1) tangas CSinging outside the Changes ~ page 2 @ ce ohn 13(¢) at) Does the above etude work? Some people would find this to be too strange and dissonant. However, in the same way that some 20" century classical composers stretched the boundaries of harmony, many jazz musicians enjoy pushing the envelop in a similar fashion. Technically, many of the notes are “wrong,” in that they do not fit the scale or chord tones. However, the lines are strong and the repetitions and patterned structure keep the listener connected to the line (hopefully!). There is also a real payoff when you successfully slide over, under and around the changes, while finally finding a way to re-enter the chords. Way cool. ‘This concludes the Advanced Patterns chapter. The rest of the book is # collection of etudes that I have written for various students over the years, which explore a variety of standard jazz titles or common song forms. The tudes range from intermediate to advanced levels. RAAAATRARAARAARARARARAAAARATRAAAARARAAARAAAAATRAARAAAANANChapter Seven: Etudes Over the years, I have written many improvisation etudes for students. This chapter is comprised of etudes written over the chord changes of twenty well-known songs. Treat these the same way you would treat classical tudes. Lear them note for note, and try to make music out of them. Obviously, you are not improvising, but ‘you are leaming the “nouns and verbs” that will help you speak the language. In addition to learning the lines, You can analyze the solos to truly grasp the vocabulary. If you find a line that you really like, make note of what ‘chord tones are most interesting to you and why they work well. Is it cool chord extension? Is it a fun pattern? Do you like the way it resolves to the next chord? As you get comfortable with the etude, start branching out, incorporating spontaneous vocabulary that you have started to develop. The more efudes you learn, the more vocabulary you will absorb. Due to copyright issues, the titles of most of the songs are not stated, but you might find a hint here or there. | have also used some common progressions such as blues and rhythm changes. If you have practiced some of the {-V-I patterns and various other exercises in the previous chapters, you will find that many of the lines in these etudes feel familiar, with clear similarities to earlier exercises. In these etudes, you will now be singing longer phrases (or sentences). You might even describe each etude as a short story. J have written at least two solos per song to fit various ranges. In many eases, 1 have put the solos in two different keys, one that would be more typically used by a female vocalist, and one more appropriate for a male voice. Neither of these keys might be the exact key that you would choose, but one or the other should be pretty close. In some cases, I have included solos for both male and female ranges in both keys, s0 as to give multiple options to explore. The male solos are sometimes written in bass clef, and sometimes in tenor/treble clef, depending on the range. The tenortreble clef solos may also be sung an octave higher by sopranos. I have used cither voice (Rosana and myself) or saxophone (alto and tenor sax) to demonstrate all of the ctudes. By singing along with the demo recordings, you will develop