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JAZZ IMPROVISATION SERIES a Liisy by Dr. Willie L. Hill, Jr. (i WEEZ VOLUME 1 JAZZ IMPROVISATION SERIES APPROACHING THE STANDARDS by Dr. Willie L. Hill, Jr. PREFACE ‘There are two groups of standards that help form the basic repertory used in jazz improvisation. The first group was created by jazz musicians directly from improvisation, experimentation and the analysis of musical forms, ideas and practices that were developed through study and the natural gifts of some of the greatest musicians of the twentieth century. This group codified jazz into chronological styles and provides conerete examples of its styles and concepts. The second group of standards is comprised of compositions written as popular songs during the first half of the twentieth century. Many of the composers of these songs were highly influenced by jazz composers and payers. Jazz musicians also used compositions by composers who were not influenced by jazz because those compositions became excellent vehicles for jazz improvisation when the melodies were altered to fit jazz concepts. In this series, Dr. Wille Hill has utilized compositions from both groups to give musicians a well-balanced selec tion of music to help the “fearful to the fearless” improve their jazz skills. He has provided a learning situation that is similar to a typical jazz gig setting and has included clearly written musical examples to demonstrate how an improvised solo might be constructed. Every improviser is a composer who makes up melodies spontaneously. The model choruses give examples that can be studied, learned, broken into independent phrases and used to create other melodies that reflect more clearly what the improviser wants to say musically. Dr. Hill has given the player who uses this series an inside look at the jazz vocabulary, transcription opportunities, informative composer insights and a useful dis- cography to help put the music into the context that is needed to improve his/her jazz skills. Whatever your instrument, you can have fun and learn a lot as you study the music, learn the melodies and play along with the excellent musicians on the enclosed CDs. Dr. Billy Taylor Editor: Pete BarenBregge Production Coordinator Edmond Randle “echnical Editor: Glyn Dryhurst Finale Engraver: Mark Burgess ‘At Design: Joe Kivear ‘at Layout: Maria A. Chenique (© 2000 BELWIN-MILLS PUBLISHING CORP [Al Fights Assigned to and Controlled by ALFRED PUBLISHING CO,, INC. ‘lights Reserved including Public Peformance TABLE OF CONTENTS INTRODUCTION . .. ceeeeeeee JAZZ IMPROVISATION TERMS ....... - Page 36 BILLIE’S BOUNCE...... ce pages 4-7 HEAD, EXAMPLE IMPROVISATION, IMPROVISED SOLO, HEAD - TRACK 1 HEAD, 4 CHORUSES, HEAD . beveetee eens - TRACK 2 ONTHETRAIL..........-...- - pages 8-11 HEAD, EXAMPLE IMPROVISATION, IMPROVISED SOLO, TRACK 3 HEAD, 4 CHORUSES, HEAD . - TRACK 4 CANTALOUPE ISLAND pages 12-15 HEAD, EXAMPLE IMPRO\ ION, IMPROVISED SOLO, HEAD. . 