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    Jazz e Improvisaciones

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    Stamdars2 de Jazz e Improvisaciones

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    Jazz e Improvisaciones

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    di 38
    eeoe VOLUME 1 22 ENIP PROR. RUBEN RIBEIRO PREFACE 'afe are two groups of standards that help form the basic repertory used in jazz improvisation. The first group sweoeece S created by jazz musicians directly from improvisation, experimentation and the analysis of musical forms, (@ 2s and practices that were developed through study and the natural gifts of some of the greatest musicians O22 Wentieth century. This group coated jazz into chronological styles and provides concrete examples of styles and concepts. The second group of standards is comprised of compositions written as popular songs @ring the first half of the twentieth century. Many of the composers of these songs were highly influenced by @ composers and players, Jazz musicians also used compositions by composers who were not influenced 27 because those compositions became excellent vehicles for azz improvistion when the melodies were e fered to fit jazz concepts. is series, Dr. Willie Hill has utilized compositions from both groups to give musicians a well-balanced selec- of music to help the “fearful to the fearless" improve their jazz skills. He has provided a learning situation tis similar to a typical jazz gig setting and has included clearly written musical examples to demonstrate how @improvised solo might be constructed Ber improviser is 3 composer wo makos up melodies spontaneously. The mods choruses give examples Ki can be studied, learned, broken into independent phrases and used to create other melodies that reflect @' Clearly what the improviser wants to say musically. Dr. Hill has given the player who uses this series an [de look at the jazz vocabulary, transcription opportunities, informative composer insights and 2 useful S se 7 Aui7 07 —— UTES pe ao = i aa Spe oe Bhui7 7 BbuiT “7 a qi Bhui7 PROF, RUBEN RIBEIRO 7 9 en 8} INSTRUMENTS PROF. RUBEN RIBEIRO IMP2ovis20 S0Le LISTEN, ANALYLE ANO ToANSCRIEe (2) JB GALL OeMO PLAYS £ cHoguses) COMPOSER INSIGHT ON THE TRAIL ae composer wrote “On the Trail” in an AB-16-bar song form. Ferde Grofé was an American George Ceeinaie abet who virote the Grand Canyon Suite in 1951. He arranged compositions for George Gershwin, Paul | Whiteman, and many others. His “On the Trail! has been pe:tormed aad Bailes by Joe Henderson, Dizzy Gillespie, Clark Terry, Harry "Sweets" Bunen he Clayton Brothers, and Tony Bennett. This tune is loaded with simple iv chocd changes typical of many popular songs. A key change in the B section creates a great harmonie itt whe tune, giving ee fers f Challenge in the new key. You can play very freely through these changes with blues scales, dominant 7th se Good rhythms and use ales, major pentatonics, and almost any combination of diatonic scale tones. of space make patterns work POOH ORO OR He CFCC COO CCO ae Poe e LleKS AND TRIAKS Groraonene $ PROF, RUBEN RIBEIRO @ick #1 is a four-measure diatonic lick. Lick #2 offers a suggested idea for the B section, a four-bar @aren that will fit over the ii -V chords. Lick #3 is a melodic line for the A section. en « Au? = 7 Q hui?’ 07 © jah en shit a @') 4 ‘ful 07 a Aui 91 SCALES AND CHORDS G AuiT ov q 2 Awi? oO G ¢ . Bui? a uit 07 OISCOGLAPHY ON THE TEAL: \derson - Four! With The Wynton Kelly