a deeper understanding of the subtleties of these various jazz “voices.” When singing along with the CD, you will find that the recording is often longer than the etude. This allows you to sing the etude twice, or sing it once and then improvise on your own. In a few cases, you will hear an additional chorus, which you can transcribe and/or learn by ear. Unlike the written solos, these additional choruses are ones that Rosana and | recorded spontaneously, so they are truly improvised. For the most part, I have chosen songs that work well at slow or medium tempos. We must learn to walk before ‘we can run, Fast tempo scatting is not the goal here, If you can master all of these solos, you will have learned a lot of vocabulary. You can work this vocabulary into faster tempos as your skills progress, In addition to working with the solos in this book, 1 strongly encourage you to find other solos to learn, Transeribe solos of favorite artists, both singers and instrumentalists, Find a few versions from different eras, and notice how the vocabulary varies. Seek out other published transcription books. Listen, listen, and then listen some more! One last thing — do not learn these solos strictly by’ éar! In audition to singing along with the demo recordings, read the solos and play them slowly on the piano. ‘This will “keep you honest,” making sure you are truly learning the notes accurately. For many people, the feeling of playing the notes on the piano (or another instrument) helps to support the muscle memory of the Lines. Good luck with these etudes! 59Blues in Bb Here are some blues choruses in the key of Bb. These choruses are relatively easy, relying on the “bluesy” notes quite a bit, with only a bit of bebop thrown in. Notice that there are a lot of staccato markings, Do not make these as short as you would in classical music. The notes are short, but still have “fatness” to them, There are three solos. The first is for all voices, the second for fernale, and the third for male range. Blues in Bb — All Voices (Track #25): @ er By Br Oo # a Br? eee (#89) eb Be a Fn) 3 @ oF ee Bi gee Bh @ et” a” Fea KRMAMAHAADHAHAAHAKRAAAAAAHAKRAMRARAAAAAHAMAAMAAMAAMAARAAAABlues in Bb (all voices) — page 2 ® ey” at? Fe) @ a " a i Bh ta @® es ey? Br BPs ® ev” Bi? FG, a ® Bb? eu ee? ‘ Blues in Bb - Female Range (Track #26): ey By Bi? ® si 3 ® ee Bi? BH? i) Fea Qo eb? at? ® BY BY ep? ® oF ey? By? Be? 61Blues in Bb (female) — page 2 3 8 (4) @ - ma Bh? Fr) ® ws? ee Be Bb ® ep Bi? Bb ® # BP hP Fg @ a ee Br? By @® ey” a? Bg said ae 4 7199) i ee ee Blues in Bb - Male Range (Track #27): Oo ca ei? BP o # b eh b Bb? Be 62 ATAAADAARAAATAATAATANRAAATDAAANRAAARAAARAAAAAAAARAARARATANBlues in Bb (male) - page 2 3 B 3 7189) @ F b Eb ig BY ge F (13), ® ai? b ey? a? Bs o ce a? , i ai? ey? b By Fg) oie ® pb? : ee Bb pi? Po ee Bi Br eH 8 79) @® F poeltabans. PS #e = Bh b 3 Bu ber cto ‘s i ai a @ = ooh be ® * ey” By FO ay 3 ay iat poe ee whee: b 4 63Blues in F Here are some more blues choruses, now in the key of F. These choruses are a bit less “bluesy” and a bit more jazz and bebop based. There are three solos. The first is for all voices, the second for female, and the third for ‘male range. Blues in F - All Voices (Track #28): © F BY Fl Gi le ® w By F An D @ F By F cn’ FG) ® w BY Fine An ve ® Gr Ce An