1.2 TRACK 5 HEAD, 4 CHORUSES, HEAD . beceeetesees TRACK 6 THE PREACHER ...... ceeeeeees Pages 16-19 HEAD, EXAMPLE IMPROVISATION, IMPROVISED SOLO, HEAD. ............TRACK 7 HEAD, 2 CHORUSES, HEAD . cee - TRACK 8 SUMMERTIME... .. - - pages 20-28 HEAD, EXAMPLE IMPROVISATION, IMPROVISED SOLO, HEAD. . -TRACK9 HEAD, 2 CHORUSES, HEAD . : = TRACK 10 SATIN DOLL... pages 24-27 HEAD, EXAMPLE IMPROVISATION, IMPROVISED SOLO, HEAD. -TRACK 11 HEAD, 2 CHORUSES, HEAD . seen . “TRACK 12 C JAM BLUES . : pages 28-31 HEAD, EXAMPLE IMPROVISATION, IMPROVISED SOLO, HEAD... TRACK 13 HEAD, 4 CHORUSES, HEAD . ceeeee sees TRACK 14 PVE GOT RHYTHM . seesees cesses. pages 32-35 HEAD, EXAMPLE IMPROVISATION, IMPRO\ ‘SOLO, HEAD. .. TRACK 15 HEAD, 2 CHORUSES, HEAD. i o = TRACK 16 INTRODUCTION Approaching the Standards, Volumes 1, 2 and 3, are part of the Jazz Improvisation Series. From the jazz novice to budding professionals, this play-along series is designed to help individuals build a melodie, harmonic and rhyth- mic jazz vocabulary. Eight classic jazz tunes are featured on each play-along CD for students to listen, analyze, transcribe and commit to memory. Each tune gives the player the opportunity to hear the jazz language performed by professional musicians as if they were performing at a real gig. CD icons are included to clarify the sequence of tracks in the book; observe the following: A. Fist track for each tune 8. Second track for each tune 1, Head (demo) 1. Head (play along) 2 Example improvisation (listen/analyze) _2. Solo choruses (create your own improvisation) 3, Improvised soio (\istenvtranscribe) 3. Head (play along) 4, Head (demo) You will ind great solo examples to listen to and imitate. Also included are composers’ insights, a discography, a list of common jazz ‘erms and lots of licks and tricks to assist you in the process of internalizing the jazz language. Have fun memorizing these classic jazz standards. | would like to acknowiedge the support of the many individuals who have contributed time and creative energy to this series containing Improvisation materials. Thanks to the efforts of Pete BarenBregge for his incredible guid: ance, insight and rus ley for his inspiration, guidance and support; to Larry Clark for his vision during the early stages of development; to Bob Montgomery for his jazz arranging talent; to Shelly Berg, Ron Jolly and Javon Jackson for great written improvisations; to Paul Glessner for his research and advice; and special thanks to Willie Thomas for writing excellent improvisations and his role in helping conceive this project. To each of them I extend my sincere gratitude. Thanks to these fine musicians: Chris Vadala, Tim Leahey, Jamie Way, Fon Elliston, Dallas Smith, Paul Wingo and Ciyde Conner. NOTE: The collection of jazz ifs, rhythm patterns, harmonic concepts and much more were modeled after Wille Thomas’ JAZZ ANYONE...? series (published by Warner Bros. Publications) in the preparation of materials pre- sented in this book. Enjoy! Dr. Willie L. Hill, Jr. Dr. Willie L. Hill, Jr, is director of the Fine Arts Center at the University of Massachusetts-Amherst and a professor in music education. He received his B.S. degree from Grambling State University and earned M.M. and Ph.D. degrees from the University of Colorado-Boulder. He is currently presi- dent of the Intemational Association of Jazz Educators (IAJE), president-elect of the Southwestern Division of the Music Educators National Conference (MENC), a member of the writing team for MENC's Vison 2020 and a member of the national board of