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I
Discography 3 •
Introduction : 4
Eveiything Happens To Me 14
Just Friends 17
This Is Always 22
Discography
1. "Just Friends" - Stan Getz and Chet Baker, Line For Lyons. Gazell LP, GJ 1006,
1983. ~
6. "This Is Always" - Chet Baker, TwoADay. Drefus Jazz CD, FDM 36508-2,
1980.
7. "But Not For Me" - Chet Baker, The Touch Of Your Lips. Steeplechase CD
SCCD-31122, 1979.
8. "Everything Happens To Me (1)" - Chet Baker, Verve Jazz Masters 32. Verve CD
314516939-2,1955.
9. "Everything Happens To Me (2) - Chet Baker Sings And Plays From thè Film Let's
GetLost. Novus CD 3054-2-N, 1989.
Introduction
As a student of jazz, I long ago began studying Chet Baker's trumpet solos, having been
deeply moved by his airy,-economica!, expressive tone. His solos didn't require massive
technical chops to play them, which also appealed to me. In a process of gle.ming through my
Chet CD's and LP's I ran out of trumpet solos to learn and, quite by accideni:, turned to his
vocal scat solos, which I had previously disregarded. What struck me was how similar in
rhythm, harmony, tone, and phrasing thè scat solos were to thè trumpet soloi». It occurred to
me that here was a player who has something deep inside to express, and th€ vehicle of
transmission was of secondary importance. Speaking to this point, Chet saicl of himself, "I
don't know whether l'm a trumpet player who sings or a singer who plays thè trumpet."
In thè same way that Chet's emotive and breathy trumpet sound is uniquely his own, so also
is his distinctive language for scat singing. His scat vocabulary made predominant use of
syllables beginning with thè letter "D." My inventory of thè solos in this book resulted in
twenty four variants of syllables beginning with "D." Syllables beginning with "B," "E" and
"Y" occur much less often. This raises thè question of tone - what was it abotit "D" syllables
that appealed to this trumpet player who also wanted to vocally improvise? ^/Vhatever it was,
Chet relied on thè same vocabulary throughout his entire career, as seen in thè two versions of
thè bridge of "Everything Happens To Me" that were recorded some thirty years apart.
Maybe without realizing it, Chet, who didn't read music and disdained practicing, produced a
personalized scat vocabulary that captured thè reserved and disarming style cme also feels in
his trumpet playing. Yet, this style raised controversy among both critics and listeners. Some
believed of Chet's vocal stylings that there was a whole lot of nothing going e n. Others
suggested that listening to Chet sing is like "being sweet talked by thè void." Omette
Coleman asked regarding Chet, "Have you ever heard someone who couldn't sing but did
something to you emotionally?" From a technical standpoint, it may be argua ble as to
whether or not Chet could sing. Yet from a West Coast Cool standpoint, which ranked feci
higher than technique, there was great emotional energy in his subdued, almctst weightless
understatement.
Chet was more than a pop music romantic crooner who expresses thè hurt of tie loser in love,
though he achieved icon status in thè fifties for just that reason. More importantly, he had a
naturai spirit for expressing thè warm, intimate and discreet side of jazz. His >cat solos reflect
this intimate charm as well as a mature concepì for improvising be-bop lines.
Such qualities make these nine vocal solos wonderful pieces to use for thè stuiy of phrasing,
scat vocabulary, and be-bop lines of one thè greatest of thè West Coast school of players. I
had originally transcribed thè scat solos as exercises for studying phrasing for my guitar
students and myself. They are so rich in their instructive value that it is truly u joy for me to
offer them in published form to ali singers and players.
From thè Editar
Some notes about thè transcriptions: Each is written an octave higher than it se unds. None
are written with key signatures and each accidental is marked. Syllablcs are written and
spelled to express as closely as possible thè vowel sound being used. Some rh}'thms may
appear to be indistinti, out of time, or even totally wrong when compared to thè recording.
When there was a discrepancy between thè rhythm of thè vocal line and thè rest of thè band,
1 have attempted to notate thè inner rhythm of thè vocal line with written instr jctions when
necessary. Western musical notation is, at best, an approximation of jazz rhytlim. If you run
into problems let thè recording talee precedence over thè notation. "This Is Always" is a
ballad, but thè solo goes into doublé time. I have written it in doublé time and have doubled
thè number of measures so that thè notes and rhythms are easier to read. The b'allad tempo is
approximately quarter note equals forty-six, and thè doublé lime is quarter note equals
ninety-two.
F9 Fm7 Gm7 C7
P r r U'^r u
Duh dih. duh deh. dut deh.
F9 Bl>7 Etósus
i! I
ri«t Dut dit
m
deh dee deh.
