CALIFORNIA STATE UNIVERSITY, NORTHRIDGE

TEACHING JAZZ IMPROVISATION IN

THE HIGH SCHOOL

A project submitted in partial satisfaction of the requirements for the degree of Master of Arts ln

Music

by

Allen Eugene Rogers

August 1986 The Project of Allen Eugene Rogers ls approved:

California State University, Northridge

lL TABLE OF CONTENTS

PAGE

ABSTRACT . • . • . • • . . • . . . . • . . • . • • . . . . • ...... • . . . . Vl

CHAPTER

I . THE PROBLElvi ...... • 1

Genera 1 S ta temen t ...... 1

Definition of Terms ...... 3

Delimitations of This Study ...... 9

II. THE NEED FOR THE STUDY ...... 10

III. RELATED LITERATURE ...... 14

Introduction ...... 14

Textbooks ...... 14

Method Books 22

IV. A BRIEF HISTORY OF JAZZ IMPROVISATION ...... 30

Introduction 30

Creation of Jazz ...... 30

African Influence on Jazz ...... 31

European Influence on Jazz 32

Principal Elements of Jazz 32

Contribution of Religious Music to Jazz . 33

Contribution of Marching Bands to Jazz .. 35

The Blues as a Component of Jazz ...... 36

Improvisation and Jazz ...... 37

iii CHAPTER PAGE

Developmental Stages of Jazz ...... 38

Contribution of Jazz to Improvisation .... 39

V. THE PROJECT: TEACHING A HIGH SCHOOL COURSE

IN JAZZ INPROVISATION ...... 41

Introduction ...... 41

The Structure of the Course Using One Text 43 Lesson Plans for the Course 45 The Structure of the Course Using Other

Texts ....· ...... 70

Concluding Recommendation ...... 82

BIBLIOGRAPHY ...... 84

~PPENDIX A. CLASS TEXT ...... 88

B. CLASS TEXT SUPPLEJ!lENT ...... 130

C. CHORD CHAR.T • . • ...... • ...... • • . • . . . • . . . . • • 163

lV ABSTRACT

TEACHING JAZZ IMPROVISATION IN

THE HIGH SCHOOL

by

Allen Eugene Rogers

Master of Arts in Music

Analysis of senlor high school Jazz bands over the last fifteen years has demonstrated excellent ensemble performance, yet, in striking contrast, poor improvisa­ tional soloing.

Admittedly, a class period devoted to Jazz band leaves little time for anything but ensemble rehearsal.

However, even a little time judiciously spent on improvi­ sation will pay off in results if the teacher ls well versed in both the subject matter and the methods of teaching it. It would be better if a full period, even once a week, could be devoted to the subject.

Unfortunately, many Jazz band teachers are inade­ quately prepared to teach improvisation. These individ­ uals should avail themselves of the many opportunites to

v learn more about the subject on their own.

As a further aid to the teacher who is not well versed in jazz or Jazz improvisation, this project out­ lines suggested lesson plans for a twenty-week course in

jazz improvisation. While these lesson plans are aimed at teaching a separate course, they also have some value if

jazz improvisation were to be taught as a part of jazz band. In addition to suggested lesson plans, material for creating other lesson plans 1s described.

Another, possibly even greater value of teaching Jazz improvisation is the additional knowledge that the stu­ dents will acquire of music improvisation in general. Per­ haps this will lead to an even greater value; musical growth.

vi~ CHAPTER I

THE PROBLEH

General Statement

The weakest part of any sen1or high school jazz band performance is, with few exceptions, the improvisational soloing. The ensemble playing is usually very good, as it can be rehearsed ad infinitum until it attains near perfection. However, Jazz band teachers usually place a low priority on ad-lib soloing, and the results are apparent; a good jazz band performance is destroyed by poor soloing.

There are four maln reasons for this low priority assigned to jazz band improvisational soloing:

1. The jazz band teacher has to devote so much time

to rehearsal problems that no time lS left

for the teaching of improvisational soloing.

2. The jazz 0and teacher is not familiar with either

the fundamentals of Jazz improvisation or the

methods of teaching it. Therefore, it is a sub­

ject that he or she is reluctant to try to teach.

3. The jazz band teacher is not really interested ln

jazz (or Jazz improvisation) and teaches jazz

band reluctantly.

1 2

4. The Jazz band teacher does not recognlze the

importance of improvisation, jazz or otherwise.

For the jazz band teacher who falls into the second

category (lack of familiarity with the subject and with

methods of teaching it) this project may be of interest.

Chapter V will be devoted to both describing a course ln

jazz improvisation and in suggesting a method of teaching

it. It is hoped that most high school jazz band teachers

(and their high schools) recognize that jazz improvisation

should be taught, and that ideally, a separate course

should be established to teach it.

For the jazz band teacher in the first category

(lacks the time to teach jazz improvisation as a part of

jazz band) this project may be helpful depending upon whether he or she wants to learn more about jazz improvi­

sation and the teaching of it.

For the jazz band teacher who is in categories three

or four, this project might be of little interest.

In addition to the weakness of improvisational solo­

lng in the high school jazz band ls the lack of any stu­ dent exposure (in the high school) to music improvisation,

Jazz or otherwise. Maybe jazz improvisation training would, in turn, achieve a second benefit; a greater stu­

dent knowledge and awareness of improvisation as it re­

lates to all music. Of the two, perhaps this is the

greater benefit. 3

Definition of Terms

The term constantly used throughout this project, and,

indeed, the term describing the main subject, is improvi-

sation. The Harvard Dictionary of Music defines improvi­ sation (and extemporization) as:

The art of performing music spontaneously, with­ out the aid of manuscript sJ~etches, or memory. Also, in a more restricted sense, the art of introducing improvised details into written com­ positions.l . . Groves provides a briefer definition of lmprovl- sation (and extemporization), referring to it as: "The art of thinking and performing music simultaneously." 2

Another definition comes from Ernest Ferand who states that "[improvisation is] the spontaneous invention and shaping of music while it is being performed." 3

Ferand also distinguishes between absolute improvisation, in which creation and performance are simultaneous, and

1"Improvisation, Extemporization," 2d ed. [1972], 404-05. 2 H. c. Coles, "Extemporization or Improvisation," Groves Dictionary of Music and Musicians, 5th ed. II (1954), p. 991. 3 Ernest Ferand, Improvisation: In Nine Centuries of Western Music, (Cologne: Arno Volk Verlag, 1961), as quoted by John R. Duke in Teaching Musical ~mprovisation: A Study of Eighteenth and Twentieth Century Methods (Unpublished Ph.D. dissertation, George Peabody College for Teachers, 1972), p. 5. 4 relative improvisation, 1n which the performer elaborates . 4 upon a prex1stent frame.

John Duke expands upon Ferand's statements on 1mpro- visation with the following:

Improvisation, then, is defined as musical per­ formance wherein the performer is granted cre­ ative freedom to change or create basic elements of the music at the time of performance. Basic elements include melodic contour, rhythm, harmo­ nization, and texture.S

Leonard Feather, the well-known Jazz writer, lecturer, and performer, suggests that there are three 6 kinds of melodic improvisations. First is the close- to-the-melody improvisation. Second is the improvisation in which the melody is changed but remains recognizable.

Third is the improvisation in which the melody is unrecog- nizable but the chords remain the same. This is usually referred to as full improvisation, and it subdivides into three different categories: the notes are impromptu, the notes follow a natural sequence, and the notes are com- pletely automatic. In the last category, very little thought is involved, and clich~s are frequently used. Paul Tanner and Maurice Gerow differentiate between

4 Ferand, 2£· cit., pp. 5-6. 5 Teaching Musical Improvisation: A Study of Eigh­ teenth and Twentieth Century Nethods (Unpublished Ph.D. diss., George Peabody College for Teachers, 1972), p. 9. 6 The Book of Jazz From Then till Now: A Guide to the Entire-pre~New York: Horizon-Press,-y§6s), p. 214: 5 improvisation and interpretation 1n the following state­ ments:

Improvisation is similar to interpretation but without melodic restrictions. . the "standard" procedure is to keep the original melody in mind as a point of departure and to invent a new melodic line while still fairly well restricted by the harmonic structure of the original melody.7

The same authors also discuss a type of improvisation with an even greater degree of latitude:

. there is a contemporary direction called "free form" or "free improvisation" in which the player's only restriction is that he compose lines related to the musical sounds made by the other musicians in the group.8

Concerning "free improvisation", this writer has heard jazz performances in which improvised solos were played using barely recognizable melodies and altered chords, resulting in a newly composed piece of music. In this case, and in the case of "free form," cited by

Tanner and Gerow above, we are dealing with so many alterations that perhaps the terms improvisation and extemporization are no longer applicatle, and the term instant composition should be applied.

Consequently, for the purposes of this project, and

7 Paul o. w. Tanner and Haurice Gerow, ~Study of Jazz (3rded.; Dubuque, IA: Wm. C. Brown, 1973), p. 5. 8 Ibid. 6 based on the forgoing discussion, we will define improvi- sation as changing, in varying degrees, an existing piece of music at the time of performance. We will not define it as playing an existing piece of music note for note, from memory, nor will we go to the opposite extreme and define it as changing an existing piece of music to the extent that it no longer exists and new music has been created. Furthermore, whenever the term improvisation 1s used it will apply specifically to Jazz improvisation unless indicated otherwise. This leads directly to the need to define the term jazz.

Webster's defines jazz as:

American music developed especially from ragtime and blues and characterized by syncopated rhythms, contrapuntal ensemble playing, and usually impro­ visation, often with special melodic features (as blue notes) peculiar to the individual inter­ pretation of the player. [Also,] popular dance music influenced by Jazz and played in a loud rhythmic manner.9

To enlarge upon Webster's definition of Jazz, it is sometimes stated that the basic distinguishing features of jazz are (l)syncopation, (2)improvisation, (3) playing without written music, and (4)playing only with black mu- sicians. Not only are these- statements a glaring oversim- plification of a complex subject, they are also largely

9 "Jazz," liJebster's New Collegiate Dictionary, [1977], p. 6 20. 7 untrue. Syncopation ls not confined to Jazz, as it was first used long before jazz appeared, at least as early as 10 the French ~ ~ of the fourteenth century, and it has been used in European music ever since. Improvi- sation is also not unique to jazz, as it dates back to at

least the peak of the Anclent. Greek ClVlllzatlon,. . . . 11 and ,

in European music , it extends well into the nineteenth century. Even today, most organists improvise in a nonjazz 12 style; for example, stalling at a wedding until the bride ls ready. Today, some good Jazz l s writ ten and sight read, or at least played from memory by the perfor- er. Perhaps some of the true flavor of jazz is lost when it is put on paper, but today's jazz muslClans do not play the notes literally anyway, as they are inclined to spontaneously deviate from the written music. Good Jazz playing is not confined to black musicians. As Henry

Pleasant explains: "While the negro has certainly been the decisive contributor to jazz, there was no jazz in Africa that was not brought there by Americans or Europeans,

10 "Syncopatlon,". Harvard Dlctlonary. . of :rvruslc,. 2d e d . [1972], p. 827-28. 1 ~onald Jay Grout,A History of Western Husic, (rev. ed.; New York: Norton, 1973), p. 4.

12Henry Pleasant, Serlous. :rviuslc . and all T h at Jazz, (New York: Simon & Schuster, 1969), p. 62, as quoted by Paul 0. W. Tanner and Maurice Gerow in A study of Jazz, (3rd. ed., Dubuque, IA: Wm. c. Brown, 1973), p. 2. 8 whlte,. black and mlxe . d ." 13 In attempting to defihe the word Jazz, the following statement probably comes the closest to an accurate defi- nition:

It is also our opinion that certain elements are generally found in jazz which distinguish it from other music, and that all of these elements may not be equally present in any one jazz per­ formance. The elements are jazz interpretation, improvisation, rhythm, syncopat.ion, sounds associated with jazz, and musical form.l4

Therefore, when we combine the terms improvisation and jazz, we simply mean improvisa~ion in the jazz idiom.

This project is concerned with the teaching of Jazz improvisation to high school student musicians. Many of whom, or perhaps most of whom, play in and are members of a class devoted to the ensemble playing of jazz music.

This kind of ensemhle is variously referred to by most high schools as jazz band (fails to include rock), stage band (suggests listening only), jazz ensemble (same as

Jazz band), dance band (a throwback to the '40's), etc. In an attempt to standardize, this project will use only the term jazz band. This terrrt, however, is meant to include both rock and jazz,

13 Pleasant, 2£· cit., p. 3.

14 0 d . t 3 Tanner an Gerow, 2£· ~., p. . 9

Delimitations of This Study

1. This study shall concern only the teaching of

improvisation in the jazz or related idiom.

2. This study shall concern only the senior high

school, grades nine or ten through twelve.

3. This study shall concern only instrumental mus1c.

4. This study shall concern only improvisation

classes which consist of students who are already

skilled players in one or more of the school mus1c

ensembles, or prove to be skilled players by

audition.

5. This study shall concern only Jazz improvisation

teachers who have some knowledge of jazz and

improvisation or are willing to acquire such

knowledge.

6. This study shall concern only improvisation

classes which are a full class period in length

and meet a minimum of once a week. CHAPTER II

THE NEED FOR THE STUDY

From the latter part of the nineteenth century, and especially since 1920, there has been an ever increasing number of instrumental muslc ensemble courses appear1ng ln 1 the curricula of the nation's high schools. More recently, especially since the Korean War, jazz band courses have been appearing in the curricula of the high schools 1n ever increasing numbers. This increased empha- sis by the high schools on the performance of instrumental music certainly enhances the musical growth of the stu- dents. However, it fails to significantly involve a very important contributor to musical growth; creativity. True, in a sense, music is being created when it is being per- formed, since it is not music until it has been translated into sound. However, the real creator of music is the composer who conceived of the music in the first place.

The players of the music are more interpreters than creators. Consequently, there is a largely unfilled need for creative music in the high school curriculum, specif- ically improvisation.

1 Robert A. Rosevear, "Husic Education in the United States," Harvard Dictionary of Nusic, 2nd. ed. (1972), p. 555 •

10 11

Harry Robert Wilson states that there are three types of creative work in music: improvising, arranglng, and composing. In discussing improvisation he goes on to state:

. Improvisation is seldom as well organ­ ized as written composition is, but in this indetermined quality lies much of its charm.