directors for Young Audiences, Inc. Dr. Hill was a professor in music education and the assistant dean at the College of Music at the University of Colorado-Boulder for eleven years and director of education for the Thelonious. Monk Institute. Prior to his tenure at the University of Colorado, Dr. Hil taught instrumental music and was music supervisor for 20 years in the Denver Public Schools. Professional performances: in the Denver area include the Denver Broncos Jazz Ensemble, the Denver Auditorium Theater, Paramount Theater and as a freelance performer with Liza Minnelli, Lena Horne, Lou Rawis, Bon Vereen, Lole Falana, Johnny Mathis, Sammy Davis Jr, Dizzy Gillespie and many others. He is the founder and co-director of the Rich Matteson-Telluride Jazz Academy and former faculty mem- ber and woodwind specialist at the Clark Terry Great Plains Jazz Camp and the Mile High Jazz Camp in Boulder, Colorado. In 1998, he was inducted into the Colorado Music Educators Hall of Fame. He is co-author of Learning to Sight-Read Jazz, Rock, Latin, and Classical Styles (Ardsley House Publishers, Inc.) and the author of The Instrumental History of Jazz (N2K, Inc.). Hil is listed in the first edition of Who's Who Among Black Americans and Who's Who Among International ‘Musicians. 8) INSTRUMENTS: B\LLIe'S BOUNCE HEAO LISTEN ANO ANALYZE HEAD) a7? S eto MEOWM BLUES PUAN HE HEAD PAVALSNS By CHARLIE PARLER TO COA & 4 L SOLO CHORD CHANGES - 4 CHORUSES wack? CREATE YOUR OWN IMPROVISATION) PLavatona cu qa Q7 ATER LAST SOLO Aui7 97 cu o7 0.5.6 AL COOA 000A © 196 (Renewed 1979 ATLANTIC MUSIC CORE This Fdltion © 1989 ATLANTICMUSIC CORP. ‘Al Rigs Recred” Ueedly Persson 4 EXAMPLE IMPROVISATION 8 INSTROHENTS LISTEN AND ANALYZE (©) ya2i a (GRLL DEMO PLAYS 1 CHORUSES) $y TAVON SACKGON MEDIUM BLUES Q7 07 @ b IMPROVISED SOLO Track 1 Sh INSTRUMENTS LISTEN, ANALYZE AND TRANGCRIBE ©) sazzDct0 (GALL DEMO PLAYS 2 CHORUSES) COMPOSER INSIGHT BILLIE’S BOUNCE Charles Christopher Parker was born in Kansas City, Kansas, August 29, 1920, and died in New York City March 12, 1955. He is one of the most influential alto saxophonists to date. Stellar compositions he penned include such jazz. standards as “Now's the Time,” “Scrapple From the Apple,” “Ornithology,” “Ko Ko,” “Billie’s Bounce,” and a host of others. Charlie Parker was one of the founding fathers of bebop jazz. During Bird’s early years, he performed in Kansas City, Missouri, in big bands, most notably with the Jay McShann Orchestra and with various R&B and jazz groups. “Billie's Bounce” is a 12-bar blues in the traditional form that uses a musical vocabulary of major, minor, and dominant 7th chords. 8) INSTRUMENTS LICKS ANO TRICKS Lick #1 focuses on the rhythmic use of the tonic note, with figures similar to the melody line. Lick #2 is a simple riff outlining the 7th chord. Lick #3 is a bebop-style melodic line. 7, o, . a ‘ Lar a 7 5) Q7 a q7 SCALES ANO CHORDS 67 a 67 DISCOGRAPHY BILLIE’S BOUNCE Charlie Parker - The Charlie Parker Story - Columbia 65141 John Coltrane - Blue Trane: John Coltrane Plays The Blues - Prestige 11005 Red Garland/John Coltrane - Dig It - OIC 392 Bud Powell - Bud Plays Bird - Roulette 37137 8b INSTRUMENTS ON THe TQAIL HeAO LISTEN ANO ANALYLE HERO (©) saz DEO . EASY SWING PLAY THE HEAD — (©) puavatonc Sy FEROE Gore Int ——— _ taste —1—— soe CHORD CHANGES - 4 CHORUSES CREATE YOUR OWN neon PLAVALONG Avi? 07 6 Aui7 07 @ Bui? # poe Avi? 0 Bui? en Bhai? en o! == | Ee Fz - - AFTER LAST SOLO 0.6.6 AL COOA ui a 6 wi? ot Guns 4 ob ‘© 1931, 1932 (Renewed 1959, 1960) EMI ROBBINS CATALOG INC. A hts Anita y EMI ROBBING CATALOGING (Pabshing) i WARNER DROS PUBLICATIONS US INC (Pt) Rights Reserved 8 EXAMPLE IMPROVISATION LISTEN ANO ANALYZE aay By WILLIE THOMAS SrINGTRUMENTS (GALL O€MO PLAYS £ cHeeusEs) © wo EASY SWING, : G Avi? = 97 6 Aui? 07 Gq e $ui7 7 Ai? 0 Bhai? e Shui? ew Ani? 0 6 Ani? 07 G Aui7 07 @ Aui7 07 6 @ oui? €7 Au? 0” Bhai? a 7 Bi? ga Aui7 97 Gua Ani? o” IMPROVISED SOLO Track 3 LISTEN, ANALYZE ANO TRANSCRIBE © JAZZ DEMO C INSTRUMENTS: (GaLL DEMO PLAYS ¢.cHORUSES) COMPOSER INSIGHT ONTHE TRAIL ‘The composer wrote “On the Trail” in an AB 16-bar song form. Ferde Grofé was an American composer and arranger who wrote the Grand Canyon Suite in 1931. He arranged compositions for George Gershwin, Paul Whiteman, and many others. His “On the Trail” has been performed and recorded by Joe Henderson, Dizzy Gillespie, Clark Terry, Harry “Sweets” Edison, The Clayton Brothers, and Tony Bennett. This tune is loaded with simple ii-V chord changes typical of many popular songs. A key change in the B section creates a great harmonic lift in the tune, giving players a challenge in the new key. You can play very freely through these changes with blues scales, dominant 7th scales, major pentatonics, and almost any combination of diatonic scale tones. Good rhythms and use of space make patterns work. 10 SINSTROMENTS LICKS ANO TRICKS Lick #1 is a four-measure diatonic lick. Lick #2 offers a suggested idea for the B section, a four-bar pattern that will fit over the ii -V chords. Lick #3 is a melodic line for the A section. 6 Au? = 4 Au? 07 1.) Bhai? G Aui7 07 6 Aui7 7 a @ Shui? e7 BhuiT eo DISCOGRAPHY ONTHE TRAIL Joe Henderson - Four! With The Wynton Kelly Trio - Verve 523657 Harry “Sweets” Edison - Edison's Lights - OJC 804 Dizzy Gillespie - Live At The Village Vanguard - Blue Note 80507 1 CANTALOOPE ISLAND 8) INSTRUMENTS LISTEN ANO ANALY2E HEAO JAZEDEMO HeAo PLAY THE HEAD PLAY ALONG: anu 84 HERBIE HANCOCK INTRO LE TOCOOAS 1 1. 90L0 CHORD CHANGES - 4 CHORUSES CREATE YOUR OWN IMPROVISATION (6) piavatonc éui7 AFTER LAST SOLO Gui 0.9.6 AL COOA $i Ad a Z| tf 0008 ‘© HANCOCK MUSIC (BM) AlRights Reserved." Used by Permission 2 EXAMPLE IMPROVISATION Sh INSTRUMENTS LISTEN ANO ANALYZE JAZ DEMO cacy (GALL DEMO PLAYS 1 CHORUSES) ‘By WILLIE THOMAS: Gui IMPROVISED SOLO 8) INSTRUMENTS LISTEN, ANALYZE AND TRANSCRIBE UAE DEMO (GALL DEO PLAS ¢ CHORUSES) COMPOSER INSIGHT CANTALOUPE ISLAND. Herbie Hancock is one of the greatest jazz piano/keyboard players of the twentieth century He was born in Chicago, Illinois, April 12, 1940, and began playing the piano before he was eight years old. His jazz piano and keyboard styles include post-bop, hard-bop, modal, funk, R&B, pop, jazz-rock, and others. Hancock’s well-known compositions include “Watermelon Man,” “Chameleon,”“Maiden Voyage,” “Eye of the Hurricane,” “Dolphin Dance,” and “Cantaloupe Island.” The latter composition is a wonderful modal tune played within a 16-bar structure, usually heard played in the jazz-rock genre. This standard uses only three different chord changes, and it ‘has a simple yet clever melody line, allowing the player to really dig into these chord progressions. The Dorian mode produces the basic harmonic content for this piece. You can also incorporate pentatonic and blues scales to add variety to your improvisation. 