Diy Gn r By Cn” res} ® wi Bh) Ee vy pts 7 7 An’ DOR Gm RRA MMAMAMROAMDAAMAMRMAMAAMAAAMNANRAMADAHRAAHRAAARARAARARRADRADBlues in F (all voices) ~ page 2 7 7 7 F Bh F F @ w a FQ An’ D'r) @ en iC Ane) Gn F Blues in F - Female Range (Track #29): F By F Gu FT 7 1 (69) D FG3 bv) F By. FE cn FES 65© w $a Blues in F (female) ~ page 2 7 ev 7 7 Bhn F E 7 7 149) Cc Am D (ia) a FP 7 7 c An’ Dt) Gn" Blues in F - Male Range (Track #30): By F 66 ey (09) Dos) Gn! (9) D (bis) 7169) 7 ATDAADAAAAAAAANAAAAATAAANAANAAAANAANAATAAANANANAANAAANll —_————_—— EE Blues in F (male) ~ page 2 ¢ An thy babe ek aaies bpp e 749) Fie) BH ee Gn? ¢ ee eele .) bit) @¢ Ao ot Gn! F 67 vee eVUTUUUUODUUUUUOUUUUTUUUUUUUUUUUUUD DOU LUDO LT © © © » y :Bird Blues in Bb ‘The origins of the 12 bar blues form are rooted in the blues seale, dominant chords, and more “carthy” licks and grooves. However, during the Bebop era, musicians such as Charlie “Bird” Parker and Dizzy Gillespie added more complex ii-V-I based harmonies to the blues. Unlike the previous blues forms, this blues is now based around a major tonic chord, and includes numerous mini ii-V-I progressions, sliding through various keys, Below are two etudes that explore this type of blues. Bird Blues in Bb - Female Range (Track #31): Bh Agi pe Gn? Fhe’ Br Ehe! Ebn’ Ay Fe 7 109 7 769 7 7109 Fats FB) Dm een Ga 3 7 7 7 7 7 Dm 6 Ctn ms FH Cm @ Fas FG Dn” oc FE @ Bhd _ = 68 AMMAAAAHAMHAMNKAMAMMMAKNKNOANOADAKHOANDNOMAMDOAMOAMDOANDNMMMMAODMAMANBird Blues in Bb - Male Range (Track #32): 705 Bho’ Arm D’ 7169) Gn? Fh” © Fa’ Byes Ehve Ehn” © 3) @ fe Fe3, Dn’ oe cn Fe b as Biv . An’® pit) er Fhe? 7 _7(b9) 7 (09) iF 7(b9) 7 @ Fe Fists) Dm Ge) Co FoR) @ Bua 69Summer Blues This song is a well-known 16 bar song form that has clear similarities to the traditional 12 bar blues. Notice the difference between bars 2 and 18. The female etude is in D minor, and the male etude is in G minor. Summer Blues in Dm - Female Range (Track #33): En AG De” Bi? 79) 7149) 2 ® ew ata) Oodn Eis) abe En aes) Dn” 705: 9 9 3 7 ®@ 7169) ¢ pe Em Abts) Dm Gm Fiva Gn we De Bn Em A «= @ Dn’ 70 RAMBABAADHAAAMRHAAARAMDAAMDAAADRAADRADDRADAAADRAARAADRAAAADRAAANHSummer Blues in Gm - Male Range (Track #34): ° r ° Gn me) Gn Dy =) ° 0 ee) Gn" An Dh) Gn Cn ee Bh gi ° 7169) ° 75. 7169) Gn DIB) Gm An go Dis) #3 Gn” AGS ve 769) Deis) ev @® oe Fen aha” om u vie nAfro-Cuban Blues In Afro-Cuban jazz, a 6/8 or 12/8 feel is often incorporated, which has elements of both a “two” and “three” feel. These two subdivisions can be used as part of your improvisation, and the vocabulary shifts slightly due to the triplet elements. The duple clement can also appear in quasi-double time lines. These minor blues choruses use an extensive amount of altered dominant scale vocabulary, used over both the Ab? and D™™”? chords. As discussed in the “tri-fone substitution” paragraph on page 7, the same scale can be used over both of these chords, as the two chords contain the same notes. I have written three choruses in C minor for female, tenor and baritone range. Cuban Blues in Cm - Female Range - (Track #35): ® vey oh QD os ay ® cos ® ves} ots} ® ons ae o's} nN a a a cae Sr car cae esac cas a na cams a i a cet aa a al meee aaa, eee een‘Afro-Cuban Blues (female) - page 2 ® ae a & 9) ve} ® oz ns a? oti ®ens ‘Afro-Cuban Blues in Cm — Male (Tenor) Range ~ (Track #36): ®Q oar ® vt oo Cn ee ee <= ,. ae + po ® e's) 7 BAfro-Cuban Blues (Tenor) ~ page 2 ‘ 3 ee Giallo er a pee oe ot i a ® no 32 @ vies 6&3 ns @ we _ ot} -@ oo8 ” = a ® Oto i ete ‘ 7149) Co ae ee Dit) @ ot ef a? ES @ ad Afro-Cuban Blues in Cm - Male (Baritone) Range — (Track #37): ® Cn © Cus 74Afro-Cuban Blues (Baritone) — page 2 m vig} 6h % 78 ‘ @ Gs AP Gt} @ Gnd ay Efe ,fae btn. 2 ba : SSS ee 6Gy van ot ay 75Another Etude This song is a common jazz standard. I have written two etudes in Eb for the guys, and two in C for the ladies. ‘The first etude is easier, and the second one is more challenging, Another Etude in C - Female Range — Chorus #1 — Easy (Track #38): el, Ba”? eve) ape Poa oy? ¢ Faz yee) 76 ALAAAAANNNANAANHANAAANAANANKAMEAMMAMManmnmmnrnnmnannnneAnother Etude in C - Female Range ~ Chorus #2 — Difficult (Track #38): cal: B® gw ® a @ ne 5 Bye) Cue g Am ® px Da? a ma Br en @ wm ot e? chem @ Fna ae) Cue Fim BB @ & xin 7 7Ke9) 7 6? boy a @ cm Em A Dm 1Another Etude in Eb - Male Range ~ Chorus #1 - Easy (Track #39): ea Da” gn Bh? ey? bax Abne oan) Eve cn” 13(¢1) F Fn” By Ebue Dm 6 ive oe Eb Am Ebve AV Gn” Ce re Be? Ebve! B RAMAMANAMAMAMMAAMAMAAAMANAANAAMNAMNAMAMAAMHAMAMHAMAANAHRAMDMAnother Etude in Eb - Male Range — Chorus #2 — Difficult (Track #39): Be Dn”? gi ® @ Ame pre Ehns Gn ® mo Fr” BV" ait, Tes: 7 Ehwa’ Dm 6 @ Ane oe Ehua_ = Am D @® ewer" — Gn! cE Fr Blas 79Cool Bop This etude is based on the chord changes to a classic “Cool Schoo!” bop head. The male etude is in the standard key of Bb, and the female etude is in the key of C. There is an extra chorus before the etude (for singing the head or scatting), and there is also an extra chorus to transcribe, Cool Bop Etude in C - Female Range (Track #40): : An” Dn’ 6 Cue Gn oe Taber cha 80 TAUTATAAAAAATAAAARAATAANATAAANAAAAAANAANAAANAAMAMAMNMNAMAMCool Bop Etude in Eb - Male Range (Track #41): Ebi Gm" Fm BP 7 © Ehne Bhn” eb’ b ® Ame Gn" c Fn’ By Eby @® fe Gn Aud Br Eine Bh’ EY” @ Ane Gn" ce Fr” By Ebue BP 81Autumn Etude Here are a few choruses that cover @ favorite jazz standard. This composition originally comes from France, but the English translation put this song into the jazz standard repertoire. The chord progression is relatively easy to follow. However, these four choruses incorporate some challenging lines, using some altered patterns and chromatic movement. Also, this song is usually performed at a faster tempo, so these etudes are designed accordingly. You may want to practice these at a slower tempo (using iReal Pro or some other practice track) before cranking it up to a performance tempo. The first two choruses are in C minor, putting the melody in a good female range. The male choruses are in the key of E minor. The track ineludes an extra chorus at the top for singing the head. Autumn Etude in Cm - Female Range - 1“ chorus (Track #42): Os Be Eb Abus og, Ot By Eva Aba ® p,7 or a 7068) 7 8) Aba 6 Cm 82 AMAMAAMAADAAMAANRAAMAAMAMAAABRADRARABAHAABRAAAAARAARABAARABAAAAAutumn Etude in Em - Female Range - 2"! chorus (Track #42): 7 ie Eb Abe cS) Fm Bb 7 Cn ag Ebna a)Autumn Etude in Em - Baritone Range (Track #43): ® v Gna Cm 7169) 7 7(b3) ® Fee 8 En E 84Autumn Etude in Em - Tenor Range (Track #43): @ be’ Dv’ Gud 5, Cae 85Bossa Nova Here are a couple of mellow solos over a