Bl>7 C7
13
duh dut det dut Duh det 'n deh deh dut Dee duh deh yeh 'n duh dut
Fm7 Gm7 C7
2
Ah did 'n dut dut 'n doo dut dah - det dah dih dah dah tet
F9 Etósus Et7+9
21
deh deh Deh dit il 'n dit 'n dit 'n dih dit
'&
Dut dih dih. yeh. dut dit dih dih dih dih
I
i
i 29
Fm7 B\>7 E\>A7 Gm7 C7
i 33!
P
i deh.
F9
—
Bl>7
dud 'n nuh 'n
El>A7
neh neh-
Gm7 C7
i 33
i F9
Deh dut duh Deh
Bl>7
dut duh Eh
El>9sus
dut duh Det
El>7+9
duh deh det Duh—
I 37
~m
£
i Deh. 'n dit ee ft deh Yuh doo duh
i 45
- I
F7
•• * — • P
Fm7 B\>7
*•
C7
r
i rm *
duh
1
Deh
\ 1
I
I Yuh duh din det duh din dud 'n duh dud 'n doo dut dut duh deh duh dut
I Gm7
52
C7 F9 Bl>7
I Page2
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8
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58
lai.
tot
deh deh deh ded 'n doo dah- deh dit Deh deh dit Deh-
deh dit Deh deh deh dit Deh deh dit Deh deh dit Deh deh dit Deh-
F9 Bl>7+5 Gm7 C7
65 vib
PP?
deh drt Deh deh deh dit Det deh- det Ah
F9 B^7 Bkn7
doo dah ded 'n det Deh. dut Dut duh dut Duh doo deh
det 'n deh det Dut det dut det Yuh dood 'n det deh deh det det deh_
Dut det det det deh det Deh ded et det det deh dcot 'n deh dee yah deh
dood 'n
m
doo dah dee
i
duh dee
™r
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dee
r(•i
deed
1 4V
'n dee
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Page 3
Dl>9 Gm7
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Ah dood 'n dood 'n dood 'n doo de yah deh dood 'n doo deh deh doo deh deh det 'n det 'n
C7 Fm7 Bi>7
92
deh deh deh 'n doo day did 'n ded 'n dit Ded 'n dit ded 'n
^
doo die ood 'n dit ded. 'n dit 'n deh deh
Page 4
10
I
Same chord changes as used in thè song...
I
Medium Swing J=132
J=132 Dancing On The Ceiling Chet Baker Solo I
FA? FÌ/E A7Ì>9 Dm7 F7/C F7/B BJ7A7 Bo7
vib
J i I
Yeh deh deh det 'n deh duh deh deh- Det deh det det
•— j
F7 Bo7 Am7 D13
vib i
—I ^ R * jm ^
Lt^L LJ !
—* 9? J
'J 7 P f J
deh deh deh deh 'n 'I deh deh deed 'n deed 'n deh deh deh Deh dade 'n deh.
19
FA7 Cm7 F7+9 BÌ>A7
il .—- — n
1
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WPS
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F T
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1
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I eh deh deh Doo dah deh deh dood 'n deh deh yoo 'I duh yoo— 'I duh
I 25
FA? FÌ/E A7l>9 Dm7 F7/C F7 BÌ>A7 Bc7
I det duh dut Day dut deh— dut 'n duh deh doo duh. •N
I Am7
yA p -. bi
D7l>9 Gm7
^——— " «<-—•»«.
C7
I ^l^r-
ff 3) r
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V ^ ^••"^ ^ v
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JJ • • ' M
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I Deh dit 'n dut 'n dut dit dut det deh-
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r-^5
fo 4
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deh deh deh deh ee deh doo deh det 'n doo deh Deh dut deh dee—
r~ for~
-è— F—¥ _£ - J za J1 J
Bkl3 C7l>9
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doo deh deh deh det
w m
'n
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za
doo deh
a p- p
dut
a - 1 I J ^P^—=HP
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'I ee oo duh deh.
J
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deh dih deh dud
—9
Fm7
13
Deh deh dut 'n deh ded 'n deh deh duh.
Gm7
w Fm7 Bl>13
16
-Jt : ?+ i
Tal
J J i ? i f>-\t 'n
Deh
det deh deh deh. deh eh. duh ded. 'n doo deh.
13
Bkl3 Bkn7
Duh-
JAl?A7
25 vìb
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deh deh dut "n doo deh deh deh det 'n deh deh deh Eh_
zac
dah deh dut 'n deh det duh deh det deh deh det deh deh dee— yeh deh.
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p___ H
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doh deh rtah d^h va i deh . deh deh
Page2
14
I
Same chord changes as used in thè song...