4 LICKS ANO TRICKS 8) INSTRUMENTS Lick #1 is a two-bar phrase written as it fits in each of the three chords in this tune. Lick #2 is based on a blues scale written here for each of the three chords. Lick #3 is an eighth-note line outlining the three chords using the ninth, 1) Sane Lick over $ cHoeos Gui en ui 1.) SAME Lic over $ coos Mi — 5.) SAME Lick over $ cHoeos 7 Gui = éui SCALES ANO CHORDS DISCOGRAPHY CANTALOUPE ISLAND Herbie Hancock - Cantaloupe Island - Blue Note 29331 Herbie Hancock - Best Of Herbie Hancock (The Blue Note Years) - Blue Note 91143 % 8) INSTRUMENTS: THe PREACHER ack? heno LISTEN ANO ANALYZE HEAD CO) yalZPio SOWN-HOME SWING PLAY THE HEAD pavatone SY HORACE SILVER INTe0 TO. C0OA S0L0 CHORD CHANGES - 2 CHORUSES, CREATE YOUR OWN IMPROVISATION @)3 Scho I o*t q7 “ 87 Au? age? g ¢ = = = =| ' 7 TAPTER LAST $0L0 + OS. AL COOA! Au? 07 ow Au? 07 Gt Sco ~~ s "© 1959 ECAROH MUSIC.INC.(ASCAP) pyight Renowed AULRights Reserved Used by Permission 6 EXAMPLE IMPROVISATION LISTEN MNO ANALYZE Ce) 7,4 (GALL DEMO PLAYS 1. CHORUS) 8) INSTRUMENTS (fer. ot 8%) 84 AVON CACKSON OOWN-HOME SWING as a7 81 Aut Ag! Bui a IMPROVISED $0L0 et LISTEN, ANALYZE ANO TRANSCRIBE © JAZZ DEMO Sh INSTRUMENTS (GALL DEMO PLAYS J cHORUS) COMPOSER INSIGHT THE PREACHER Written in an AB 16-bar song form, “The Preacher” is one of Horace Silver's most memorable tunes. It was originally released in 1954 under the Blue Note label featuring Kenny Dorham on trumpet, Hank Mobley on tenor saxophone, co-leader Art Blakey on drums, Doug Watkins on bass, and pianist Horace Silver. Silver was born in Norwalk, Connecticut, in 1928. He is a composer, band leader, pianist, and pioneer of the hard bop era. His famous compositions include “The Preacher,” “Doodlin’,” “Ecaroh,” “Blowing the Blues Away,” “Song for My Father,” “Sister Sadie,” and “Peace.” “The Preacher” is a happy, uplifting tune with an interesting chord progression that takes the player to the major III chord followed by a diminished chord sequence. 8 $y INGTRUMENTS. LICKS AND TRICKS Lick #1 is a simple line with pick-up notes rhythmically mirroring the written melody. Lick #2 uses 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. Qt o7 syaw? AT Bui? OlSCOG RAPHY 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 ® Sh INSTRUMENTS SUMMETIME HeAO LISTEN AN ANALYZE HEAD (©) saz? Bevo PLAY THE HEAD) putida GEORGE GERSHWIN, OU BOSE Ano COROTHY HEYWARO EASY SWING ANO IRA GERSHWIN Ir ~ ie INTRO 3 TOCODhe Ie - 501.0 CHORD CHANGES - 2 CHORUSES CREATE YOUR OWN IMPROVISATION (©) auavatonc ui Aui7 Fe7 87 éui AFTER LAST SOLO 0.0. AL COOA Au? 97 4G q fe? 87 Eni wrod y abe s: ¥ ©1535 (Renened 192) GEORGE GERSHWIN MUSIC IRA GERSHWIN MUSIC and DU BOSE AND DOROTHY HEYWARD MEMORIAL FUND ‘This mangement @ 1999 GEORGE GERSHWIN MUSIC IKA GERSHWIN MUSIC sed BU hos aN DOROTHY HeyWARD MEMORIAL FOND ‘Al Rights Administered by WD MUSIC CO Rights Reserved 20 EXAMPLE IMPROVISATION 8h INSTRUMENTS