There is no doubt that improvisation has been greatly neglected during our [twentieth] century. The old masters placed a premium upon the art of improvising. As the "stick to the note" practice in piano playing became dominant, both "playing by ear" and improvising were frowned upon. If we seek guidance in the prac­ tice of the masters, we will encourage our stu­ dents to improvise for the added harmonic know­ ledge it will foster, the keener appreciation it will develop, and the sheer joy that it brings by enabling students to express themselves freely in something that is original. Perhaps the suc­ cess of "jam" sessions and other forms of impro­ visation in popular music lies in the opportu­ nities for free self-expression.2

. . . 3 . In a recent lntervlew, Donald J. Dustln, Dlrector of Performing Arts for the Los Angeles Unified School

District, stated that one great, yet mostly unmet, need 4 ln music education today is improvisation. Frank Harris of that same office, when interviewed, echoed those sen-- timents and further commented that approximately 25% of the Los Angeles Unified School District senior high

2Husic in the High School (New York: Silver Burdett, 1941), pp. 251-52.

3 Statement made to the author by Dr. Dustin.

4 Statement made to the author by Mr. Harris. 12 schools (forty-nine) had Jazz band in their curriculum, and that that same ratio probably exists amongst all of the senior high schools (157) in all of Los Angeles

County. This means that there are about forty high school

Jazz bands in this one geographical area, each one needing

Jazz improvisation soloists. If we extrapolate these fig­ ures to the rest of the country it becomes apparent that we are dealing with an enormous number of high school jazz bands, and an even greater number of jazz band soloists.

:Host high school jazz band arrangements today call for a minimum potential of four ad-lib soloists: a tenor saxo­ phonist, a trumpeter, a trombonist, and a pianist. How­ ever, depending upon the arranger, more and more arrange­ ments are exceeding that minimum potential. Also, many band musicians trade the solo parts around to permit the normally nonsoloing musicians a chance to solo.

Consequently, the need for improvisation in today's high school jazz bands is great. However, today's .student instrumentalists are woefully unprepared to play music that is not written. This, in turn,causes poor soloing, which detracts from the quality of the overall jazz band performance. Therefore, if the high schools are to do a complete job of teaching jazz band they must include improvisational soloing in that teaching, and the most practical way to accomplish that is to establish a sepa­ rate course in jazz improvisation.

Perhaps the need for improvisation ln the curriculum 13 can best be stated in the following way:

1. The nation's high schools are attempting to teach

music, mostly performance, but are neglecting the

creative aspects, such as improvisation. Yet, his­

torically, improvisation has been considered an

important aspect of music. Therefore, there ls a

need for improvisation to be taught if our

nation's high schools are to present a complete

music curriculum.

2. Jazz band has become a major component of the

mus1c curriculum of many of our high schools.

These bands require a certain amount of improvi­

sational soloing, yet the band members, for the

most part, are unable to effectively improvise.

Therefore, improvisation should be taught if the

teaching of jazz band ls to be complete.

Consequently, in view of the need for improvisation

1n the music curriculum of the nation's high schools, this study is needed in order to suggest methods of putting together and teaching such a course. The short range goal is to assist in the effectiveness of teaching jazz band, and the long range goal is to teach improvisation as a much needed, yet neglected, part of music creativity and music performance. CHAPTER III

RELATED LITERATURE

Introduction

In recent years there has been much literature pub­ lished concerning musical improvisation and the pedagogy of musical improvisation. Most of this material that this writer has examined has been applicable to the high school level and falls into one or both of two categories: text books and method books.

The following selected literature, with annotations,

1s listed alphabetically in one or the other of those two categories. All of the items listed appear in the bibliog­ raphy in case the reader might wish publication informa­ tion. Each item listed should be read, or at least exam­ ined, by the present, or future high school improvisation teacher. However, if any of the items listed should be unavailable locally, perhaps reading the annotations will suffice. Some of the material listed, especially the method books, would be appropriate for classroom use.

Textbooks

Bailey, Derek. Musical Improvisation, Its Nature and

Practice 1n Music.

14 15

Bailey begins on page 1 by describing improvisation:

Improvisation enjoys the curious distinction of being both the most widely practiced of all mu­ sical activities and the least acknowledged and understood. While it is today present in almost every area of music, there is an almost total absence.of information about it. Perhaps this is inevitable, even appropriate. Improvisation is always changing and adjusting, never fixed, too elusive for analysis and precise description; essentially nonacademic. And, more than that; any attempt to describe improvisation must be, in some respects, a misrepresentation, for there 1s something central to the spirit of voluntary improvisation which is opposed to the aims and contradicts the idea of documentation.

On page 64 Bailey refers to improvisation in conven- tional Jazz as being based on tunes in time and goes on to state:" . improvisation is derived from the melody, scales and arpeggios associated with a harmonic sequence of a set length played in regular time."

On page 69 he quotes one R. Strinavasan (no further indentification given) who spoke on the dangers of sequac- ity in largely improvised mus1c: "The enemy is mere imita- tion without imbibing the inspiration which makes the art a living thing."

This book provides the reader with excellent back- ground information concerning improvisation in general.

It also contains interesting anecdotes concerning various jazz figures.

Baker,~David. Jazz Pedagogy.

This volume is discussed in Chapter V. 16

Coker, Jerry. Improvising Jazz. This book is discussed ln Chapter v. Coker, Jerry. The Jazz Idiom. This book is discussed in Chapter v.

Deutsch, Maury. Improvisational Concepts and Jazz

Patterns.

This work ls a combination text book and method book

and deals with the following subjects:

1. Neomodality.

2. Polyharmony.

3. Polytonality.

4. Schoenberg twelve tone row.

5. Hindemith system,

6. Schillinger concept of tonics.

7. Aleatory improvisation.

8. Seven through twelve part chords-

9. Absolute pitch,

Within these general subject areas Deutsch discusses

the more basic topics, such as chords, scales, modes, and harmony.

For purely enrichment purposes this book has some value to the improvisation teacher.

Duke, John R. Teaching Musical Improvisation: A

Study of Eighteenth and Twentieth Century Methods.

This dissertation discusses the nature of improvisa­

tion and describes improvisation courses taught at 17 varlous colleges and muslc schools around the country.

Especially interesting are those courses taught at North

Texas State University (starting on page 106) and at the

Berklee School of Music (starting on page 111), both of which Duke describes ln considerable detail.

On page 141 the author describes experiments con- ducted at Yale by Kraehenbuehl who concluded that improvisation ls like a game; if the listener can predict what ls golng to happen, or, if he can predict nothing, then he is bored. He further concluded that variety in improvisation has to be in the right dose; not too much and not too little.

On page 174 the author compares eighteenth century improvisation with twentieth century improvisation. He states that in the eighteenth century the justification for the choice of notes was based primarily upon melodic considerations, while in the twentieth century the choice was based more upon harmonic considerations.

On page 216 Duke reports on comments made by Herb

Pomeroy of the Berklee School of Music to the effect that only a fev.r of Berklee' s outstanding graduates locate steady work. Here, Duke is probably referring to a spe- cific interview ln which Pomeroy made the following statement:

. I feel that if maybe from a graduating class of 60-75 kids, if one goes into playing jazz full time to make his living-I think 18

. . 1 that's belng llberal.

On page 216 Duke agaln quotes Pomeroy (again with no further documentation ~s to source).

Supposedly, the stage band and jazz ensemble movement is designed to teach students to play jazz and improvise-both laudable, diffi­ cult objectives. In reality, however, these groups often become only more public relations "showpieces." Instead of emphasizing sight­ reading and improvisation, many such groups spend all available time perfecting a few num­ bers-a procedure which may be very impressive at contests or on tours, but which adds little to the development of skills needed by the professional or teacher.

Duke agrees with Pomeroy, adding that the musical progress of the student must be the main goal.

John Duke's dissertation is well worth reading as good background information, especially where it brings out the dangers of overemphasizing professionalism and underemphasizing musical growth.

Feather, Leonard. The Book of Jazz From Then till

Now: A Guide to the Entire Field.

Excerpts of this book (page 214) appear ln th~s thesis in Chapter I in the Definition of Terms section.

Especially worth reading for the improvisation teacher is Chapter 22, entitled "The Anatomy of Improvisation."

This consists of transcribed solos from many of the jazz

1 . . Herb Pomeroy and Ira Gltler, "Confesslons of a Jazz Teacher," Downbeat, XXXVII, No. 1 (Jan. 8, 1970), 14-15. 19 masters accompanied by Feather's analyses.

Feather, Leonard. The Encyclopedia of Jazz ln the

Seventies.

In listing the highlights of Jazz education in the seventies, Feather, on page 372, describes a rather amaz- ing occurrence involving improvisation in a California elementary school:

There was an oustanding jazz improvisation pro­ gram at Washington Elementary School, the lab school for University of California-Berkeley, organized by Dr. Herb Wong for grades K-thru-6. Dr. Wong was able to prove that learning impro­ visational skills on conventional musical in­ struments enabled students to improve their academic skills such as reading and mathemat­ ical concepts. Teachers who took their practice teaching at Washington Elementary School are furthering that jazz-inspired concept in Calif­ ornia grade schools.

If, indeed, there is a correlation between elementary school children learning improvisational skills and experiencing increased proficiency in academic skills, then perhaps that same correlation can be applied to high school students. There is certainly room for further investigation.

Miedema, Harry. Jazz Styles and Analysis: Alto Sax.

This work contains a history of the jazz alto saxo- phone by way of transcribed and annotated recorded solos.

It also includes a glossary of terms, fingerings for the altissimo (high harmonics) register, and a list of alto 20

saxophone players categorized by style.

Owens, Thomas. Charlie Parker: Technigue of Improvi-

sation.

This two volume dissertation contains transcriptions of 250 Charlie Parker solos, including analyses of many of

them. It also discusses Parker's use of motifs. The dis- cography and the bibliography in this work are especially good.

Sessions, Charles M. The Effectiveness of Jazz Musi- cal Examples and Jazz Improvisation upon College Students'

Acguisition of Music Fundamentals Concepts.

This dissertation concludes that jazz musical exam- ples and jazz improvisation are useful tools in teaching the fundamentals of music on the community college level.

Perhaps this same conclusion can be applied to the high school level, in which case it would seem to further the cause of teaching music improvisation in high schools.

Snodgrass, James Dale. A Resource Unit for the High

School Jazz Ensemble-.

This master's thesis ls a good source of general information concerning high school jazz bands. Every music teacher who proposes to teach high school jazz improvisa- tion would find this very complete work valuable as a desk reference. Indeed, it contains everything anyone might want to know about jazz band (and improvisation) pedagogy. 21

Tanner, Paul 0. W. and Maurice Gerow. A Study of Jazz.

This work is useful as a college text and includes scores and a record which provide excellent examples of the changing styles of jazz. In the preface the authors state:

This study attempts to show the logical musical derivatives and developments and at the same time to demonstrate the important elements that comprise the individual styles as they have evolved from era to era. This book then tries to define jazz as precisely as possible.

Especially relevant to the teaching of improvisation ls that portion of the book which refers to the soloing styles of past and present jazz greats.

Wilson, Phil. "Improvisation Workshop."

This article, which appeared 1n Down Beat, offers some general tips concerning the art of improvisation, such as:

1. Not everyone can learn to improvise. (Jamey

Aeberso·ld and most other improvisation teachers

would disagree if the individual were musical.)

2. Study Jamey Aebersold materials and the classics.

3. Learn to play the melody first.

4. Know all seventh chords.

The author of this article ls a teacher at the

Berkelee School of Music. 22

Method Books

Adderly, Julian Edwin (Cannonball). The Jazz Style of

Cannonball Adderly.

This book contains many good, playable musical exam- ples. It is very good for wind instrument players, espe- cially alto saxophonists. It shows keys and the scales that work best with them. It also contains partial solos that can be completed by the student.

Aebersold, Jamey. "A New Approach to Jazz Improvisa- tion." Vol. 1 of A New Approach to Jazz Improvisation 1n

34 volumes.

This volume, a combination method ~oak-textbook, would make a good classroom text, and, indeed, assumes that role in Chapter V of this project. It also appears verbatim in the Appendix. Included with this volume 1s a play-along, rhythm section record. }iodal jazz and a linear concept is emphasized and the value of counterpoint 1s recognized. Aebersold preaches the virtue of positive thinking, an example of which appears on page 1:

I have never met anyone who couldn't improvise! I have met many who think they can't improvise. Your-illind is the builder and what you think, you become. A positive mental attitude contrib­ utes much to successful improvisation.

Also on page 1 he lists the ingredients that make a good soloist/improvisor: 23

(1) Desire to improvise. (2) Listening to Jazz via records, tapes and live performances. (3) A method of practice-what and how to practice! (4) A rhythm section to practice and improvise with.

On page 28 Aebersold discusses playing behind, ahead, or on the beat, the use of tension and release, and the value of using scales and chords.

On page 32 he lists the points to keep in mind when improvising and on page 38 he lists the mus1c fundamentals to keep in mind when improvising. These lists are well worth reading and can be found in the appendix of this project.

Aebersold, Jamey. "Get tin' it Together." Vol. 21 of

A New Approach to Jazz Improvisation in 34 volumes.

This method book (or text book) and the accompanying set of two records is primarily devoted to the practicing of all scale types, in all keys, and at moderate, rather than fast, tempi. Aebersold says that the purpose of slower tempi is to enable the student to relax.

This particular volume is especially aimed at key- board players, guitarists, and bassists, although it is applicable to wind instrument players as well.

Aebersold, Jamey. "Major and Minor." Vol. 24 of A

New Approach to Jazz Improvisation in 34 volumes.

This method book contains a number of improvising 24 tips as well as scales to be practiced. It also includes two play-along records. Among the improvising tips are the twelve that appear on page 7:

POINTS TO KEEP IN MIND WHEN IMPROVISING 1. Play what you hear in your head/mind. 2. Don't be afraid. Relax and do what you can do. 3. Play what you know-even if it's just a few notes. 4. Play with a good time and feeling. 5. Follow your natural musical instincts. 6. Don't rush or drag. Listen to the rhythm sec­ tion while you play. Play in time with the rhythm section. 7. Use some repetition in building your solos. 8. Play legato or slur. Don't play staccato or detached unless playing a rock tune. 9. Have fun while you play. 10. Produce a good sound on your instrument at all times. 11. Be patient with yourself. 12. For inspiration, listen to recordings by the jazz greats. You can get melodic, harmonic, and rhythmic ideas from their playing.