classic Brazilian bossa nova with sophisticated chord changes. For stylistic accuracy, smooth articulation and legato phrasing should be used for the most part. This progression includes extensive use of diminished passing chords, If you are not familiar with the use of diminished passing chords, refer to page 23 for more details, and check out the etude on page 46, The female solo is in the key of C, and the male solo is in Eb. Bossa Nova Etude in C - Female Range (Track #44): ch Sea < Cu Enip 86Bossa Nova in C (female) ~ page 2 7 7 eye? Bossa Nova Etude in Eb - Male Range (Track #45): Bh Ebve 87® ® Fj” Bossa Nova in Eb (male) — page 2 Fhe Tia yooh $a Ebn an! — 5— Aol Aim 88 Diva Cue AMMMAMAMHHAMMAAMAMMAMAMAMARMMAAMAMAMNAMAAAAAMNAAMAMAAARAAMAARAMJazz Waltz Here are a few choruses that cover a favorite jazz waltz. There are solos for both men and women in both the Key of Bb (the standard key), and Eb (a better key for women when singing the melody), Jazz Waltz Etude in Bb — Female Range (Track #46): Prd An” pm By? chad i) go. i De Brice aye) ch? 7 (9) @® pps ‘ Bud a ae 7 13(69) ? Guy, Fg @ Bh 89Jazz Waltz Etude in Bb - Male Range (Track #47): Bh” Tbs 69) 7 = Ar ps Ge SS = = =S5 ta = SF ae 8 7 1B 7 c Bo Eb 5 at 2 eae = Sj = = 2 Ape) oS ee ei 23109) t ee > Baa pe) 1} be er Foe @ Bud a 90 AADANANJaxz Waltz Etude in Eb - Female Range (Track #48): 0) 7 ToS 1(b9) Dm 6 i Cm cia Fis’ pee) 09 io pie Fen” ge) En Bye) Ip o* Fn” Bye ai Be, @ Ed a 91£5) Ehve Ehwa 7 Abn 13(09) soe) Jazz Waltz Etude in Eb ~ Male Range (Track #49): De® em Bhn” ee? Ave Tes Ema. Fon os 2s 7169 Dr ee Bin” eB Abva 13(09) / i 92 Cm aye Bye) Cm Fa” Bye) Bh Fh” 13169)rs Foolish Ballad Here is a chorus that covers @ favorite jazz ballad, Traditionall Song is usually more of a vehicle for the melody, Iyries and pl zo Feason why vocalists should shy away from ballad improvi with a slower tempo — looser phrasing and more time to hear lear how to balance the yin and yang: the looseness with the ri the more instrumental vocabulary. These etudes attempt to do and the male solo is in the standard key of Bb. ly. vocalists do not improvise on ballads, as the hrasing to be showcased, With that said, there is ‘sation. Ballads offer certain freedoms that come the chord changes. However, it takes practice to Foolish Ballad in F - Female Range (Track #50): @ Ful Bhd) Amn” ta sa @ tu 93 vevwuvuuuUuUUUUYOOO EE Foolish Ballad (female) — page 2 7 7 7 14) @ tus tj si yn A = | aae @® vw ay Gel Gp Ewes) Foolish Ballad in Bb - Male Range (Track #51): Blva’ Elva’ Dm = G Coe ah sO cI "eh 94Foolish Ballad (male) ~ page 2 7 9 Fm Bk Ehaa te eA mn” @ Bye 55 Ee AP 6 Cn G jes ee) 13 169) 7 Cod. Far F Biya Gn Gh, Ft, 95Spring Etude Here are a few choruses that cover a favorite instrumental tune in the original key of F. There are a couple of interesting sets of lyrics for this tune. The melody is challenging, so it is a great tune for the more advanced singer. This song also travels through a few key centers. These different keys create additional challenges, but are actually less difficult for vocalists to navigate than for instrumentalists. Once you hear the changes, it does not really matter what key you are in as a vocalist. No tricky “fingerings” for the vocalist to worry about! Below are two choruses for each voice, along with an extra