Trio - Verve 523657 ‘Sweets” Edison - Edison's Lights - OFC 804 Dizzy Gillespie - Live At The Village Vanguard - Blue Note 80507 “ Peer in oe ge "@ OF RUBEN RIBEIRO CANTALOUPE IGLANO SrINSTRUMENTS LISTEN ANO ANALY Head (Ce) Tees 22 3660 HeAo PLAY THE HEAD Ga) ah 8y HERBIE HANCOOY iL V2. = f= + { Es ——- | = ent T0.C00K + ae ii : @ SSS SS = SS 1 em & z x : SS Sj e S00 CHORD CHANGES - 4 cHOgUSES CREATE YOLZ OWN IMPROVISATION e PON ene $ » ri iH aE ES : § e _@ =| @ $ % APTE? LAST SOLO —@ 0.9.8 4b G00k Se SS aoe cr 6@ rs © HANCOCK MUSIC (BM All Righs Reserved Used w pene @ecc00e Ss e ® e 6 : . PROB. Rl EXAMPLE IMPQOVISATION eee y INSTRUMENTS LISTEN ANO ANALWLE JAZZ DENO (GALL OHO PLAYS £ CHORUSES) By WILLIE THOMAS 200K Gui os PROF. RUBEN RIBEIRO IMPROVISED SOLO FINSTQUMENTS LISTEN, ANALYZE ANO TRANSCRIBE —C) IEE, = GALL O€MO PLAYS 2 choguses) COMPOSER INSIGHT 3 CANTALOUPE ISLAND ee Hancock is one of the greatest jazz piano/keyboard players of the twentieth century He old. He it Chicago, [linois, April 12, 1940, and began playing the’ piano before he was eight years cea ron 2 Piano and keyboard styles include post-bop, hard-bop, modal, funk, R&B, pop, “Ch packs and others. Hancock’s well-known compositions include*“Watermelon Man,” Island g00""" Maiden Voyage,” “Eye of the Hurricane,” “Dolphin Dance,” and “Cantaloupe The latter composition is a wonderful modal tune played within a 16-bar structure, usually pli in the jazz-rock genre. This standard uses only three different chord changes, and it Yet clever melody line, allowing the player to really dig into these chord progressions. mode produces the basic harmonic content for this piece. You can also incorporate d blues scales to add variety to your improvisation Li le ia e e @NSTOUMENTS ds #1 is a two-bar phrase written as it fits in each of the three chords in this tune. Lick #2 is based on blues scale written here for each of the three chords. Lick #3 is af eighth-note line outlining the @ree chords using the ninth, : LICKS ANO T2ICKS i PROP RUBEN piper e @!) SAME Lick over 8 cHoeos Gui en éui ©.) Sate Lick over 4 enoeas e Gui Se a7 ui ) SAME Liey over $ cHoeos, Gui — a Eni SCALES AND CHOZOS e@eoeoceee DIScOGgAPHY CANTALOUPE ISLAND Herbie Hancock - Cantaloupe Island - Blue Note 29331 Herbie Hancock - Best Of Herbie Hancock (The Blue Note Years) - Blue Note 91143 5 PROF. RUBEN RIBEIRO THe peeacned = LISTEN ANO ANALY LEHEAO (2) iF 8) INSTRUMENTS HeAo us : © OOWN- HOME SWING FLAW THENEAD pf By HoRAce siLverg INTRO 4 10 000A > S0L0 CHORD CHANGES - ¢ cHORUSE OREATE 1008 OWN IMPROVISATION One Ait Apt VAPTER LAST. SOLO : Aui? 07 a = SSS (©1989 ECAROH MUSIC, INC: (ANCAP) 4 1 tut + e008 Co ARight Reserved Used by Permission Me , EXAMPLE IMPQOVISATION He PROB. RUBEN Sysrune ‘ Usted AND wnt One a ARLE EMO PLAYS | CHORUS, 4 4 COUN -HOHE SWING BY TAVON TACK SON G a7 e e e Aui7 _ABT Bui €7 » ee oe 2 te ——- # 7 ; ~ : oT a iat 8) INST2UMENTS . IMPROVISED SoL9 "ROP RUBENRIBERO LISTEN, ANALYZE ANO feANSCeiB8E C) wal To “(GALL O2MO PLAYS 1 CHOgUS) ©0660 s ce ccvoeveec Written in an AB 16-barsong form, “The Preacher” i tunes, It was originally released in 1954 under the Blue Note label featuring Kenny Dotham on trumpet, Hank Mobley on tenor saxophone, co-leade: bass, and pianist Horace Silver. Silver was born in Norwalk, Connecticut, in 1928, He is a , composer, band leader, pianist, and pioncer of the hard {The Preacher,” “Doodlin’ ” “Ecaroh; Sadie,” and “Peace.” Progression that takes the player to the major Ii COMPOSER INSIGHT THE PREACHER \ is one of