On pages 13 and 14 Aebersold quotes an article entitled "Classroom Observations" by Mike Tracy. This article has a lot of good information for the band direc- tor, and is paraphrased, as follows:

1. The young student is very receptive to the concept

of improvisation.

2. The young student enJoys being challenged.

3. Each student can and should be urged to improvise

regardless of age or experience.

4. Each student must be encouraged to learn scales

and chords in all keys.

5. Each student must listen as well as practice. 25

6. Anyone can learn to improvise as it is a skill

that comes naturally to most students.

7. Educators, concerned with teaching students to

read music, forget to allow for individual

creativity.

8. The educator must bring spontaneity and creativity

out of the student.

9. The opportunity to create must not be limited to

the jazz band soloists but should be extended to

others, as well, such as the oboists, the baritone

horn players, the cellists, or the singers from

the chorus.

10. Only five to ten percent of the students know all

twelve major scales.

11. Once the students understand that learning scales

in all twelve keys will give them better tech­

nlque, a stronger understanding of music theory,

and a wider range, fuller sound, and better into­

nation, they will attempt to memorize them.

12. In encouraging the students to attend quality

performances, we, the teachers, must set an exam­

ple by attending these performances ourselves.

13. Performing groups from local colleges or from the

local musician's union should be brought into the

classroom to present demonstrations. 26

Baker, David N. "A Method for Developing Improvisa- tional Technique Based on the Lydian Chromatic Concept by 7 . George Russell." Vol. I; "The II, V Progresslons." Vol.

I I; "Turnbacks." Vol. III; "Cycles." Vol. IV of Techniques of Jazz Improvisation.

This set contains many good, playable examples ln the four different, categorized volumes.

Baker, David N. Contemporary Patterns. This volume is discussed in Chapter v.

Baker, David N. Jazz Improvisation: A Comprehensive

Method of Study for All Players.

This work is discussed in Chapter v.

Berle, Arnie. Complete Handbook for Jazz Improvisa- tion.

This book ls discussed ln Chapter V.

Coker, Jerry, and Jimmy Casale, Gary Campbell, and

Jerry Green. Patterns for Jazz.

This publication is discussed ln Chapter V.

Grove, Dick. "Applied Modal Improvisation." Vol. IV of The Dick Grove Improvisation Course.

The author of this work ls the president of the Dick

Grove School of Music in Los Angeles. His method book deals with the Dorian, Mixolydian, Phrygian, and Lydian modes. In addition, it deals with diatonic sequences, 27 strict sequences, neighboring tones, harmony, and comp1ng

(accompanying), rhythmic patterns, horizontal lines, etc.

Also included are transcriptions and analyses of records.

Haerle, Dan. The Jazz Language, a Theory Text for

Jazz Composition.

A good method book (or textbook) that deals mostly with intervals, scales, modes, harmonies, etc.

Harris, Howard c. The Complete Book of Improvisa­ tional/Composition and Funk Techniques.

Part A of this work deals with the seventh scale technique and the basics for mastery in playing chord changes from the blues through John Coltrane's Giant

Steps.

Part B discusses modal static fusion techniques and essentials to be mastered in the post-bebop techniques.

Part C describes funk, rhythmic essentials, and groove concepts.

Part D concerns developmental and climactic devices and how to build and embellish ideas.

This book contains more than two hundred musical examples and illustrations, reading and listening refer­ ences, woodshed studies, var1ous concepts, and a thorough discussion of the entire subject of improvisation.

Harris defines funk as a style of music in which elements of Jazz, pop, rock, gospel, and the blues are fused to create a rhythmic, soulful sound. 28

Kynston, Trent P., and Robert J. Ricci. Jazz Improvi­ sation.

This work contains some good musical examples 1n various modes, both diatonically and in arpeggios.

Mehegan, John F. "Tonal and Rhythmic Principles."

Vol. I; "Jazz Rhythm and the Improvised Line." Vol. II;

"Swing and Early Progressive Piano." Vol. III; "Contempo­ rary Piano Styles." Vol. IV of Jazz Improvisation.

This four volume work has many good examples for piano. Especially valuable is Volume IV which contains some good Oscar Peterson examples.

Stein, Lou. Learning to Improvise with Lou Stein's

Hip Fairy Tales and Funky Favorites.

This book discusses jazz piano styles and has many written out examples with an accompanying cassette. The examples are based on old-time favorites, such as "Yankee

Doodle," "Auld Lang Syne," "Three Blind Mice," etc.

Windjammers, The. Instant Jazz for the Now Genera- tion.

This three volume publication ls a method of teaching improvisation that is intended for junior and sen1or high school students. On pages 7 and 8 of the third volume it lists the ten commandments of jazz which are printed, in abbreviated form, below:

1. Know the melody, even if you are the drummer. 29

2. Listen while you play.

3. Consider your tone before your technique.

4. Always use your best sense of rhythm.

5. Don't play a song too fast.

6. Know how to swing.

7. Think ln terms of phrases.

8. Shape your solos.

9. Put variety in your solos.

10. Be brave. CHAPTER IV

A BRIEF HISTORY OF JAZZ IMPROVISATION

Introduction

Improvisation was a key element of early Jazz. Admit­ tedly, much early jazz was performed literally, from mem­ ory, but much of it was not. It was either originally conceived and performed as total improvisation, or it was the embellishment (variation) of existing music (partial improvisation). As jazz evolved, more of it was written and less of it was improvised, but the fact rema1ns: improvisation was, and still is, an integral part of Jazz.

Consequently, the history of jazz improvisation, for all intents and purposes, is the history of jazz itself.

Therefore , this brief history of jazz discusses both topics as though they were one.

Creation of Jazz

Jazz came about through a fusion of the musical cul­ tures of Africa and Europe, and from this mixture of heritages came American jazz. That this fusion has never ceased is evident, not only by the addition of more com­ plex rhythms from Africa in the 1940's, but also by the appearance of present-day, third-stream music with its

30 31 use of European musical forms. This continuing development of jazz in America has occurred through an amalgamation of the product of both black and white musicians . Hmvever, any ~ style 1n Jazz was pioneered by American Negro . . 1 mus1c1ans.

African Influence on Jazz

Among Africans, music was the most important part of their life. It was passed on by word of mouth from one generation to the next and was a way to preserve tribal traditions, ambitions, and lore. In addition, it main- tained the unity of the social group. In Africa, mus1c involved the whole community. Everyone, from youngest to oldest, participated. The most important musical source was singing, but almost equally important was drumming. 2

An important element of African music was the Spanish rhythms, such as fandangos, habaneras, etc. The anteced- ents of this influence might have been the Hohammedan

(African) conquests of Spain (758-1492) and the interrup- tion of the journey of African slaves to North America by . . . . 3 stopovers 1n the Lat1n1zed West Ind1es.

1 Paul 0. W. Tanner and Maurice Gerow, A Study of Jazz, (3rd ed.; Dubuque, IA: Wm. C. Brown, 1973), p. 17. 2 Ibl'd . , p. 18 . 3 . . . . . W1ll1am Tallmadge, "Afro-Amer1can Huslc," Mus1c Educators National Conference, Washington, DC, 1957 from Paul 0. W. Tanner and Maurice Gerow, ~Study of Jazz, (3rd ed.; Dubuque, IA: Wm. c. Brown, 1973), p. 19. 32

European Influence on Jazz

While the rhythmic aspects of Jazz show an African dominance, and some European influence, the melodic and harmonic aspects of jazz show a European dominance and a negligable African influence. For example, the diatonic and chromatic scales used in jazz are the same as those used by European composers, while, on the other hand, the

Africans used a pentatonic scale, which is not an element . 4 . . of true Jazz. The harmonles used were European, be1ng derived from polkas, quadrilles, hymns, and marches. Thus, the gospel music that was first sung by Afro-Americans had 5 the full melodies and harmonies of European music.

Principal Elements of Jazz

One important element of jazz ls note bending, either upward or downward, which is simply an exaggerated slur or slide. This device started in West Africa as a major component of field hollers, a means of communication amongst the slave field workers. As T;:mner and Gerow go on to state:

Slaves were often not allowed to talk to one another in the fields while working, but gar­ bled singing was permitted. They established

4 Tanner and Gerow, QE• cit., p. 19. 5 Tallmadge, QE• cit., p. 19. 33

communication between themselves by field hollers or cries that whites could not under­ stand. The outstanding element of a field cry constantly utilized in jazz is the bending of a tone.6

Another important element of jazz, of course, lS rhyth~:-Rere, work songs played a major role. A good example of this type of song is "Song of the Volga

Boatman" in which the grunt indicates when concerted effort ( pulllng. on the oars ) ls . to occur. 7

Contributions of Religious Music to Jazz

Religious muslc was an important contribution to early jazz. The gradual shaping of Christian hymns to the more rhythmic spirituals and gospel songs was part of "The . 8 . . . Great Awakenlng." Thls was a mass movement of rellglous revivalism that occurred about 1800. Here, Tanner and Gerow make the following statement:

Early black church music can be divided into three categories: (1) Many of the selections were improvised: they were made up at the moment by the preacher and his congregation; they would be remembered and eventually no­ tated. Many of rh2se were based on the blues chord progression [I-IV-I-V-I] because of its simplicity and the fact that this progression

6 Tanner and Gerow, QE• cit., p. 21. 7 Ibid. 8 Marshall w. Stearns, The Story of Jazz, (New York: Oxford University Press, 1956), p. 79-.- 34

seemed natural and flowing. (2) Some Negro congregations would adopt European church music and add not only their own rhythmic concept, but also their own variations. (3) In many cases, African ritual music was al­ tered so that it could be utilized in these services on this continent.9

The hymns of this period were rather sedate for the slaves and improvisation crept into their hymn singing.

The hymn books of the day stressed part-singing which harmonized only by accident, and the "shape-note" and fasola system of notation emphasized interesting, horizontal parts for each singer, rather than vertical chords com­ bining all the voices.lO

The muslc sung ln the early black churches is some- times referred to as spirituals and sometimes as gospel muslc. However, there is a difference between the two.

Gospel songs are usually considered to be religious songs that recount passages from the scriptures, and spirituals 11 are considered hymns.

Charles Weisenberg has commented on the place of jazz ln modern church services:

Jazz has roots in the religious service through its association with the Negro spiritual. The

9 Tanner and Gerow, 2£· cit., p. 22. 10Stearns, 2£· Clt.,. p. 8 2. 11 Andre Francis, Jazz, translated and revised by Hartin Williams (New York: Grove Press, 1960), p. 20, as quoted by paul 0. w. Tanner and Maurice Gerow in A Study of Jazz, (3rd. ed., Dubuque, IA: Wm. c. Brown, 1973),p.23. 35

contemporary use of jazz in church is thus not a new adventure. It is important to note that J. s. Bach, whose music is used in many church services, composed in a contemporary style. There is certainly no reason why twentieth century contemporary music, whether or not it is jazz, cannot be suitably prepared for church use.l2

Contribution of Marching Bands to Jazz

Another contributor to early Jazz muslc ln America was the marching band.

At first black music in this country was vocal, accompanied by rhythm made by clapping, stamping, and beating on anything available. Then, grad­ ually, after the Civil War, the blacks were able to make some instruments, to buy pawned instru­ ments, and to purchase war surplus instruments. Marching bands then began to have obvious influ­ ence on black music.l3

A source of marching bands, which were to influence the beginnings of jazz, was the military bands in French settlements, such as New Orleans.

At the beginning of the twentieth century the most noticeable use of marching bands was at funerals. The usual instrumentation for these bands was cornet, trom- bone, clarinet, tuba, banjo, and drums.

The following statement summarlzes those musical

12 . Charles M. Helsenberg, "On Brubeck and Others," Frontier 1, no. 9 (July 1960): 24 as quoted by Paulo. w. Tanner and Maurice Gerow in A Study of Jazz, (3rd ed., Dubuque, IA: Wm. c. Brown, 1973), p. 28. 13 Tanner and Gerow, QE· Clt.,. p. 2 8 . 36 elements which contributed the most to the development of early jazz:

Most important to jazz are the emphasis on rhythm taken from the African music, the har­ monies taken from European music and the mel­ odies added by the improvisation from the American culture. All of these elements fuse to make jazz an American music, rather than the music of a specific ethnic group. However, we emphasize again that the pioneers and inno­ vators of jazz were and are American black musicians.l4

The Blues as a Component of Jazz

Although the blues did not attract much public atten- tion until after World War I, it is the very center of

Jazz tradition and dates back to the earliest days of jazz. 15 The two most important components of the early blues were rhythm and field hollers. Field hollers were discussed earlier ln this chapter (pages 32 and 33) and are t h e maln. e 1 ement of t h e b lue note and blue tonallty. 16

(pitch variations of the third and the seventh of the scale).

The harmony used in the blues (tonic, dominant, and subdominant) was probably derived from our religious 17 music. However, in its early form, the blues was prob-

14 Tanner and Gerow, QE· cit., p. 30. 15 Stearns, QE• cit., p. 90. 16 Ibid.

17Ibid., p. 102. 37 ably performed without regard to harmony. "With this early style the singer did not need a prearranged serles of 18 chords as long as he performed by himself."

The form of the blues, in its early style, varied greatly. It consisted of the three basic chords (I, ~ IV) mentioned earlier, but in various sequences, and it varied in length, containing as few as eight and up to as many as . 19 slxteen measures.

Regarding today's blues, Tanner and Gerow make the following corrunents:

Today, the blues is a particular harmonic se­ quence, a definite musical form in much the same manner that the sonnet is a poetic form. The blues now contains a definite set of pro­ gressions of harmonies and consists of 12 mea­ sures. The harmonic progression is as follows: I, I, I, I7, IV, IV, I, I, V7, V7, I, I. Each Roman numeral indicates a chord [in one mea- sure]. . Since about 1960, due to the in- fluence of rock 'n' roll artists, the tenth chord in the progression of harmonies has been changed to IV7. This alteration is now con­ sidered standard.20

Improvisation and Jazz

Our knowledge today of early Jazz and its varlous contributing factors is rather skimpy. The earliest in-

18 Stearns, QE• cit., p. 103 19 Tanner and Gerow, QE• cit., p. 33. 20 Ibid. 38 strumental Jazz recording was not produced until 191721 and very little Jazz was ever written, as this would have been contrary to the improvisational nature of this free form of music, However, from its earliest days until now~ jazz has been progressively less improvised and more writ- ten. Yet, even today, much of jazz is improvised. Music played by today's big bands utilizes improvised solos interspersed throughout each fully orchestrated piece of music. These solos are usually divided up amongst an alto saxophone, a tenor saxophone, a trumpet, a trombone, and a piano, and often, other instruments as well. smaller en- sembles, on the other hand, usually play a higher percent- age of nonorchestrated music, permitting an even greater amount of improvisation.