LISTEN ANO ANALYZE Ge) 738 Cheer. er. 89 (GALL DEMO PLANS 1 cH9e0S) EASY SWING, By TAVON SACKSON Aui or a 7 47 37 éni 6487 $7 éui a IMPROVISED SOLO Track 8) INSTRUMENTS. LISTEN, ANALYZE AND TRANSCRIBE JAZZ DEMO GALL O€MO PLAYS | CHORUS) COMPOSER INSIGHT SUMMERTIME Porgy 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,” “An American in Paris,” and the tunes “Lady Be Good,” “Fascinatin’ Rhythm, ”“Embraceable You,” “I Got Plenty 0° 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 of D 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 in a variety of settings, traditionally as a slow swing ballad. 2 ) INSTRUMENTS LICKS AND TRICKS Lick #1 is a two-bar riff that uses the descending chromatic line stated by the rhythm section; this line 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) éui eu SCALES AND CHORDS OISCOGRAPHY SUMMERTIME Miles Davis - Porgy And Bess - Columbia 65141 John Coltrane - My Favorite Things - Rhino 45204 Chet Baker - Compact Jazz - Verve 840632 Bill Evans - How My Heart Sings - OJC 369 Charlie Parker - The Complete Charlie Parker On Verve - Verve 837 141-2 a 8b INSTRUMENTS: SATIN ObLL HEAD LISTEN AND ANALYZE HERO (©) oS ho EASY SWING PLAY THE HEAD —G) ptvaione 84 OUKE ELLINGTON INTRO TO CODA @ S00 CHORD CHANGES - 2 CHORUSES © eu CREATE YOUR OWN IMPROVISATION ‘ > ui? At Fai 87 Sui? 67 Byi7 6707. a7 37 owe aut o use? 7 Bui7 a eu Ar APTER LAST SOLO 0.5. # AL COOA Fai? a ful 67 Shut? 7g? @ C004 1942 (Renewed 1970) EMI ROBBINS CATALOG INC. all igi onuad by El ROBBINS CATALOG ING (Pashig) | WARNER BROS, PUBLICATIONS US INC: (Pit) “All Rights Reserved 24 EXAMPLE IMPROVISATION 8) INSTRUMENTS LISTEN ANO ANALYZE () yaS%Sho (GALL DEMO PLAYS 1 CHORUS) BY WILLIE THOMAS. EASY SWING ui? ar Fai? 8 Bui7 @ Bhai? wn 0 an og $7 Bui? a) Bri? er Dua? Aui7? 0 Gua? Bui? @ éui7 ay a IMPROVISED SOLO Sy INSTRUMENTS LISTEN, ANALYZE AND TRANSCRIEE (©) yazZ Deo (GALL CEO PLAYS 1 CHORUS) COMPOSER INSIGHT SATIN DOLL “Satin Doll” was written in an AABA 32-bar song form by one of this century's most prolific composers, Edward Kennedy “Duke” Ellington. Pianist Duke Ellington was born April 29, 1899, in Washington, D.C, and died in 1974 at the age of 75. He wrote thousands of tunes, many of which became a part of the jazz musician's standard repertoire. A few of his famous works include “Mood Indigo,” “Sophisticated Lady,” “It Don’t Mean a Thing if It Ain't Got That Swing,"“In a Sentimental Mood,” “Solitude,” and “Satin Doll.” Written in 1953, “Satin Doll” was one of Duke’s last hit “pop” tunes performed in the swing era style and demonstrates a variety of effective sequences. The chord progression in the A section moves the tonality up a whole-step and then progresses naturally back to the tonic. Measures 5-6 provide a traditional half-step down chord progression found in many bebop tunes. Using sequences in your improvisation will give your solos form and their own character. ) INSTRUMENTS, LICKS ANO TRICKS Licks #1 and #2 both show a simple iV progression and are then written up a whole-step to form a sequence. Lick #3 is a quote from the Gershwin tune “Fascinatin’ Rhythm” used to demonstrate a sequence: Lick #4 is a iV pattern for the bridge or B section. ‘Transpose this pattern into the second half of the bridge. Make up your own patterns for these sequences. 