Horace Silver's most memorable Att Blakey on drums, Doug Watkins on bop era. His famous compositions include .” “Blowing the Blues Away” “Song for My Father," “Sister “The Preacher” is a happy, uplifting tune with an interesting chord I chord followed by a diminished chord sequence. a Sinsraouenrs “LICKS ANO TRICKS “ Lick #1 is a simple line with pick-up notes rhythmically mirrgring the written melodyRERENRIBERO ‘non-harmonic tones in a rhythmical pattern, and Lick #3 focuses on the gospel-style chord walk-up ‘@using the diminished chord in measures 13 and 14 of the tune. ey at QI c cw? GS oe 1) gs Ql 0 7 Gt e @ 2)Awi7 Age? Sui7 a oo : ° “te" was e e e SCALES AND CHORDS e@ a gr @ cys e y DISCOGRAPHY ‘THE PREACHER Horace Silver - The Best Of Horace Silver (The Blue Note Years) - Blue Note 91143 Horace Silver - Greatest Hits - CEMA Special Products 57589 Horace Silver & The Jazz Messengers - Blue Note B21 Y84175 8 By INSTRUMENTS: HEAD EASY SWING 2 PROF, RUBEN RIBEIRO SUMMEQTIME LISTEN ANO ANALYZE Het CO) saz Beno PLAY THE HEAD ((e) puavatonc By GEORGE GERSHWIN, OU BOSE ANO DOROTHY HEYWALO ANO [2A GERSHWIN fe 5 TOCOOA & SOLO CHORD CHANGES - 2 CHORUSES CREATE YOUR OWN IMPROVISATION (@) pravatonc evi Aui7 gle FE = SS yy fk? 87 éui Le = i _ 7 AFTER LAST SOLO 0.0 AL CODA ja? og? TFT gy ee & = ® 0004 7 4 1 io = = = St 2S] JIN MUSIC, IRA GERSHWIN MUSIC fORIAL FUND. GERSHWIN MUSIC FUND 4 EXAMPLE IMPROVISATION "ron eupy reco OF RUBEN RIBEIRO @INSTOUMENTS = LISTEN ANO ANALYZE) IEE © (ener) Aww (GALL O€MO PLAYS 1 CHORUS) EASY SWING 84 GAVON 4ACLSON bul Best 6487 81 e e e ei to mettle tht fps = —— e e e oe Mi 07 G Qa Fyg7 $7 % bs IMPROVISED SOLO PROF. RUBEN RIBEIRO INSTRUMENTS LISTEN, ANALYZE ANO TeANSORiBe C) J (GALL EMO PLAYS 1cHOgUS) : COMPOSER INSIGHT SUMMERTIME, Zorgy and Bess is a well-known American opera written in 1935 by the gifted American composer George Gershwin. From this opera, one of the most memorable tunes was “Summertime.” Gershwin wrote other important works including “Rhapsody in Blue,” "Ah American in Paris.” and the tunes “Lady Be Good,” “Fascinatin’ Rhythm," “Embraceable You,” “I Got Plenty o° Nuttin’,”“Someone to Watch Over Me,” “Our Love Is Here to Stay,” and countless others that jazz musicians love to “blow” over, “Summertime,” a 16-bar composition usually performed in the key 2D minor, is a great tune for the novice improviser because of its short and catchy melody and sparse chord changes. It offers the player an opportunity to explore non-harmonic passing tones to add harmonic variety and color. This standard has been performed and recorded countless times variety of settings, traditionally as a slow swing ballad, aw © os fe fe € ee eo e e?@ £3 ey 4 PRO, e RUBEN RIBEIRo e @ @ INSTRUMENTS - LICKS AND TRICKS Lick #1 is a two-bar riff that uses the descending chromatic line stated by the rhythm section; this @ inc should be transposed to fit the other chords, Lick #2 is a simple minor melodic line, which should @ © also be transposed to the other chords. Lick #3 focuses on the blues scale; transpose and adapt to the other chords. 4) ei = = = = SCALES AND CHOZOS 87 ui As cu 6 a = —_ F ae aoe yf? 6 87 pore I Ga afore = afo= vere f DISCOGRAPHY SUMMERTIME Miles Davis - Porgy And Bess - Columbia 65141 John Coltrane - My Favorite Things - Rhino # Chet Baker - Compact Jazz - Verve 840632 Bill Evans - How My Heart Sings - OC 369 Charlie Parker - The Complete Charlie Parker On Verve - uw 2 e A a LR RRR PROF. RUBEN ‘RIBEIRO

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