Developmental Stages of Jazz

About 1900, following the very early Jazz period, and up to the present, jazz went through various stages of development. These stages are defined and arranged chrono- 22 logically by Tanner and Gerow, as follows:

Early New Orleans Dixieland (1900~1920)

This was performed by trumpet, clarinet, trom-

bone, drums, banjo, tuba-bass, and later, piano.

21 Tanner an d Gerow, QE• ~.,'t p. 48 .

22Ibid. 39

Ragtime (1900-1917)

This was performed primarily by a plano.

Chicago Style Dixieland (the 1920's)

This was performed by trumpet, clarinet, trom­

bone, tenor saxophone, string bass, piano,

guitar, and drums.

Boogie-woogie (the 1920's and 1930's)

This was performed primarily by a plano.

Swing (1932-1942)

This was performed by a trumpet section, a trom­

bone section, a saxophone section, and a rhythm

section.

Bebop (1940-1950)

This was performed by a small combo.

Cool (1949-1955)

This was performed by small combos, including

new instruments, such as flute.

Funky (1954-1963)

This was performed by a plano or any sized ln­

strumental combination.

Eclectic (1958-present)

This consists of free form, third stream, gospel

jazz, contemporary large band, electronic ad­

vances, and jazz-rock.

Contribution of Jazz to Improvisation

In this brief discussion of the history of jazz, it 40

should be noted that Jazz was the musical form that took

improvisation, an art that had reached great heights among

past performers of ser1ous European music, and gave it continued life. It also greatly broadened the scope of

improvisation, permitting new freedom and latitude in a variety of idioms· CHAPTER V

THE PROJECT:

TEACHING A HIGH SCHOOL COURSE

IN

JAZZ IMPROVISATION

Introduction

The delimitations of this study, briefly outlined in

Chapter I, list those restrictions which bear on putting together and teaching a course in jazz improvisation. With those limitations in mind, we shall describe such a course and suggest a method of teaching it. This will be done by dividing the course into twenty sessions (which would fit a twenty week semester) and proposing a lesson plan for each session. First, however, it is necessary to put the project into the proper context by establishing the fol­ lowing criteria:

1. Proposal.

To establish a high school course ln instru­

mental jazz improvisation.

2. Prerequisites for enrollment.

Students should be advanced (or at least beyond

the intermediate stage) players already en­

rolled in one or more music ensembles.

41 42

Students should possess qualities of muslclan­

ship, such as good sight reading ability and

good sensitivity to tone, pitch, melody, harmony

and rhythm.

Students should possess a good (positive) atti­

tude toward music, improvisation, and jazz.

3. Purpose.

To establish the capability of student muslclans

to improvise who are not now capable of doing

so.

To improve the ability of student musicians to

improvise who are already able to do so but

would like to lmprove.

To improve the quality of Jazz soloing among the

jazz band members.

4. Allocation of time.

Class should meet at least once a week for a

full period (fifty minutes) and for a full se­

mester (twenty weeks).

Note: As a less desirable alternative, one

period per week of jazz band could be devoted to

a class in improvisation, assuming that the jazz

band class met daily. Unfortunatly, this would

probably limit the course to jazz band students. 43

Furthermore, it would certainly reduce the time

that those jazz band students received 1n reg~

ular jazz band instruction.

The Structure of the Course Using One Text

The text to be used ln this twenty sess1on course shall be Volume 1, fifth edition (copyright 1979) of Jam~

Aebersold's A New Approach to Jazz Improvisation, with accompanylng supplement and record. (See Appendixes A & B)

The two main instrumental categories to be considered ln this course shall be as follows:

1. Rhythm section instruments, such as drums and

other percussion instruments, vibraphone, keyboard

instruments, harp, guitar, and bass instruments.

2. Melody instruments, such as as winds, strings, and

those rhythm section instruments capable of melody playing.

It should be noted that all of the rhythm section instruments, with the exception of drums and other percus­ sion instruments, are capable of playing both (or either) rhythm and melody, and should receive instruction in both.

Within the two main categories of instruments men­

tioned above, there are five subcategories to be consid­ ered. These are:

1. Concert key, treble cleff instruments, such as

flute, oboe, violin, guitar, and vibraphone.

2. Concert key, bass cleff instruments, such as 44

bassoon, cello, bass viol, trombone, baritone horn,

and tuba.

3. Concert key grand staff instruments, such as harp and keyboard instruments.

4. B flat instruments, such as soprano and bass clar­

inets, soprano and tenor saxophones, and trumpet,

cornet, and fluegel horn.

5. E flat instruments, such as sopranino and alto

clarinets, and alto and baritone saxophones.

The text book material for the course is designed only for the key and cleff categories listed above. It lS not anticipated that very many instruments would be rep­ resented in this course other than those normally found in the jazz band. However, other qualified instrumental­ ists should be encouraged to enroll, assuming that the text book music is applicable to their particular instru­ ment. It is a mistake made by many that only jazz band instrumentalists can successfully play music extemporane­ ously. Actually, it only seems that way because other instrumentalists have less opportunity. The fact is, any otherwise qualified performer can improvise. Nevertheless, from a practical standpoint, the players of two non-jazz­ band instruments, the French horn in F and the alto cleff written viola, would necessarily be excluded unless the players were able to transpose. 45

Lesson Plans for the Course

Session One

I. Brief orientation.

II. Topics to be covered 1n class.

A. Function of the rhythm section instruments.

1. Refer to Dorian scale, treble cleff, concert

key on page 5, example 1 of text.

a. Chord instrument players are to be taught

(if they do not already know) how to form

F minor seventh, Eb minor seventh, and D

minor seventh chords and their inver-

s1ons. (See chord chart on page 38 of

text.)

b. Chord instrument players are to start with simple rhythmic patterns, such as :II d d U and then gradually attempt more complex

rhythms which the teacher may place on

blackboard, such as:

11 7 J....___,. d ll l! or

11- .I.J J. J l! {{ or

II d. II .J.JJ.J J ~ ll ~ 46

c. Chord instrument players, such as key­

boardists, vibraphonists, and harpists,.

are to cluster their chords in the gen­

eral area of middle C. This will avoid a

thick sound if the chords are too low,

or a thin, tinkly sound if they are too

high. These same instrumentalists should

use both hands in forming the chords

which will keep the left hand from inad­

vertently interfering with the bass part

being played by the bass instruments. In

the case of the accordionist (if there is

one) the same thing applies, except that

the left hand bass buttons should be

avoided and only the chord buttons used.

d. Chord instrument players such as guitarists

will have few concerns other than making

sure that they are playing the same

rhythmic patterns as are the other chord

instrumentalists.

2. Refer to Dorian scale, bass cleff, concert

key on page 30, example 1 of text supple­

ment.

a. Bass insrumentalists are to start each

new chord with the root, and then play

half notes, using tones in the scale at

random, ignoring the written notes. 47

Later, they may switch to quarter notes

which will produce a style more appro­

priate to the jazz idiom.

b. If there are no bass instrumentalists

then one of the chord instrumentalists

may play bass as well as chords. Usually

the pianist 1s a good choice for this

job.

3. Return to Dorian scale, treble cleff, con­

cert key on page 5, example 1 of text

regarding drums and other percussion instru­

ments. These instrumentalists are to use the

textbook score as only a road map, as no

drum part appears in the text. They are to

play a simple time beat.

4. After the rhythm section 1s set, its mem­

bers should play through example 1 a couple

of times. During all of this the melody

section members can be attentive, but

silent, observers.

B. Function of the melody section instruments.

1. Continue with Dorian scale, treble cleff,

concert key on page 5, example 1 of text for

instrumentalists in this category, including

melody playing, rhythm instruments. It is

important, however, that at least one of the 48

chording instrumentalists 1s always playing.

2. Refer to the Dorian scale in the text sup­

plement that ls in the proper key and cleff

for each of the remainder of the melody in­

struments. Make sure that at least one bass

part instrumentalist is always playing

rhythm if there are several bass instrument­

alists playing melody.

3. By this time, the melody section is set, and

both sections (rhythm and melody) can now

play example 1 together.

c. Interspersed with the entire class playing

example 1, ensemble, the teacher should discuss

briefly the nature and origin of the various

scales, paying particular attention to scale/

chord relationships in the modal system. But

this should only be attempted if time permits.

D. Example 2 (page 5) should now be played, fol­

lowing the same format.

III. Assignments for next session.

A. Read page 1 through top half of page 4 of text.

B. Practice Preparatory Excercises 1 through 10

on page 1 of text supplement in key of C.

1. Keyboardists are to duplicate the right hand

with the left hand played an octave lower

than written.

2. Accordionists are to play a sustained root 49

bass while playing the score with the right

hand. Advanced players should play both bass

and treble in double octaves.

3. All other instrumentalists are to play exer­

cises as written, except that bass clef£

instrumentalists shall transpose to the

appropriate register.

4. Drums and other percussion instrumentalists

shall complete only the reading portion of

the assignment.

5. As a time saving measure the teacher should

prepare for distribution to each student a

list of assignments for the entire course,

or, better yet, a syllabus.

IV. Comments.

A. After the brief orientation at the beginning of

the class session it is necessary for the

teacher to group the instrumentalists into two

different groups: rhythm section and melody

section.

It is assumed that the class will be taught in

a music performing classroom containing music

stands and at least one piano. In the case of

keyboard players, it may be necessary to place

two students at the piano. Anything beyond two

would require the use of student-owned 50

electric planos.

B. The text and the text supplement should be dis­

tributed to the students. The record accompa­

nying the text should not be distributed now,

since it will not be needed until later. It

will then be necessary to identify which stu­

dents will be involved with which part of the

text and the text supplement. That is, placing

bass clef£ instruments with bass clef£ score,

Bb instruments with Bb score, etc. c. In structuring a new Jazz improvisation class and getting it started on the way toward mean­

ingful learning it is necessary for the teacher

to talk more than is usually desirable, leading

to student inattention. Therefore, the teacher

should get through the talk part as quickly as

possible and go to the playing part. In order

to reduce teacher talk and the usual first ses­

sion confusion it lS essential that the teacher

meticulously preplan the first session. Perhaps

the steps oulined here will assist the teacher

in doing that preplanning. This is especially

true of the first session, which attempts to

deal with a lot of material in the time allot­

ted. 51

Session Two

I. Topics to be covered in class.

A. Function of the rhythm section instruments.

1. Entire ensemble is to play page 6, examples

3 and 4 in the text and the appropriate cor­

responding example in the text supplement.

2. Chord instrumentalists are to use rhythm

figures suggested in session one.

3. Chord instrumentalists should try to play

the same rhythmic figures at the same time

by communicating and listening.

4. Bass instrumentalists should play quarter

notes, experimenting with simple, scalewise

patterns, starting each new chord with the

root.

5. Bass instrumentalists should all try to play

the same simple patterns at the same time by

communicating and listening. To achieve

this, it might be necessary to revert to

half notes, temporarily.

B. Function of the melody section instruments.

1. Entire ensemble is to play pages 6 and 7,

examples 4 and 5 of text.

2. Melody instrumentalists should perform, as

follows: a. Play the exerc1se as written and then 52

attempt to improvise ~vi thin the ensemble.

b. Follow the phrasings shown and use a

legato style.

c. Begin to solo on a voluntary basis while

the other melody instrumentali.sts are

tacet.

d. Try to achieve rhythmic phrasing and

articulation with a jazz feel.

e. Try to achieve a feeling of swing while

maintaining rhythmic accuracy. c. Function of the entire ensemble as a cohesive

unit including the soloing of individual rhythm

instrumentalists on a voluntary basis.

II. Assignments for next session.

A. Read pages 31 through top half of page 32 of

text.

B. Practice Preparatory Exercises 1 through 10 on

page 1 of text supplement in key of F.

c. Listen to records listed under "An Essential

Discography" on the inside of the back cover of

the text. Especially list~en to those records

which pertain to your instrument. (Note: this

part of the assignment is contingent upon

availability of records.)

III. Comments r

Session two should go faster than sess1on one

since the preliminaries of procedure and organiza- 53

tion have been completed. The teacher should make

every effort to maintain a calm, relaxed, non­

threatening atmosphere which will encourage cre­

ativity. The improvisational soloing attempted by

the students should be kept simple to avoid confu-

SlOn.

Session Three

I. Topics to be covered in class.

A. Discuss briefly pages 31 through top half of

page 32 of text (last week's assignment) which

concerns Dorian related scales and modes and

tips to good improvising.

B. Hand out chord charts and discuss briefly how

they are to be applied. (See Appendix C.)

C. Ensemble ls to play on page 7, examples 5 and 6

ln the text and the appropriate corresponding

examples in the text supplement.

1. Nonsoloing melody instrumentalists may lm­

provise melodically behind the soloist.

2. Individual melody instrumentalists may im­

provise solos while the other melody instru­

mentalists are tacet.

3. Individual rhythm instrumentalists may lm­

provise solos on a voluntary basis.

4. Rhythm section members are to continue play­

ing as before. 54

II. Assignment for next sess1on.

A. Read the bottom half of page 28 through page

30 of text.

B. Practice Preparatory Exercises 1 through 10 on

page 1 of text supplement in key of Bb.

III. Comments.

By now the students should feel less inhibited

and more willing to experiment in their soloing.

This is to be encouraged by the teacher and the

best encouragement is an environment free of nega­

tives and full of positives.

Session Four

I. Topics to be covered in class.

A. Discuss briefly the bottom half of page 28

through page 30 of the text (last week's

assignment) which concerns the following lmpor­

tant topics:

1. Time.

2. Melodic Development-Tension and Release.

3. Elements Which Produce Tension.

4. Elements Which Produce Release (Relaxation).

B. Ensemble 1s to play on page 8, examples 7 and

8 in the t~~t and the appropriate corresponding

examples in the text supplement.

1. Melody instrumentalists are to continue

improvising on a voluntary basis. 55

2. Rhythm instrumentalists are to be encouraged

to experiment with new bass lines (and

rhythms) and new chord voicings (and

rhythms.)