37 $) eyit Ar Fai? 1) éui7 Av hui? $7 5) eui7 AT iT $7 0 Au 07 4 SCALES AND CHORDS ui? ay fmt SATIN DOLL DISCOGRAPHY Duke Ellington - Priceless Jazz Collection - GRP 9875 Duke Ellington - Greatest Hits - Legacy (Columbia) 65419 Duke Ellington - Jazz Profile - Blue Note 54900 Oscar Peterson & Clark Terry - O3C 806 Ellington Orchestra With Mercer Ellington - Digital Duke - GRP 9548 The Best Of Duke Ellington - Capitol 7243 8 31501 a 8h INSTRUMENTS @ qa BLUES Heao LISTEN ANO ANALYZE HERO) iS, PLAY THE HEAD ele colon sues 84 DUKE ELLINGTON INTRO bie = # SS TO.COOA (LAST TIME) SOLO CHORD CHANGES - 4 CHORUSES CREATE “ OWN IMPROVISATION © ar PLAT ALONG 07 q7 APTE® LAST StL0 tui ” o 08.4 AL CODA @ 000 bebe © 198 (Regewed 19) EME ROBBINS CATALOG ING Al Rights Conzoled by EMI ROBBINS CATALOG INC. (Publishing) Shd WARNER BROS PUBLICATIONS Us Ie: Gap ‘AI Righs Reserved 28 EXAMPLE IMPROVISATION 8) INSTRUMENTS . (tore. cor. 89) LISTEN ANO ANALYZE =) roti, (GALL DEMO PLAYS 2 cHORUSES) 84 SHELLY 8609, MEDIUM 8L.UES o7 @ o b IMPROVISED SOL0 LISTEN, ANALYZE ANO TRANSCRIBE (©) sar5Deio (GALL DEMO PLAYS 1 CHORUSES) 8) INSTRUMENTS —=—- = ——— = COMPOSER INSIGHT CJAM BLUES “C Jam Blues” is a 12-bar blues written by the master musician, composer/arranger, and pianist Duke Ellington. Edward Kennedy Ellington, better known as “Duke,” born April 29, 1899, in Washington, D.C., and died May 24, 1974, in New York City, is recognized as one of the greatest jazz composers of the twentieth century. He wrote thousands of compositions, which included such jazz standards as “Sophisticated Lady,” “In a Sentimental Mood,” “Prelude to a Kiss,”‘Satin Doll,” “C Jam Blues,” and countless others. For more than a decade, the Duke Ellington Orchestra was the resident ensemble at the Cotton Club in New York City. A staple in every jaz player's repertoire, *C Jam Blues” is easy to memorize and can be used as a quote in other solos. Spend time working on the dominant 7th chords found in all blues progressions. 8) INSTRUMENTS LICKS AND TRICKS Licks #1 and #2 are both typical blues riffs that you can transpose to the other chords. Lick #3 outlines the blues scale. 1) 97 7 o SCALES AND CHORDS 0 67 o OISCOGRAPHY CJAM BLUES Duke Ellington - Blues In Orbit- Columbia 44051 Duke Ellington/Count Basie - Battle Of The Bands - RCA Vitor 63130 Benny Carter And The Jazz Giants - Fantasy 60029 The Best Of Duke Ellington - Capitol 7243 8 31501 \ GOT QHYTHM SrINSTROMENTS LISTEN ANO ANALY LE HEAD) ,l8%I5,, Head PLAY THE HEAD. et Musi aNo Lveies By GEORGE GERSHWIN, MEOIUM UP-TEMPO SWING, ANO IGA GERSHWIN, TO COOKS SOLO CHORD CHANGES - 2 CHORUSES (©) ptr aLOnc CREATE YOUR OWN IMPROVISATION OF c Oui? 67 @ Oui7 G7 Q oe Oui7 7 @ @7 ay Oui? G7 z = APTER LAST SOLO 0.0. AL CODA wt Ou? 7 o pF ] ‘1 (© 1930 WB MUSIC CORP (Renewed) ‘This Arrangement © 1999 WB MUSIC CORR "All Rights Reserved 2 EXAMPLE IMPROVISATION 8) INSTRUMENTS. LISTEN ANO ANALYZE Track 18 (Git O€HO PLAYS 1 cH0Ru5) © wizehi0 By WILLIE THOMAS MEOIUM UP-TEMPO SWING, € Oui7 a oe Qu? 7 07 7 Bi e Oui? oe Oui? G7 @ Ou? G7 BHT @ Oui7 67 @ Oui7 cu IMPROVISED SOLO $) INSTRUMENTS LISTEN, ANALYZE AND TRANGCRIBE () ,reKeS (GALL DEMO PLAYS | CHORUS) COMPOSER INSIGHT 1GOT RHYTHM This tune was written in an