chorus to transcribe on the male track. Spring Etude in F - Female Range (Track #52): Chorus #1 (female) ® Bh’ a Alm’ ov Ghud Am oD 96 RAMAMAAMARAAAABRADRAAAMAAARAAAAMANRAAAAMARARAMRDRABRADRERREESpring Etude in F (female) ~ page 2 7 7 ® br Ay Gm c Fd : rece Dm Gm c @ Gh Abn” ov” hina Bn’ & @® time Ain’ Gna Gn ct @ Fwd Gaim’ Fie Bin” EW hm a 97Spring Etude in F - Male Range (Track Chorus #1 (male) 98 €Spring Etude (male) — page 2 @ Fu. Gm c Fine Bon” ey” @ Gh Abn’ DH ha Bn! E" @® end Abn” py Ghee’ Gm’ c ne @ Ful Gn’ Cc Fue Bh’ 99Swing Etude Here are “all the things” you need to learn in order to master these classic chord changes. You will get a workout with this etude, as it moves through a few key centers. The transition from the end of the bridge into the last A section is a particularly tricky spot. The two keys are Dm/F for the gals, and Fm/Ab for the guys. Swing Etude in F (Dm) - Female Range (Track #54): @Dm Gn Cus Fine aye IMHKRAARHHATRTATAAARAAAAAATAAAAARAAAAAAAAMRMAMAAMRAAMAAR‘Swing Etude in Ab (Fm) - Male Range (Track #55): 1 7 en c @ Fm Bbn Ehsus eb ga Ame cme Fn Bhat, BP hae cha 7 7 (69) 7 ® Fh” pre) ew! ¢d Eh. ever ® dhe Din” Cn" 101Just Chords Here are two etudes over a “friendly” set of chord changes that you have probably heard before. This song starts on the IV chord, which is a nice change of pace, There are also a few different ii-V key centers to work on, The female etude is in Eb, and the male etude is in the standard key of G. The track has a two bar intro, an open chorus (for singing the head), the etude, one more open chorus, and a quick turnaround before the end. Just Chords Etude in Eb - Female Range (Track #56): 7 Ale iy 7 Ab, ob 3 102 AADAARAAANAAANAAAAAAAAAAAAaAnagaaananaanaaaanannanaJust Chords Etude in G - Male Range (Track #57): sar ® An’ D k Fh z En”: i z Z ananaaan Rhythm Changes Fea ati tee to try faster tempos as you progress, There are two practice trcks for euch elude The first ‘Sat a medium tempo (160 bpm), and the second is ata faster clip (200 bpm). Rhythm Changes Etude in Bb - Female Range (Track #58 & 59): Chorus #1 (intermediate) Blu’ GF Dn’ 7 f 1 @Q Bh’ By cd gy Be Fe Mea ng? 7 PA 7 Bhd Be Brus By Ewe Cop F’ Bina 104Rhythm Changes in Bb (female) - chorus #2 (difficult) Cn! pF Biv Bhp cs Sis lyg SG!” Gee Bhs Bo Bhd Bh Ewe El @ 7 af ud 2 1 7 Bho AD Edm E Bhp F Bhud s 105Rhythm Changes Etudes in Bb - Male Range (Track #60 & 61): Chorus #1 (intermediate) D Bhd 6” Bhve BH Enc Eo Cup SF Boe a me pe é ‘ef ® Be 6 Cpe F On) 26)! Ga F” Bota Bh Ebel, 106 AMMAATAARTAAAAATRARHANAAHAHAAAHRAAAAARAARAAAAARAAAAAARAARRhythm Changes in Bb (male) - chorus #2 (difficult) @® Bh Gal pov Dn’ og” GF Eo Bye 6 Gr F @ Bho Bry Ewe D ® Bima Bi Elwes Cole F” Bhs Bova BY Et Bye Fos Bie’ 107Soulful Ballad Here are two etudes for a classic ballad, made famous by Coleman Hawkins, Dexter Gordon, and much Sater. Manhattan Transfer. These etudes contain a lot of instrumental vocabulary and hints of doutile-tithe. The additional chord substitutions are from Dexter's version. See if you can embrace the instrumental nature of the melodies while still giving the lines a vocal-ballad vibe. The female etude is in Ab, and the male etude is in the standard key of Db. Soulful Ballad Etude in Ab - Female Key (Track #62): 9 .7b9) EA Bln F Bin” Em Awe DF , res 49 Bh Gm