3. Drums and percuss1on instrumentalists are to

be encouraged to experiment with improvised

background fills.

II. Assignments for next session.

A. Read bottom half of page 33 and top half of

page 34 of text.

B. Practice Preparatory Exercises 1 through 10 on

page 1 of text supplement in key of Eb.

c. Bring to the next session any sheet mus1c on

hand of one or more of the standard jazz tunes

listed on pages 32 and 33 of the text. The

better known tunes that also have simple chord

changes would be preferred.

III. Comments~

A. Now that the Dorian scale and the chords of

F-7, Eb-7, and D-7 are becoming more deeply

ingrained, the gradual introduction of actual

tunes will help in avoiding monotony by intro­

ducing new chords and a precomposed melody.

B. The teacher should arrange to take appropriate

sheet music (if available) to the next class

session in the event that the students are un­

able to provide any. If none is available, a 56 good source lS Jamie Aebersold's "Jam Session,"

Vol. 34 of his A New Approach to Jazz Improvi­ sation. Another, perhaps better source would be a good, legal fake book.·

Some of the sheet music and fake book tunes would probably be in the public domain and thus eligible for copying. This would solve the problem of too many students trying to play from only one or two pleces of music.

Other sources of popular songs might include old stock arrangements, popular song books, and method books. Old stock arrangements (if com­ plete) would provide rhythm section parts, ln­ cluding drums, bass, guitar (chords only), and piano (grand staff with melody cued). Helody section parts would include first alto saxo­ phone, first trumpet, and trombone (usually second). These parts would require manipulation to obtain a complete melody.

Popular song books are readily available 1n book stores. A good example is George T.

Simon's The Big Band Song Book. Method books might include, for example, Learning to Impro­ vise with Lou stein's Hip Fairy Tales and Funky

Favorites, described briefly ln Chapter III. 57

Session Five

I. Topics to be covered in class.

A. Discuss briefly the bottom half of page 33 and

the top half of page 34 of the text (last

week's assignment) which concerns the topic

"Articulations: How to Better Express Your­

self".

B. Ensemble 1s to play on page 9, examples 9 and

10 in the text and the appropriate correspond­

ing examples in the text supplement.

c. Ensemble is to play any easy piece of sheet

music that may have been brought to class by

the students or the teacher.

1. All of the bass and chord instrumentalists

should be instructed in how to read the

guitar chords and the proper rhythm to

apply. The chord chart that the students

have will be helpful.

2. The melody instrumentalists who play a

transposing instrument may wish to listen

to the concert key instruments the first

time a tune 1s played. This will help them

to play the tune later by ear.

3. At first, the ensemble should follow the

melody closely, and then improvised solos

should be attempted which gradually move 58

away from the melody. If the class is large,

some students will not be able to see the

single piece of music. This will further

encourage the students to improvise. Never­

theless, within the limitations of copyright

laws, it might be desirable to acqulre more

than one copy of a given piece of music.

D. Hand out to each student the record which may

accompany each text. This will be used in the

homework for the next session.

II. Assignment for next sesslon.

A. Read pages 14 and 15, bottom half of page 4,

and top third of page 5 of text.

B. Practice Preparatory Exercises 1 through 10 ln

text supplement in the key of Ab. c. Play page 2, side 1, track 1 (or the appro­

priate transposition) in the text supplement

along with the record, if available.

III. Comments.

During this sesslon the students will probably

have demonstrated some degree of self-assurance.

In addition, they will have had fun experimenting

with actual tunes. In the homework assignment

they will also have fun by playing with a record.

These two elements of self assurance and enjoy­

ment are essential ln establishing an atmosphere

conducive to learning improvisation. 59

Session Six

I. Topics to be covered in class.

A. Discuss briefly pages 14 and 15 of the text

(last week's assignment) which concerns the

following topics:

1. Beginning to Improvise for the First Time.

2. A Check List for Improvisation.

3. Extending Your Range-

B. Ensemble is to play on pages 9 and 10, examples

11 and 12 of text and the appropriate corre­

sponding examples in the text supplement with

emphasis on playing the eighth notes in a

slightly uneven, swinging style, as explained

on the top half of page 10 of text.

C. Ensemble is to continue playing sheet music as

long as it is available.

II. Assignment for next session.

A. Read pages 16 and 17 of text.

B. Practice Preparatory Exercises 1 through 10 1n

text supplerL<~nt in the key of Db.

c. Play page 2, side 1, track 2 (or the appro­

priate transposition) in the text supplement

along with the record, if available.

III. Comments.

By now, the class should be rolling along briskly,

partly from its own momentum, but (hopefully) 60

mostly from student enthusiasm. A skillful teacher

will be able to direct that enthusiasm toward

achieving the goal of student learning.

Session Seven

I. Topics to be covered in class.

A. Discuss briefly pages 16 and 17 of the text

(last week's assignment) which concerns the

following topics:

1. Developing Creativity.

2. Ear Training.

3. Pentatonic Scale and its Use.

B. Ensemble is to play pages 10 and 11, examples

13 and 14 of text and the appropriate corre­

sponding examples in the text supplement with

emphasis on playing the dotted eighth and slx­

teenth notes in a less uneven way then as

written (explained on the top of page 11 of

text) .

c. Ensemble ls to continue playing sheet muslc as

long as it is available.

II. Assignment for next sesslon-

A. Read page 18 and top half of page 19 of text

and play the appropriate pentatonic scale with

side 1, tracks 1, 2, 3, and 4 of the record

(if available) as described on page 18.

B. Practice Preparatory Exercises 1 through 10 ln 61

text supplement 1n the key of Gb.

III .. Comments.

During this sess1on, and in subsequent sess1ons,

the teacher might wish to introduce the better

known standard ballads or standard Jazz numbers.

These can be taught without music, by rote, with

encouragement to the students to stray from the

melody as much as they wish, yet stay vvi thin the

basic chord structure. Since the supply of sheet

mus1c might become exhausted, this would be a good

alternative, as well as being good ear training.

A list of standard numbers appears on pages 32 and

33 of the text.

Session Eight

I. Topics to be covered in class.

A. Discuss briefly page 18 and the top half of

page 19 of the text (last week's assignment)

concern1ng pentatonic scales.

B. Ensemble is to play pages 11 and 12, examples

15 and 16 of the text and the appropriate cor­

responding examples in the text supplement

with emphasis on playing the eighth notes un­

evenly and on observing the accents.

C. Ensemble is to continue playing sheet mus1c

and/or standard tunes by ear with emphasis on

improvisation. 62

II. Assignment for next sess1on.

A. Read and practice the bottom half of page 19

and page 20 of text concerning chromaticism.

B. Practice Preparatory Exercises l.through 10 in

the text supplement in the key of B.

III. Comments.

During this sess1on, and in subsequent sess1ons,

when the ensemble is improvising standard tunes

from sheet music or by ear, improvised playing in

harmony should be attempted by the.melody instru­

ments. It 1s best, at first, that only one instru­

mentalist at a time play an improvised melody

while the others play improvised, sustained har­

mony. Later, other improvising melody instrumen­

talists may be added, giving the ensemble a poly­

phonic sound. At first, the harmony players should

stick to whole notes, and only in later sessions

should they attempt to play riffs (repeated rhyth­

mic phrases).

Session Nine

I. Topics to be covered in class.

A. Discuss briefly the bottom half of page 19 and

page 20 of the text (last week's assignment)

concerning chromaticism.

B. Ensemble is to play on page 12, examples 17 and 63

18 of the text and the appropriate correspond­

ing examples in the text supplement, with em­

phasis on observing the accent, staccato and

dynamic markings.

C. Ensemble is to continue playing sheet music

and/or standard tunes by ear, including back­

ground, improvised harmonies.

II. Assignment for next session.

A. Read and practice pages 21 through the top

fourth of page 23 of text concerning chromat­

icism.

B. Practice Preparatory Exercises 1 through 10 ln

text supplement in the key of E.

c. Play page 2, side 1, track 3 (or the appro­

priate transposition) in the text supplement

along with the record, if available.

Session Ten

Midterm Examination

This examination is to be on the material already studied. Each teacher, of course, has his or her own style of testing. This writer happens to prefer a performance type of examination that is in as stress free a context as possible. This has the added benefit of using examination time as both learning time, which is what it is all about, and testing time, which is a necessary part of the system. 64

Session Eleven

I. Topics to be covered in class.

A. Discuss briefly page 21 through the top fourth

of page 23 of the text (Session Nine assignment)

concerning chromaticism.

B. Ensemble is to play on page 13, examples 19 and

20 of the text and the appropriate correspond­

ing examples in the text supplement, with em­

phasis on observing the accents and staccatos.

C. Ensemble is to continue playing sheet music

and/or standard tunes by ear, including back­

ground, improvised harmonies.

II. Assignment for next sess1on.

A. Read Playing the Blues on page 23 through the

top half of page 26 and read and practice The

Blues Scale and its Use on the bottom half of

page 26 through the top half of page 27 of

text.

B. Practice Preparatory Exercises 1 through 10 1n

the text supplement in the key of A.

Session Twelve

I. Topics to be covered in class.

A. Discuss briefly pages 23 through 26 of the text

(last week's assignment) concerning The Blues.

B. Ensemble is to play on page 21 (or the appro- 65

priate corresponding pages), side 2, track 1,

Tenor Madness, Pentatonic Blues, and the Roving

Third, all of which are in the text supplement. c. Ensemble is to continue playing sheet music and/or standard tunes by ear, including back­

ground, improvised harmonies.

II. Assignment for next session.

A. Read the bottom halfof page 27 through the top

half of page 28 of text concerning Seventh

Chords.

B. Practice Preparatory Exercises 1 through 10 1n

the text supplement in the key of D.

c. Play page 2, side 1, track 4 (or the appro­ priate transposition) in the text supplement

along with the record, if available.

Session Thirteen

I. Topics to be covered in class.

A. Discuss briefly the bottom half of page 27

through the top half of page 28 of the text

(last week's .assignment) concerning Seventh

Chords. B. Ensemble 1s to play on page 3 (or the appro­

priate transposition), side 2, track 1, Blues

in Key of Bb Concert, and page 21 (or the ap­

propriate transposition), side 2, track 2, Blues by Five and Slippery Blues, all of which 66

are 1n the text supplement. c. Ensemble is to continue playing sheet mus1c

and/or standard tunes by ear, including back­

ground, improvised harmonies.

II. Assignment for next session.

A. Review the bottom half of page 33 and the top

half of page 34 and read and practice the bot­

tom half of page 34 through page 35 of text

concerning articulation.

B. Practice Preparatory Exercises 1 through 10 1n

the text supplement in the key of G.

Session Fourteen

I. Topics to be covered in class.

A. Discuss briefly the bottom half of page 33

through page 35 of the text (last week's as­

signment) concerning articulation.

B. Ensemble is to play on page 4 (or the appro­

priate transposition), side 2, track 2, Blues

1n Key of F Concert, and side 2, track 3, Cycle

of Dominant Seventh Chords, both of which are

1n the text supplement.

C. Ensemble is to continue to play sheet mus1c

and/or standard tunes by ear, including back­

ground, improvised harmonies.

II. Assignment for next session. A. Practice page 37, The Twelve Minor (Dorian) 67

Scales of text.

B. Play on page 3, side 1, track 5 (or the appro­

priate transposition) in the text supplement

along with the record.

Session Fifteen

I. Topics to be covered in class.

A. Ensemble is to play on page 4 (or the appro­

priate transposition), side 2, track 4, 24

Measure Song in the text supplement.

B. Ensemble is to continue to play sheet mus1c

and/or standard tunes by ear, including back­

ground, improvised harmonies.

II. Assignment for next session.

A. Practice page 37, The 12 Major Scales of text.

B. Practice page 17, side 1, track 2, examples 1

through 8 in the text supplement along with the

record, transposing as necessary.

Session Sixteen

I. Topics to be covered in class.

A. Ensemble is to play on page 5 (or the appro­

priate transposition), side 2, track 5, Minor

to Dominant 1n the text supplement.

B. Ensemble is to continue to play sheet mus1c

and/or standard tunes by ear, including back­

ground, improvised harmonies. 68

II. Assignment for next sess1on.

A. Practice page 37, The 12 Dominant Seventh

Scales of text.

B. Practice page 18, side 1, track 5, examples 1

through 10 in the text supplement along with

the record, transposing as necessary.

Session Seventeen

I. Topics to be covered in class~

A. Discuss Scale Syllabus on pages 36 and 36A of

the text.

B. Ensemble is to continue to play sheet mus1c

and/or standard tunes by ear, including back­

ground, improvised harmonies.

II. Assignment for next session.

Practice page 19, side 2, track 3, examples 1

through 10 in the text supplement along with the

record, transposing as necessary.

Session Eighteen

I. Topics to be covered in class.

A. Continue discussion of Scale Syllabus on pages

36 and 36A of text.

B. Ensemble is to continue to play standard tunes

by ear, including background, improvised har­

monles. (By now the class has probably run out

of sheet music and must rely on improvisation.) 69

II. Assignment for next sess1on~

Practice page 20, side 2, track 5, examples 1

through 12 in the text supplement along with the

record, transposing as necessary.

Session Nineteen

I. Topics to be covered in class.

A. Discuss bottom half of page 38 of the text con­

cerning Music Fundamentals to Keep 1n Mind When

Improvising.

B. Discuss the records that are listed on the in­

side back cover of the text and that were as­

signed for listening at the second session.

II. Assignment for next session.

Review material covered in the course 1n prepara­

tion for next session's final examination.

Session Twenty

Final Examination

This examination is to be on the material studied

since the beginning of the course, with special attention to the material studied since the midterm examination. As was the case regarding the midterm, this writer happens to prefer a performance type of examination rather than a written examination, and one that is in as stressfree and

learning filled context as possible. 70

The Structure of the Course Using Other Texts

The improvisation course and lesson plans just de- scribed are based entirely on using, as a text, Jamie

Aebersold's Volume I of A New Approach to Jazz Improvisa- tion with accompanying supplement and record. However, a very adequate course could be structured uslng one or more of the following works, each of which is more fully iden- tified in the bibliography.

1. David Baker's Jazz Pedagogy, his Jazz Improvisa-

tion: A Comprehensive Method of Study for all

Players, and his Contemporary Patterns.

2. Jerry Co1~er' s The Jazz Idiom, his Improvising

Jazz, and Coker, Casale, Campbell, arid Greene's

Patterns -----for Jazz. 3. Arnie Berle's Complete Handbook for Jazz Improvi-

sation.