ABA 32-bar song form, one of the most widely used song forms in jazz music. An extremely important set of chord changes for the jazz musician is “Rhythm Changes.” These classic chord progressions are based on George Gershwin's tune “I Got Rhythm,” which was written in 1930 for the Broadway musical Girl Crazy. Tunes such as “Oleo,” “Anthropology,” “The Flintstones” theme song, and many others are based on the AABA 32-bar song form. ‘The simple diatonic chords in the A section can be played with an almost endless variety of jazz vocabulary. Dominant chords in the B section move through the circle of fourths in three keys, creating a bit of a challenge for the improviser. Since there are hundreds of tunes based ‘on this widely used song form, you should learn this tune inside and out. 4 i | 8) INSTRUMENTS LICKS ANO T2ICKS Lick #1 offers a simple riff on the chord roots so the player can become familiar with the basic diatonic chord progression. Lick #2 is a pattern that flows over the I-ii-V chords. Lick #3 offers an idea for the bridge of the B section; transpose and continue the pattern through the other chords. La Oui? 67 @ Oui7 67 q7 te Oui7 @7 0 Oui7 Ser SCALES ANO CHOZOS ¢ Oui7 or a SSS O.. (70 $20 ENDING) me a = DISCOGRAPHY 1GOT RHYTHM Louis Armstrong - The Essential Louis Armstrong - Verve 517169 Charlie Parker - Ultimate Charlie Parker - Verve 559708 Sonny Stitt - Jazz Masters 50 - Verve 527651 Paul Chambers - Go - Vee Jay VJ-017 8 COMMON JAZZ IMPROVISING TERMS ALTERED CHORD—A diatonic chord that has been altered by raising or lowering one or more of its elements (root, third, fifth or seventh) a half step but has not changed the function or tonality. BLUES SCALE—1, !3, 4, #4, 5, }7 scale tones. No chord symbol. BRIDGE—The B section of the ABAA form, often called the release. CHORD—Simultaneous sounding of three or more tones—1, 3, 5, 7 of scale. CHORD PROGRESSION—Series of successive chords that accompanies the melody. CHORUS—The form of the tune, or one time through the entire chord progression of the tune. DIATONIC—An order of tones or intervals simply illustrated by the white keys of the piano; starting with C. DIMINISHED SCALE—Eight-note scale with intervals consisting of WHWHWHWH. DOMINANT 7th CHORD—A major-minor seventh chord built on the fifth scale degree in either major or harmonic minor tonality, 1, 3, 5, 67. LICK—A short musical idea or motive. HALF DIMINISHED SCALE—Seven-note scale with intervals consisting of HWWHWWW. HEAD—Melody. IMPROVISATION—Creating musical ideas played over the chord progression. Scales, chords, rhythms and tune melodies are guides. NON-HARMONIC TONES—outside the diatonic scale or key. PATTERN—Also referred to as a segment, a short musical phrase repeated, PENTATONIC SCALE—Five-note scale. RIFF—Short musical idea repeated. SEQUENCE—A systematic transposition of a motive to different scale degrees. It may be lit- eral (modulating) or diatonic (non-modulating).. TONIC NOTE—Keynote of scale or first degree of scale. WHOLE TONE SCALE—Six-tone scale, each interval a whole step. 1, IV, V CHORDS, ETC.—Another more traditional way to notate chord progressions. This notation provides a broader perspective on chord relationships. Numeral refers to scale tone. Major=upper case, minor=lower case.