ces espn 108 ik lt ls ll i a ai is ca ne aeSoulful Ballad Etude in Ab (female) — page 2 ® ie Bin” T 7 13(b9) 6 178 pte) - Fr Bin’ EF Alma Fy @ Be 109Soulful Ballad Etude in Db - Male Key (Track #63): Ebn hl Ebn An o 75 pire) (#9) Cm FOI -§5 $5 7 aye Bin” Ehn Diva! En A 110 ee MMO MO AMAMDMOAMOMAMAAARAAKRAARARSoulful Ballad Etude in Db (male) ~ page 2 ° 7 Fh? 9 13 Bim oh Ebn” aye Bhn” Eh’ ARP Dive Fn? BFE @ Eh” cha 1Hard-Bop Here are two etudes based on a classic 1950's hard-bop tune, made famous by Clifford Brown. The original version featured trumpet and tenor sax, so this song works nicely as a wordless duet, The bridge is quite challenging! The track includes an extra chorus at the top to sing the head. Hard-Bop Etude in Cm — Female range (Track #64): oD é Gao F By Ebae IS ay ®ov @ F By Ehna 112 AAMAMAMAMANRAMOAMMAMRAMAMAMAOAMAOAMROAMOAMDO OOD OADM ®JUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUU ULC CU UU DULL Hard-Bop Etude in Cm — Male range (Track #65): (ine Ds é Go Fosoei Ebaa ay Ehnd 8 113Samba #1 Here are four etudes based on another classic jazz standard written by a well-known jazz pianist and composer. The turnaround at the end of this progression became a jazz staple, and is often used to replace standard I-vi-ti- ‘V tumarounds (example 2 in the turnarounds section on page 15). This song is usually a swing/bop feel, but in this case, itis treated as a samba for a change of pace. Pay attention to the articulation markings on this one, as it helps bring out the samba feel, even though the vocabulary is still bebop based. There are two solos in the original key of C, a female solo in Ab, and a male solo in the original key of Eb. The tracks include an open chorus at the top to sing the head. Samba #1 Etude in C— Female range (Track #66): 9 Oem Fr B) Dn se Cue hws Abva’ he = so x pate a De 6 Ome Ewa Abve Diva’ @) Ca. 14 ck ak en a ee aSamba #1 Etude in C — Male range (Track #67): Oewe Fr” By 5Samba #1 Etude in Ab — Female key (Track #68): Abue Dhn” oi? Bho” ee Alva Bua. Eve. Aue Bhn’ ee Abme Buta’ Eve Awa. @ Alma. € € € € € € € € € e € e e e € € e € € e € € € € € € € « € € € € « € & « « < < « . 116 heaananneSamba #1 Etude in Eb — Male key (Track #69): 9 @ eh Abn py? Ch Fn Br Eh Ghd) Be Ewe, By? Ebva Grae Bs Ewe 7Whisper Etude Here are two etudes for another classic jazz standard. Written in the 1950s by an important saxophonist, this progression has some deceptively challenging chord changes more commonly explored by instrumentalists. The female solo is in A minor, and the male solo is in the original key of C minor. The track includes a second chorus for your perusal. Whisper Etude in Am — Female key (Track #70): FL 7 705 he) Fe gi?) Evp Che Ang En © wr B om che ee Be? ch’? a em) 7 a og FA gt) fy Ep Gh Ff”) ta @'e” toy OP ae ch’ a 8 os 710) 7 @ Frees rears ® he e Och™ eee Br Me?) i riaes4 ta a a) En” E ne ch eg ® An” Ang $=: 7 1 @ br’ Boy ch” wy Br? Buy Fe BO @ ae cts 118 RRMA MMMAMMAMAOADAMAMAMAAMAMAAMAAMAAAKAHAKRAHAAAHAARAKRAAAAAANWhisper Etude in Cm — Male key (Track #71): ToS (68) 7 1 . An gD Gn ng Ewpoacet 7 1 © Cm Coy ph 119Nice Etude Here are two etudes for yet another classic jazz standard. This tune has relatively straight ahead changes, but still has a few surprises. This song works at many tempos. | have chosen a brisk tempo for the