None of the above materials includes a supplement with transposed parts and an accompaniment record as does the Aebersold material. Therefore, using tl1em would proba- bly requlre a less structured, more innovative teaching style; a technique many teachers prefer. This style per- mits easy tailoring of lessons to the talents of the stu- dents and to the instrumental makeup of each improvisation class. In other words, it is highly adaptive.

David Baker's three books can be best used by employ- 71

1ng Jazz Pedagogy as a teacher's resource, Jazz Improvisa­

tion: ~ Comprehensive Method of Study for all Players as a

classroom text and homework source, and Contemporary Pat­

terns as an additional homework source.

Jazz Pedagogy should be read by any teacher who wishes to put together a high school course in jazz impro­ visation. Although it appears to be based largely on Mr.

Baker's experiences as a jazz instructor at Indiana Uni­ versity, it is also applicable to the high school level.

Part of it deals directly with improvisation. For example, on pages 50 to 53 he presents a thirty session course that he refers to as "Jazz Improvisation I." This course uses

Baker's own Jazz Improvisation as the primary text, and the suggested supplementary reading list includes works on improvisation by Jamie Aebersold, Jerry Coker, and

George Russell. Other items in the reading list include var1ous other books on improvisation by Baker himself, in­ cluding his four volume Techniques of Jazz Improvisation.

Starting on page 167 of Jazz Pedagogy, Chapter VII lists many helpful suggestions regarding teaching high school jazz improvisation.,Especially helpful is the list of seventy-two books on improvisation appear1ng on pages

175 to 177.

David Baker's Jazz Improvisation: ~Comprehensive

Method of Study for all Players has twenty chapters ar­ ranged progressively in such a way that each can be used consecutively as a complete lesson plan. In addition to 72 presenting material for classroom use, each chapter has one or more sections devoted to homework assignments, such as suggested reading, suggested listening, and other sug­ gested activities. The chapter headings help to explain the contents of the book and are listed below:

1. "Nomenclature."

2. "Foundation Exercises for the Jazz Player."

3. "The Use of Dramatic Devices."

4. "An Approach to Improvising on Tunes."

5. "The II V7 Progression and Other Widely Used For-

mulae."

6. "Scales and Their Relationship to Chords."

7. "The Cycle."

8 . "Turnb.acks."

9. "Developing a Feel for swing."

10. "Developing the Ear."

11. "The Blues."

12. "Constructing a Melody."

13. "Techniques to Be Used in Developing a Melody."

14. "Constructing a Jazz Chorus."

15. "Chord Substitution."

16. "The Rhythm Section-Piano."

17. "The Bass Viol."

18. "Drums."

19. "A Psychological Approach to Communicating Through

an Improvised Solo."

20. "Some Advanced Concepts ln Jazz Playing." 73

Baker's Contemporary Patterns is an excellent book for homework assignments. It includes a scale syllabus and five chapters devoted to various exercises. Chapter I con- cerns pentatonics, fourths, and fourths in various com- binations. Chapter II involves modal patterns. Chapter III consists of Coltrane changes involving substitutions for the II V7 I progression and patterns starting with a major chord. Chapter IV contains II V7 patterns using various pentatonic scales and contemporary materials in random fashion. The last chapter, Chapter V, incorporates verti- cal composition in the bebop style.

Jerry Coker's three books can be employed in a slml- lar way to those of David Baker. First, by using The Jazz

Idiom as a teacher resource, then Improvising Jazz as a classroom text and homework source, and finally Patterns for Jazz as an additional homework source.

It would be worthwhile for the teacher to read all of

The Jazz Idiom, but it would be especially worthwhile to read Chapter 4, "Jazz Improvisation." In this chapter

(page 53), after briefly setting the stage with the sub- chapter, "Prestudy Consideration," Coker moves to the sub- chapter, "Specifics for Study," on page 56. These areas of study would make a good improvisation course outline, and are quoted, as follows:

1. Chord-scale symbology and nomenclature. 2. Chord scales applied to instrument. 3. Chord-scale patterning. 74

4. Application of melodic (or scalar, digital) patterns to progressions. 5. Playing experience with accompaniment (recorded or live). 6. Jazz keyboard (for non-pianists)(Chapter 3). 7. Solo transcriptions (Chapter 2) and listen­ ing (Chapter 1). 8. Melodic development and interval studies. 9. Extended chord-scale study. 10. study of free form and extramusical devices.

Finally, on pages 68 and 69 of the same chapter,

Coker discusses trouble shooting ln improvisation. This 1s information that would be especially helpful to the impro- visation teacher and is quoted verbatum below:

Problem Solution Inability to find Study instrument more, right notes fast because fingerings and/ enough, even with or positions may not be a reference sheet sufficiently ingrained. [of chord changes] Also, work on sight at hand. reading so that refer­ ence sheet may be per­ ceived more quickly.

Difficulty in ex­ Study instrument more, ecution, inability perhaps with metronome. to keep up with Practice reference ma­ accompaniment or terials [chord changes] relate to pulse. more (on instrument) so that they flow, and be sure that they are worked up to at least the tempo of the ex­ pected accompaniment. Practice (with metro­ nome) playing chord scales at each rhythmic level (in half notes, in quarters, eighths, etc.), leaving metronome at one tempo only. Then focus on eighth notes for a while in your develop­ ment. 75

Losing place in Listen to a recording reading [chord] of the material repeat­ progress1ons, es­ edly, with the reference pecially if chord sheet at hand, clapping, durations are to nodding, or tapping each be of varying time the chords change, lengths from, say, studying the harmonic two beats to two rhythm. Also, practice measures improvising at one rhythmic level, with accompaniment, using fewer rests for a while so that you may quickly compute how many notes are needed to consume any given chord dura­ tion. Use digital pat­ terns of the same dura­ tion, if necessary. Finally, pay close at­ tention to the differ­ ence in sound of each of the chords and their placement in the pro­ gresslon, using the rec­ ognizable ones as slgn­ posts.

Coker's Improvising Jazz consists of eleven chapters arranged in a logical sequence which easily permits devel- op1ng one or more lesson plans from each. All but one of the chapters contain projects which could be utilized for homework. The chapter headings, with comments,are listed below:

1. "The Improvisor's Basic Tools."

On page 4 Coker states that intellect ls the most

important factor in achieving improvisation re-

sults, and that the player's knowledge of the rna-

terial must include: length of tune, thematic and

harmonic construction and section lengths, tonal- 76

ity (and modulations) of tune, chords and their

relationships, scales and their relationship to

chords and to sections of tune, and the emotional

mood of the tune.

2. "An. Introduction to Nelody."

On page 12 Coker writes that melody ls:

a. An essential part of music along with harmony

and rhythm.

b. The most prominent part of muslc.

c. Capable of division into fragments which, ln

turn, can be organized into coherent patterns.

3. "The Rhythm Section."

Coker observes, on page 20, that the rhythm sec-

tion is the heart of an improvising group.

4. "The First Playing Session."

This is an excellent step-by-step guide to orga-

nizing an improvisation session. On page 29 Coker

summarizes what is to occur at the first sesslon:

(1) preparation of the reference sheets before the session. (2) study of the material by each stu­ dent before playing. (3) reading of the reference sheet while listening to the rhythm sec­ tion play a few choruses. (4) playing of roots in whole notes (or duration of the chords). (5) playing of other members of the chords for their duration. (6) playing of the chords in various arpeggiated figures. 77

5. "Development of the Ear."

On page 37 Coker summarizes the methods to use 1n

developing the ear:

(1) Begin observing the slight differ­ ences in the tone quality of vari­ ous pitches and registers on your instrument. (2) Meet with another player of the same instrument and practice tone­ matching exercises, beginning with one pitch at a time and gradually working toward longer series. (3) Begin transcribing them on the in­ strument rather than committing them to paper

6. "Further Study of Chord Types."

This chapter gives the symbols for all of the sev-

enth chords and discusses their construction. It

also relates these chords to the appropriate

scales.

7. "Swing."

Coker defines sw1ng as a combination of rhythmic

interpretation and rhythmic unity. He describes

rhythmic interpretation as playing with a "shu£-

fle-time" feel and he describes rhythmic unity as all members of the ensemble playing with the same

rhythmic interpretation. He also places importance

upon articulation and accents.

8. "The Diminished Scale."

Here Coker discusses the diminished scale and its

relationship to the diminished seventh chord. 78

9. "Analysis and Development of Melody."

This chapter describes motifs as consisting of

contour, rhythm, and essential pitches. Coker em­

phasizes that the student should be able to assem­

ble motifs and reassemble them to fit any given

material or key.

10. "Chord Superimposition."

In this chapter Coker discusses the practice of

creating ninth, eleventh, and thirteenth chords by

superimposing intervals of a third above the sev­

enth.

11. "Functional Harmony."

This chapter discusses the interrelationship of

chords and their logical progressions from one to

the other. He also introduces the use of Roman

numerals as a means of identifying lettered chords

in order to facilitate the identification of chord

progressions regardless of key.

The four appendixes in Improvising Jazz are loaded with excellent study material. Appendix A ls entitled

"Aesthetic Criteria for the Evaluation of a Jazz Artist."

It lists those criteria as being choice of materials, emo­ tional content, versatility, taste, originality, and in­ tellectual energy. The other three appendixes deal with voicing possibilities, various blues progressions, common chord progressions, common turnarounds, and the chords to various tunes categorized by chord pattern. 79

The third book of the Jerry Coker group is Patterns

for Jazz. This method book contains thirty-five different

melodic pattern groups, each containing a variety of

rhythmic patterns. The authors emphasize that the book lS

to be played rather than read, nevertheless, interspersed

amongst the plentiful playing material are brief sections

of useful textual material. This book would be an excel-

lent source of homework regardless of what the improvisa-

tion class happened to be using as a classroom text.

The Complete Handbook for Jazz Improvisation by Arnie

Berle is a total improvisation course in itself. The fore- word best states the purpose of the book:

Improvisation is a reaction to certain chord sequences predetermined by the amount of tech­ nique, musical experience and personality of the player. For a long time it was believed that the ability to create improvisations was a gift bestowed solely upon a few chosen people. Unfortunately, it is a belief which has persisted for too long a time. Jazz impro­ visation can be taught and that is precisely the purpose of this book-to provide the stu­ dent and the professional with basic tech­ niques required to develop the ability to im­ provise.

This work contains thirty-two lessons starting with intervals and concluding with substitute chords. Most of the lessons include a homework assignment but the teacher would probably wish to use an additional homework source.

The following is a complete list of all thirty-two lessons by title: 80

1. "Introductory Material."

2. "Intervals."

3. "Major Scales, One Octave."

4. "Scale Patterns."

5. "Chords."

6. "Inversions."

7. "Chord Arpeggios."

8. "Seventh Chords."

9. "Seventh Chord Arpeggios."

10. "Major Seventh Chords."

11. "Progressions."

12. "Transposition-Chordal-Melodic."

13. "Chord Function."

14. "Cycle of Fifths."

15. "Major 6th Chord."

16. "V7 to I."

17. "IIm7-V7-I6."

18 . "Nodes."

19. "Chord Scale Drill."

20. "Rhythm."

21. "IIIm7-Improvising Scale."

22. "IV maj.7-Improvising Scale."

23. "VIm7-Improvising Scale."

24. "Improvisation."

25. "Altered and Extended Chords and Scales."

26. "Diminished 7th Scales."

27. "Dominant 7b9th Scales." 81

28. ":-Jeighboring Tones."

29. "Playing Around the Helody."

30. "The Blues."

31. "Minor Scales/Minor Chords."

3 2. "Substitute Chords."

Interspersed into each lesson ls brief, explanatory text material. However, this book emphasizes playing mate­ rial rather than reading material.

In assembling elements for a Jazz improvisation course the seven works just described can be intermixed in any way that the teacher chooses. However, grouping them the way they were presented here seems as good a way as any. David Baker's three books and Jerry Coker's three books are similar in philosophy and approach, and either group would be a good basis for building an improvisation course. Arnie Berle's work is best used as a classroom text and partial homework source. As we mentioned earlier, it should have an adjunct homework source, and either Con­ temporary Patterns by Baker or Patterns for Jazz by Coker, et al. would be a good choice. In addition, the teacher would be wise to read one or more relevant works mentioned in Chapter III, such as Baker's Jazz Pedagogy or Coker's

Jazz Idiom (also mentioned in this chapter). This would be for the purposes of background information.

A dexterous teacher can present a good improvisation course using no books, but books are a great help. 82

Concluding Recommendation

Teaching a course 1n jazz improvisation has many re­ quirements if the students are to learn to improvise and

are to experience the musical growth that will result from

this learning. Certainly a teacher who knows the subject

and how to teach it is important. Having a classroom of

students who possess above average musical skills is also

important. Equally important is careful planning of each

sess1on of the course by the teacher, which is the subject of this chapter. However, probably the most important re­ quirement of all 1s listening.

In the context of jazz improvisation, listening to music being performed is of two types, each of which ln­ volves both the teacher and the students. First is the

listening that occurs when attending jazz performances by experts (or playing their records). Second is the listen­ ing that occurs when playing 1n a musical ensemble. In both types, if the listening 1s active, not passive, and

1s critical, not cursory, then the learning tl-ictt is bound

to happen will be more complete than any other.

In the first type of listening, that of hearing the experts, the listener will undoubtedly adopt role models and will make an effort to emulate them. This is certainly a giant first step in augmenting the classroom experience and the at-home practicing. 83

In the second type of listening, that of hearing one­

self and the others when playing in ensemble (which in­

volves the teacher only indirectly), two things happen

that are conducive to learning. One ls hearing and eval­

uating one's own playing and trying to lmprove it while

keeping the playing of role models in mind. The other is

evaluating the playing of the others in the ensemble and

determining how best to integrate one's own playing with

their playing in order that the best possible ensemble

sound occurs.

Consequently, ln teaching a course in jazz improvi­

satio~ the teacher must listen, both inside and outside of

the classroom. Hore importantly, the teacher must con­

stantly encourage the student musicians to listen, both

inside and outside of the classroom.

Listening to the experts perform professionally, at

the job, can be a very good learning experience, as we mentioned earlier. However, having the experts present clinics in the classroom is even better. (Or, at the very least, hearing their records.) With a clinic there can be question and answer dialogue amongst expert performer, students, and teacher; a situation that could not occur at a live performance. A good time to present clinics (or records) would be the midterm or final examination ses­ sions.