I
Baiiad «Leo Everything Happens To Me - 1 Chet Baker Solo
Det 'n dèh dah 'n duh. dìt dah dah dah-
Ekn7
det 'n deh deh deh det dee yah dah. yah dah deh
i è q* è i
J? r
deh dah ee dah dut 'n dah dee dah dah. yah dah deh deh- bah I
Fm7
Bkn7
I
deh deh deh deh dah dah dah det 'n deh dah dah dah. det 'n deh I
To Vocal Verse, Last 8
I
1
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15
Ballad J
J-55
=;
Everything Happens To Me • 2 Chet Baker Solo
C7l>9
Fm7
dah deh dah deh deh deh deh deh deh deh deh dee— dee dee dee dee dee dee dee dee dee dee deh det deh—
Gm7
yeh deh det 'n deh dit 'n deh dee ee. day doo ee doo
I
16
GA7 Am7
f --— :i—x *,—^ su
HN—
-&-Ì-3— ")—i hjii—* •1 J
J
1 P—
•gè —i—
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t=Mf * r iI
^ *
Buh doo mee dah deh deh deh deh deh aye day— deh die- Dot
Sho dee aye deh dood M dee deh aye Duh deh deh duh deh deh deh
I
GA7 Am7 Bn7
CmA7 Cm6
I
duh deh deh deh duh ee yuh doo duh duh
Em7 C7
i
deh dut 'I dit deh eh deh Doe dod 'I dut 'I dee dah dah
GA7 To vocal mekxly, 2nd 16 J
17
A|CA7
vib
1 J»
iJU
-^ P—iFit=^• . , Jh J•- ; .L
. ,.
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^J 7 J
Bkn7 Ei>7
zp:
Am7 D7 B7
10
deh deh deh det deh deh deh deh dih deh dah dud 'n dud 'n
Em7
13
—I
-«*= i' J
' J y-•—i i
"T—
p—i • 9 9
j|
- 4 i71 —J 1
—a
a1—J—J—J1—J m
P 4
deh dah dih deh dih dah dih dee det 'n deh dee deh deh deh dah deh deh deh deh deh deh deh deh
I H5:
"ra^i
"\s\
•E -- • -- '
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Dit dah dut doo duh.
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19
A7 Am7 D7
Deh doo deh deh deh deh deh deh deh deh deh det 'n doo deh det 'n doo dah deh deh det 'n
Dm7 G7 CA7
49
^ 1h L
LT ^ LJ P_li —J
deh deh dit Deh doo deh. deh dih 'I Deh ded uh tuh deh.
Cm9 F7 GA7
52
deh det 'n deh deh dud 1 tul deh deh deh dut Dut dit dit deh.
Bkn7 Et*
det dit
Am7
53
Deh deh deh det 'n deh 'n dee dah deh deh deh deh deh deh dee deh deh deh deh deh deh deh
I 61
Em7 A7 D9sus
-r*-
D7Ì?9
I deh Deh.
i j' i \
—0 • —J^^É» —
dit dlt dut deh eh eh. det deh dee doo dah-
I
I
Page 3
20
vib
det deh deh deh dah dee deh
F7 BU7 Bl>7
Eh deh deh Deh doo deh deh deh deh det 'n dut n de dah
Dm7 G7+9 Cm7
Ah dud 'n duh 'n duh duh dut 'n duh. duh dah —
Bl>7 Dm7 G7+9
13
1=1
dud 'n deh deh deh dah
Ed 'n deh deh deh deh ded 'n deh deh deh 'n deh deh deh deh
I
i
I
I 21
I Gm7 Cm7 F7
I22
I
pi*
I det deh dut Eh dud 'n ded 'n ded 'n
I j n i-
Bl>A7 B\>7 El>A7
28
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deh deh deh Ed 'n deh duh. Did. 'n deh deh deh did 'n dih dih—
I r —^r^n
Dm7
Q*
1
G7
0
Cm7
1
F7 Dm7
—
vb
G7
M—**—1
m _2 J' • —J'—J1 "\IM
I
F- 1 a 231 J J J J•^é
ih Buh dud 'n dud 'n ded 'n ded 'n deh deh
I Cm11
I Buh deh deh deh deh ded 'n deh. deh ded 'n deh doo deh deh
I37
Cm7 F9 G7 Cm7
I eh. eh eh
I
I Page 2
I
I
22 I
Same chord changes as used in thè song...
I
Ballad J=92
Deh deh deh det 'n doo dah deh dit deh
Cm7 F7+9
G7l>9
dih deh dit Doo dih deh deh doe deh dih day oo day.
Deh deh deh deh deh deh deh day det ' 'n deh deh deh deh deh deh deh dee dut 'n doo day doe dee deh duh dut ' n dut 'n
co
01
24
I
F7+5 I
hp fL_f- -
det deh
Yuh dood 'i dld 'n doo dah det *n deh dah deh Bah deh dut Deh— dah deh deh dee dah
Dt*Tì7 Gkl3
Duh duh dih deh doot *n dahdah doo dee doot *n dooday doo dee dee dah det 'n det *n deh dah dee deh deh deh day dah
Bkìì?
dad 'n day doo doo doot Day aye eh— deTTooo deh deh deh—
B13
doo doo dut duh dee det deh deh doo ee doo
Page 3 deh