track. Time to step it up folks! I have written two choruses for each voice — the first chorus is a bit easier, and the second one gets a bit more challenging. The female solo is in E minor, and the male solo is in the original key of A minor. ‘At faster tempos, you will probably want to go with lighter articulation to maintain the line, Nice Etude in Em — Female key (Track #72): ge FATS gr) Ee? En? An” D Gua er Be En’ @ ex” Ft peg, Em” I Fhr gro 120 AMMAMMAMMADAADMAAMAMAMAMAMAMAMOAMAMAMAMDAMOAMAAMAMROARAMRAAAMNice Etude in Em (female) page 2 716 ® an D Gute Fie Ble? ® pm’ we eat Fig”) En @ a ef FA ge @ et ree a eal Ex? ® By 6p Fm gr) .” I 121An! Gm Ff Gm ‘Nice Etude in Am ~ Male key (Track #73): ToS 7b9 9 Bm E Am’ C. Fue 7 705 Fea 6 neg ia 122 Am Tes: Fue Fue 708 E AHADAANDAATDUAAAAATAAATAAAADAADAANAAAAATDAAAAAAAAAAAADNice Etude in Am (male) — page 2 @® Fhe”* B Bn E @® An’ [ea iinet Oe Ae ® Gn" o Fe FiteModal Etude Here are three etudes for a well-known modal tune written in the 1960s. The first etude is a bit easier for all voices, The second and third are a bit harder, geared toward female and male ranges respectively. All etudes are in the original key. Modal Etude — Intermediate (Track #74): i Dsusa ® Fas ® dase -t4 ® Fase 7 ® Eh = ® dbus ® dase Foss @® Dass 124 SURF UAPULAAN LAN SAA a a a aa a ah ea a a a a a eaModal Etude - Female range (Track #75):Modal Etude ~ Male range (Track #76): ® dase ® Feuse sf ® é € < € « € é € € € € € € € € e e€ € € € e e€ e € € € e e e € € <€ © € e = © = = — = = 126Dreamy Etude Here are two etudes for a classic up-tempo jazz standard written in the mid ‘50s. There are lyrics for this tune as well — check out Dee Dee Bridgewater's version, Both etudes are in the original key of Bb minor. You will ‘want fo take your time getting this up to tempo, but it should be worth the effort! Dreamy Etude in Bbm — Female range (Track #77): (a7) (a7) ® Bm a Alm ta 3 OVE gs Ehn” ar ®@ Ab’ ov Ghd Bua ® ae Fat pte? Fat ris. @ ane @ sh? 7 aw ® pb’ ov” Ghve Bua (a7) (a7) Cu Ft Bhn Bh eg) 127Dreamy Etude in Bbm (female) ~ page 2 Ehiah a gyri Pah, ape? hia cn™ B7, F att up ( ALADANTANAANANATAAAANAAANANaAmannamnannamannamnnnneDreamy Etude in Bbm — Male range (Track #78): pita?) Abt? to ® Bin? Ehn” ay @ Ah” oY Ghaa Bue ® aye @® »? Eh’ a ® Am py Gina Bro cn pw phe”? Bitte”! jam) Ia 129Dreamy Etude in Bbm (male) — page 2 @® Epp a Fa 7 » he? ab ® da Ex > Gh Ehn/ah ar @ Fars Bye Eh’ st rk nhs 7 had: one Flat uw) ® hive” aero) ® pe) Ebm” ay @ a’ by Gina $5 @ Be Gn Fon Bin? Fat 130 AHHAAAAAAAAAAANTANTAANAANANAAAANTATAAAANDAAAAAADAADANSamba #2 Here are two etudes based on a classic up-tempo jazz standard that incorporates an unusual 48 bar song form, The song is traditionally performed as a samba, with a swing feel often used during the middle section. I have chosen to keep the whole track in a samba groove to keep the feel unified. The female etude is in the key of C, and the male etude is in the original key of G, There is an eight bar intro, and an extra chorus in front for singing the head. Samba #2 Etude in C — Female range (Track #79): 79) 7 7149) $7) Fm BP Ebwe cb Br” EbS Ane 131‘Samba #2 Btude in C (female) - page 2 763) Samba #2 Etude in G — Male range (Track #80): 132Samba #2 Etude in G (male) ~ page 2 by " D Gua ® we 144 ; Fr Bova ot 709) Fn” Bie) 133