In the final analysis, listening, ln whatever context, is essential if learning is to take place. BIBLIOGRAPHY

Text Books

Bailey, Derek. Musical Improvisation, Its Nature and Prac­ tice in Music. Englewood Cliffs, NJ: Prentice-Ha~ 1980. 154 pp.

Baker, David. Jazz Pedagogy. Chicago: Maher Publications, 1979. 196 pp.

Coker, Jerry. Improvising Jazz. Englewood Cliffs, NJ: Prentice-Hall, 1964. 115 pp.

The Jazz Idiom. Englewood Cliffs, NJ: Prentice-Hall, [197sr:-84 pp.

Collier, James Lincoln. The Making of Jazz: ~ Comprehen­ sive History. Boston: Houghton Mifflin, 1978. 543 pp.

Deutsch, Maury. Improvisational Concepts and Jazz Pat­ terns. New York: Charles Colin, 1973. 119 pp.

Duke, John R. Teaching Musical Improvisation: A Study of Eighteenth and Twentieth Century Methods. Unpublished Ph.D. dissertation. George Peabody College for Teach­ ers, 1972. 253 numb. leaves.

Feather, Leonard. The Book of Jazz From then till Now: A Guide to the ETitireFicld. New York: Horizon Press, [ 1965]-.280 PP.

The Encyclopedia of Jazz in the Seventies.Introduc­ tion by Quincy Jones. New York: Horizon Press, 1976. 393 pp.

Grout, Donald Jay. ~ History of Western Music. Rev. ed. New York: Norton, [1973]. 818 pp.

Haerle, Dan. The Jazz Language, a Theory Text for Jazz Composition. Lebanon, IN: Studio 224, 1980. 58 pp.

Miedema, Harry. Jazz Styles and Analysis: Alto Sax. Chi­ cago: Maher Publications, 1977. 104 pp.

Owens, Thomas. Charlie Parker: Techniques of Improvisa­ tion. Unpublished Ph.D. dissertation. University of California, 1974. 2 vols.

84 85

Sessions, Charles M. The Effectiveness of Jazz Musical Examples and Jazz Improvisation upon College Stu­ dents' Acquisition of Nusic Fundamentals Concepts. Unpublished D¥~ dissertation. University of Southern California, 1980. 114 numb.leaves.

Snodgrass, James Dale. A Resource Unit for the High School Jazz Ensemble. Unpublished H.A. thesis. California State University, Northridge, 1973. 212 numb. leaves, charts. Stearns, Harshall w. The Story of Jazz. New York: Oxford University Press, [1956]. 379 pp. Tanner, Paul 0. w., and Maurice Gerow. A Study of Jazz. 3rd ed. Dubuque, IA: Wm. C. Brown, [1973].~11 pp.

Wilson, Harry Robert. Husic in the High School. New York: Silver Burdett, [1941]. 440 pp.

Hethod Books

Adderly, Julian Edwin (Cannonball). The Jazz Style of Cannonball Adderly. Lebanon, IN:-5tudio 224, 1980. 117 pp.

Aebersold, Jamey. "A New Approach to Jazz Improvisation." With record. 5th ed., Vol. 1; "Getting it Together." With 2 records. Vol. 21; "Major and Minor." With 2 records. Vol. 24; "Jam Session." With 2 records. Vol. 34 of A New Approach to Jazz Improvisation. New Albany, IN: Jamey Aebersold, [1967]. 34 vols. Jazz Aids. New Albany, IN: Jamie Aebersold, 1982. 47 pp.

Baker, David N. "A Hethod for Developing Improvisational Technique Based on the Lydian Chromatic Concept by George Russell." Vol. I; "The II, V7 Progression." Vol. II; "Turnbacks." Vol. III; "Cycles." Vol. IV of Techniques of Jazz Improvisation. Chicago: Maher Pub­ lications, 1968-74. 4 vols.

Contemporary Patterns. New York: Charles Colin, 1979. 129 pp.

Jazz Improvisation: A Comprehensive Method of Study for all Players. Rev. ed. Chicago: Maher Publica­ tions, 1983. 133 pp. 86

Berle, Arnie. Complete Handbook for Jazz Improvisation. New York: Amsco Husic Publishing, 1972. 72 pp.

Co1~er, Jerry, and Jimmy Casale, Gary Campbell, Jerry Green. Patterns for Jazz. Lebanon, IN: Studio P/R, Inc., 1970. 172 pp.

Grove, Dick. "Applied Hodal Improvisation." Vol. IV of The Dick Grove Improvisation Course. Studio City, CA: Dick Grove Publications, 1976. 4 vols.

Harris, Howard C. The Complete Book of Improvisational/ Composition and Funk Techniques. William Fielder, co­ illustrator. Houston: DeHos Music Publications, 1980. 178 pp.

Kynaston, Trent P., and Robert J. Ricci. Jazz Improvi­ tion. Englewood Cliffs, NJ: Prentice-Hall, 1978. 218 pp.

Mehegan, John F. Jazz Improvisation. New York: Watson­ Cuptill Publications, 1959-1965. 4 vols.

Stein, Lou. Learning to Improvise with Lou Stein's Fairy Tales and Funky Favorites. Katonah, NY: Sheet Husic Hagazine, 1985. 32 pp.

Windjammers, The. Instant Jazz for the Now Generation. Evanston, IL: Youth Music Foundation, 1969. 3 vols.

Reference Books

Coles, H. C. "Extemporization or Improvisation," Groves Dictionary of Music and Musicians, 5th ed., II (1954), p. 991.

"Improvisation, Extemporization," Harvard Dictionary of Husic, 2nd ed. [1972], 404-05.

"Jazz," Webster's New Collegiate Dictionary, [1977], p.620.

Rosevear, Robert A., "Music Education in the United States," Harvard Dictionary of Music, 2nd ed. [1972], 555.

"Syncopation," Harvard Dictionary of Husic, 2nd ed. [1972], 827-28. 87

Articles

Pomeroy, Herb, and Ira Gitler. "Confessions of a Jazz Teacher," Downbeat, XXXVII, No. 1 (Jan. 8, 1970), 14- 15.

Wilson, Phil. "Improvisation Workshop," Downbeat, 51 (Mar., 1984), 54-55. APPENDIX A

CLASS TEXT

Ovith Permission of JameyAebersold)

88 89

CONTENTS Page INTRODUCTION ...... 1 HOW TO USE ...... 2 A GUIDE FOR PRACTICING A~Y SCALE, CHORD, PA'ITERN OR IDEA ...... 3 * HOW TO BEGIN PRACTICING WITH THE RECORD ...... : ...... 4 EIGHTH-NOTE EXERCISES AND SWING ...... 10 BEGINNING TO IMPROVISE FOR THE FIRST TIME ...... 14 CHECK LIST FOR IMPROVISATION ...... 15 EXTENDING YOUR RANGE ...... , ... 15 DEVELOPING CREATIVITY ...... 16 EAR TRAINING ...... 16 PENTATONIC SCALE AND ITS USE ...... 17 CHROMATICISM ...... : :., ...... 19 PLAYING THE BLUES ...... : ...... 23 THE BLUES SCALE AND ITS USE ...... 26 SEVENTH CHORDS ...... 27 TIM,E ...... 2!1 MELODIC DEVELOPMENT - TENSION AND RELEASE ...... · ...... 29 RELATED SCALES AND MODES ...... 31 POINJS TO KEEP IN MIND WHEN IMPROVISING ...... 32 STANDARD JAZZ TUNE LIST ...... 32 ARTICULATIONS ...... 33 SCALE SYLLABUS ...... 36 LIST OF SCALES - MINOR, MAJOR AND DOMINANT SEVENTH ...... 37 LIST OF SEVENTH CHORDS - MINOR, MAJOR AND DOMINANT SEVENTH ...... 38 MUSIC FUNDAMENTALS TO KEEP IN MIND WHEN IMPROVISING ...... 38 ESSENTIAL RECORD AND BOOK LIST ...... : ...... 39/40

SUPPLEMENT SECTION TEN BASIC PA'ITERNS/EXERCISES ...... CONCERT CHORD/SCALE PROGRESSIONS - TREBLE CLEF 0...... 2 Bb INSTRUMENTS - TRANSPOSED CHORD/SCALE PROGRESSIONS Gl) ...... 5 Eb INSTRUMENTS- TRANSPOSED CHORD/SCALE PROGRESSIONS G)...... 9 BASS CLEF INSTRUMENTS CHORD/SCALE PROGRESSIONS 0 ...... 12 PRACTICAL EXERCISES FOR EACH RECORDED TRACK ...... 16 BLUES MELODIES FOR BLUES IN F AND Bb ...... 21 BLUES MELODIES FOR BLUES IN F AND Bb (includes transposed parts ....•...... , •...... 21 • TRANSPOSED PARTS !.<'OR FIRST 20 MUSICAL EXERCISES (see Page 5) ••••••.••••••••• ,c ••••••••• 25

Book cover d""ign by Pete Gearhart

Copyright ® 1967 .by Jamey Aeben!Old, this reviot:d 5th edition Publish•...t by: ,Jamt>y Aehel'liOid copyright © 197!1 by Jamey ,\ebenold. All ri"hta re•erved Inter· 1211 At•IJt!r•old Dr. national Copyright So·cured. No purtion of this book may be New Albuny, Ind. reproduced in any way without tt,;press permisaion from the 47150 author. Print.:-rl in U.S.A.

JA-lUU 90

INTRODUCTION I have never met anyone who couldn't improvise! I hat'(' met many who thinh th<'y can't. improvise. Your mind is the builder and what you think, you become. A positive mental attitude contributes much to successful improvi~ation. Sine<' I first published this volume in 1967 people have bought the book and LP S<'t hut say they cion'! know how to u~ it. This seems especially true of band directors who hope that by buying this set they will instantly have several tremendous soloists appear in their jazz or stage band. It might be well for me to mention sewral ingredients that I feel go into the making of a good jazz soloist/improvisor: 1.) 0C"sire to improvise ~-) Listening to jazz via records, tapes and live performances 3.) A method of practice - what and how to practice! 4.) A rhythm section to practice and improvise with . .Jazz players use several fundamental ing~dients when improvising. Som!' of th,.sr same funrlament~ls are presented in this volume so you can begin to release the wond!'rful music which is presC"ntly locked in the con· fines of your mind. The basic ingredients in music are SCALES and CHORDS. If you were to look a't any transcribed jazz solo from any era you would see much evirl!'nce of phrases which use scales, chords, diatonic patterns, chromatic passages, leaps, r!'sts, anrl most all oth<'r mmmon musical clevic<'s. ,Jazz is not mystical and certainly not reserved for just a few. The art of improvising with musieal notes has hPen with us for ages. In this century it happens to he sustained under a heading called Jazz. To me, jazz is a means of expression which allows the soloist to communicate in a sperial way with !hi' listener. It is not a one-way street - the listener's Pars are just as important as the actual music hping played hy the per· former. The idea is not to save jazz, but to allow more people to enjoy its m!'ssages through listening :mel actual performam•e. The old myth - "you either have it or you don't" - is strictly n myth which is founrlerl on ignor­ ance and thc.. jnahility or unwillingnes!l of those who can play to share, verbally, with those who think they can't. The hook portion of this set has many' exercises written out in three keys. Thl'y nrc in concert key• anrl cor­ respond with the chord progre1111ions to the. first several r!'corded trncks. Thi'

HOW TO USE Before playing with the record, get your Supplement out and turn to the appropriate page for your instrument. See Contents page. The tuning note is Bb concert at the beginning of Side I. After you find the appropriate place in the Supplement for your instrument, look at Side 1, Track 1 which is the first track of recorded music. Put the record on and just listen to the rhythm section as they accompany. Follow along in the Supplement to make~ sure that you can keep track of the measures and that you can actually hear them change from the first minor scale to the second and then on to the third minor scale. The rhythm scetion will play those three scales in the same order a total of four times and then eome to rest on the fermata (hold). That concludes Side 1, Track I. You will notice that I have written below each chord symbol the actual scale from root to root. The root is the first note, also called Tonic, of any scale. The Blacl1ened Tones arc the r:hord tones. Chord tones arc the first, third, fifth and seventh notes of any scale. Since jazz players have always use scales and chords in building their improvised solos, it is natural to stress learning chords as well as scales. The large number under each scale tells you haw many measures of that scale will be sounded on the record. As you can see, most of the beginning tracks arc huilt in 4 and .':l measure phases. Try to hear and feel the recorded tracks in four measure phases rather than individual measures. It can become habit after awhile. In time you won't even think about the four and eight measure phrases, they will have becomc part of your being. When you finally achieve this inner sense of phrasing, your improvisation will be less rigid and more flowing. If there are two or more practicing together, take turns keeping place for one another hy pointing to the new scale when it appears. You may want to listen to several tracks before you get your instrument out and begin to play along. I strongly .advise watching the chord progressions in the Supplement while listening to the record. You may want to sing roots, scales, chords, patterns, etc. with the record. Make sure you know where the rhythm section is at all times. If you get lost, listen. If you still can't get back on the track lift the needle and start the track again. This is called keeping your place and learning the form.

An existing knowledge of major, minor and dominant seventh scal•!s and chords is preferred hut is not essential. If not already mastered, I would suggest beginning to memorize the twl•lve major, twelve minor, and twelve dominant scales listed on page 37. Be sure to read the chaptl·r t•alled Related Scales and Modes on page 31.

Every minor scale employed on the record and in the musical examples is in the Dorian mode. I chose this scale hecause it is used extensively in jazz today. This minor mode will he called a scale throughout this Guide· hook. Jazz and Pop musicians have used it for years. You will often sec a dash (.:...) used to denote minor scales or chords. For instance, F- is the same as Fmi7 or Fmi or F-7 or F-9. They all mean the same. Improvise on the F minor scale. ·

In this book I will generally use a dash (-) to denote a minor scale/chord: I will usc a triangle (t.) to denote the usc of a major scale/chord. A seven (7) after a capitol letter means dominant seventh (C7) (8b7). Some people may feel more comfortable by beginning with one of the blues traeks on the second side of the record. If you have already improvised with a blues, maybe at school, this might he the place for you tu begin. See the chapter on Blues on page 23, Be sure you look over the Ten Basic Patterns on the cover of the Sopplement. This is a. yery important page and I correlate it with the next chapter on how to practice. Professionals even use this type llpproach when looking over a new piece of music. It allows them ail opportunity t.o check out each scale/chord in an orderly fashion so when they begin to improvise they will already b., somewhat familiar with the harmonic sequence of events.

The minor scale (Dorian) is rt>ally the same as a major scale whose root lies a whole step below the root of the Dorian minor. Example: F- is the same as Eb major (:l flats), D-is the same as C major (no sharps or flats), A- is the same as G major (one sharp). Sec the page on Reiall"d Scal.:s arid Modes. Piano players, guitarists and instrumentalists who arc interested in learning piano voiciogs can gain much from the book "Transcribed Piano Voicings from Vol.l Record". It contains every voicing and rhythm I am using on the Vol. 1 record. Price $4.95. Bassists may want to examine "Rufus Reid Bass Lines" from Volumes 1 & 3 records. $4.95. 2 92

A GUIDE FOR PRACTICING ANY SCALE. CHORD. PATTERN OR IDEA One of the improvisor's ultimate goals is to be able to reproduce instantly on his instrument the sounds that he heard mini-seconds ago in his mind. To people who only read music, this may seem impossible. Nothing is impossible, and this way of thinking has only led to the mysticism which at times clouded the horizon for those wishing to improvise. A logical way to go about practicing is outlined below. Needless to say (but I'll say it anyway), you should know the chromatic scale from the lowest note you can play to the highest. The main purpose of this approach is to give you facility and independence so you can allow yourself to be more spontaneous and creative. Let's say we arc working on a scale that is giving us trouble. Do this: 1. Play the ,;cale from root to the 9th and hack down, slowly, slurred, several times. Then, gradually increaS~~ tempo. (The 9th .eans the 9th note of the scale, also called the 2nd) 2. Play the first five notes up and down several times, gradually increasing the tempo. :J. Play the triad up and down, slurred, gradually increasing the tempo. 4. Play the seventh chord up and down, ~lurred, gradually increasing the tempo. !i. Play the ninth chord up and down, slurred, gradually increasing the tempo. 6. End by playing up the scale to the ninth and then back down the ninth chord. i. Or, end by playing up the ninth chord and then down the scale. You can do these exercises with or without the record. When playing with the record you occasionally will have to alter the phrase lengths to match the chord progression of the recorded tracks. The above exercises can he played with any note value you choose. It would be logical to begin at the level that is most comfortable for you. You may want to use a metronome so you can keep track of your progres..~. A beginner may want to start with whole noll's. Somrone who hns hrrn playing for six months may begin with half notes or -even quarter note.~. A person who has been into playing jazz and has several years on his instrument may be able to begin with eighth notes or even sixteenth notes. Mo~t people play up and down each exercise several times before moving to the next. Keep in mind the eighth-note unit is used more oftPn than any other in jazz. Whenever you are confronted with a new chord/scale progression, use the above method of practice to find where your weak spots are, then work on them as I have suggest.ed. Keep in. mind the tempo that the chord.'scale progression will eventually he played and work toward that tempo in your practicing. Exercises 1 through 7 above are written out under the heading Ten Basic Patterns on the front cover of the Supplement. Note: they are written primarily in sixteenth note values. When you begin to tackle an actual chord progression such as a blues, I suggest using this same method of attack to better equip yourself for improvising. Take each scale as it appears a:ad work them through the various exercises until you feel comfortable with each note and fingering in each scale. A good way to begin practicing the blues would be to play the scalc to the 9th for each chord symbr.i in the hlues. Then, play the first five notes of each scale in the blues. Then, play each triad. Then, play each 7th chord, 9th chord and finally, play up each scale a~d down each chord. See chapter on Blues, page 23 . When practicing with the recorded blues tracks you will have to modify some of the longer exercii!Cs such as up the scale and down the chord (or play them super fast) in order to fit them in. As you gain proficiency with the scales and chords you will probably stop playing certain simpler exercises as the first five notes, or the triad, or the I!Cventh chord, and dive right in running the scale up, and the chord down, or vice versa. When you are working on a pattern, or lick, I urge you to use this snme approach to ironing-out the musical phrase. Take it hit by bit and gradually increase the tempo until you can hear you are reaching the desired tempo. Break the pattern down into small groups of notes so your fingers and mind can digest them more easily. As you begin feeling comfortable, add several notes to the phrase until you can play the entire pattern in one 3 93

key. Make sure you have fairly well mastered the pattern or lick in one key before moving on to the next key. I like to move (practice) patterns up and down my instrument chromatically (in half-steps). Example: play a pattern in C7 then try it in C#7 then in 07, etc. This is excellent car training and does wond~:rs for coordination betw~:en fingers, mind, and ear. The book and LP set "Gettin' It Together" is designed for this kind of practice. You should check it out! (Yol.21 in the'play-a-long series} Set aside a certain amount of time each day to work on mastering the scales and chords and patterns that you need. Side I, Track I has three scale/chords, so that is where you should begin. Side I, Track 3 has seven scale/ chords, hut three of them arc also in the previous track, so, you are really only learning four new scales. Remember, when moving from one scale to another there are always one or more notes that are common ... found in both scales. Learn to recognize them. By now, you are probably thinking ... do jazz players really switch from one scale or chord to another that fast, without making mistakes? The answer is YES! And you can do it, too! The more familiar you become with the fingerings for the various scales, chords, and patterns, the quicker you will become at moving from one chord symbol to another and playing logical musical phrases in a connected, smooth mannPr. A r.•atly uoml improvisor can often disguise a very difficult harmonic passage and mal~e it seem simple. If you approach practicing in an orderly, disciplined fashion your results will come much closer to your inner expectations. We all have thc same twelve notes in the chromatic scale to work with. It's foolish to think that some "have it" and others don't. The ones that "have it" have made bptter usc of the musical tools that surround us all and they have more constructively used each day's 24 hours.

HOW TO BEGIN PRACTICING WITH THE RECORD After you feel comfortable with the flow of the rhythm section, having listened to one or more of the recorded tracks and followed along in your Supplement, get your instrument ready and let's begin the journey of improvisation. Tune up with the concert' Bb which is on Side I. Open your Supplement to the proper chord progression - Side 1, Track i. Be sure you have the section oj the Supplement that is for your instrument. See Table of Contents if you are not sure. CONCERT INSTRUMENTS Note: All of the musical examples in this booll and the Supplement are written in concert lley. This means that piano, guitar, flute, violin and all other concert (treble clef) instruments can r .. ad the exercises ri.:ht out of this hook.

Bb INSTRUMENTS If you play a trumpet, tenor, soprano sax, clarinet, cornet or any other Bb instrument, use the transposed chord/scale progressions on page 5 of the Supplement. You will want to have the Supplement and this boohlet side by side on your music stand. (The first 20 exercises are transposed for you. Begin on page 25 of suppl ..ent} Eb INSTRUMENTS If you play an alto or baritone sax or Eb clarinet or any other Eb instrument, use the transposed chord/scale progressions on page 9 of the Supplement. You will also want to have the Supplement and this booldet side by •ide on your music stand. (The first 20 exercises are transposed for you. Begin on page 28 of the suppl ..ent} BASS CLEF INSTRUMENTS If you play trombone, bass or tuba or any other bass clef instrument, use the bass clef chord/scale progressions beginning at the bottom of page 12 of the Supplement. Have the Supplement and this book side by side on your music; stand. (The first 20 exercises are written in Bass Clef beginning on page 30 of the supple•ent}

Jazz h·.~ traditionally been passed on by listening and imitating those around us who play musical ideas we enjoy. The following exercises are merely examples most musicians have practiced at one time or another. Those of you who play a transposing instrument (Bb, Eb), and even bass clef, will look at the written example I have p;·;;·;ided in this hook and duplicate it on the transposed scale that you will be reading from in the Supplement. Since I have already transposed tile scales and have darkened in the chord tones, most of your work has been done for you. Just be sure you start on the correct page in the Supplement if you play trumpet, tenor, alto, baritone, trombone, or other bass clef instrument. (See Table of Content or above paragraphs). 4 94

I[ ~·ou play a Bb or Eb or hass clef instrument you may want to play an exercise first in concert key {out of this hook) just to J:et the feel and contour of the example. When you put the record on he sure you arc using the >cnlcs out of the Supplement. Thf' first 20 f'.tf'rcisf's use only thf' first trad of the rf'cord. Once you unrkrstand thl' principlP of ho•.v to play exerci"·s nnrl improvise with the first trnck, you can apply what you learn to any of the other tracks on the record.

H you have not been playinJ: your instrument very lonJ: you may wnnt to begin by playing up the scalP in whnlf' nntr.•. S<•c Example I. I .

'a" a II

0 a 0

. AftPr playinJ: one chortts, or scvl'ral chorus('s. if you are h:wing difficulty, try playing up and clown thl' scale m half nntr.•. SPe Exmnple 2. A chorus ml'ans playing throuJ:h the enlin· chorcl 1scalt• pro~n·s"ion one lim!'. For instance, a choru.< to Side 1. Tml'k 1 is 2·1 ml'asun•s long. It. is played a total of 4 1imP« ... ·I chorusr<.

EXAt~PLE 2 ~Uf fi l&hpb¢ HEHff lr @IID II II

Il JO-- IJ r 1 r r ]I 5 95

Next, you may feel as though you can manage the tempo playing quarter nolt•s. See Example 3. Remember, play smoothly without rushing or dragging. In the beginning, brass playr.rs should always try to pluy with a legato feel, not staccato or detached. Try not to clip the notes by stopping the air.

Eb-7 11 .J J.M l'r r'rbt l'r r•rbJ 1JR) 1.mM~r r•r•r I'~

You probably noticed that when playing the scales in quarter notes you had Lime to go up and down the scale two times. See if you ~an play through one chorus from mtmlDry. Try to memorize the number of finis or sharps each scale has. All jazz players memorize their scales so they can concentrate on bringing out the music which is swimming around in their hl'ads. Having to constantly watch notes on the pnge can he quite distracting wlwn striving to he creative.

The next exercise uses the first fiL•e notes played in half notes. St'e Example ~. Small numbers under ench note represent degrees of the scale. You may wnnt to try this rhythm.

II

1 l. ) 4 J oj. J L 1 l J 4 S'

D-7 ~ II ~ fi ,I J I .l J I J J I J J I DR I L J4 S + J Z. I Z. J 4- 5 6 96

The next exercise u

II

Eb-7 tij}l#J•ruM ll,l JoMI•rbM JIJJ~ II

0-7 Uffiii J l HI J JJ JI J l J11 J l mffiJt;· (By now, you should have these three scales •e•orized!)

Let's ,:ce if yon can now play the thr<'c ,ocaiPs in thirds in lrn/f nnlt•.<. s .. ,. ~:xamplt• r.. Nntic<' tlw,:c cxrrci""" ll"<' th!' flllr note of the seal!'.

II

' z + J .f 4 & , 7 • (IJ '1 q s,

ny now, yon ,:houlcl hc fpeJing comfortahlc with the thrPe

Next, we arc going to play the three scales in thirds in quarter notes, up and down. St.oe Example 7. Usc your mind, think, think ahL·ad. I encourage you to usc different rhythm patterns. Make up some of your own. This holds true for any of the exercises.

EXAMPLE 7 ~~tififiri&Jr•rrlr'rrr 1vrrr lfr'rr lr'n&Ji·~ ll:l--·rTr'rl"r Pr l~rr•r•rlrahr~ll~ !lj-:rTfilil Jrr r lr rr IFr r Jlr J JJillinJJ)

You have noticed the hlaclamed tones in the scales in the Supplement. They represent chord tones . Root (first tone of scale), :lrd (third tone of scale), 5th (fifth tone of scale) and 7th (seventh tone of scale).

Let's play an exercise using just the 1st, 3rd and .5th tonL·s. These tones form a :1 note chord called a triad. See Example 8.

S" 3 I etc.. I•~ S .:l I j.l it: S" 3 I

8 98

Another exercise using the triad (Tonic Triad because its root is the first tone of the scale) will souncl like Example 9. EXAMPLE 9 F-7 l~${d &d IF f IF ~d I.J- IJnJrf lpJJJirfr&JI? II 1 ~ ~ I ~ J I I J S I .f' .j I .) 51 .f' .J I 11:bfir br l'r JTJ- l~flJiifr•l,J~ll•rbt@F: 11 11 Jill .J r 1flrr - 1i1Itl J lJ J 14BGHI L<>t's now extend the triad and include the 7th tone of th!' seal ... We nnw hav" a .nfh t•hord. (7th chord). See Example 10. Reacl chapter on 7th Chords. repeat 2 preceding measures) z~ l+again l "(-dga in $ I $ I $ II

z 2. $ * II ]I I .J 7 .J I

You can even extend the chord to inclucle t.he 9t.h tone of lhe scale. This is callcrl a ninth chord (9th chord). It uses the root, 3rd, .'ith, 7th, and 9th tones of the scale. Remember. t.he 9th is al"l rdl'rr<'rl to as the 2nd ... the tones are the same just an octave apart. Try playing Example 11.

4 $ II 4 $ .. ]I 9 99

By now, you have succeeded in playing three minor scales up and down Diatonically (scalewise). in thirds and in triads, seventh chords, and ninth chords. I hope you abo have the three st•alcs memorized and arc becoming more and more familiar with the sound, feeling, shape, warmth, brightness, dullness of each scale.

EIGHTH-NOTE EXERCISES AND SWING

In order to make eighth-notes "swing" or imply sw~ng, the}; must be played likt• an eighth-note triplet with the first two eighths tied together. This looks like but is actually written like JJ or r--: m-- m ) •· • . Don't divide n 3 into two ef}ua! parts; divide it into three ~ ' with the first two eighth-notes being tied together ;::n The·above rule is a must if you ever jwpe to convey a relaxed feeling to the listener. So, from now on, interpret all n or n like ~ when the rhythm section is playing with a swing feel. - When playing a Bossa Nova or a rock tune you will want to straighten out the eighth-notes and play them more even. This is callerl er:rn eighths. Listen to Shle I, Trm·k 3 and Side 2, Track 5 for the Bossa Nova sound. If you feel secure with what we have done so far, try playing the thret• scales up and down using thP first five notes in eighth-notes. See Example 12.

Saxes and trumpets, keep your fingers close to the keys and play smoothly. Make it heeome automatie. repeat 4 measures ~4 t I ·* II

~ I II

I n'Mitn 1 p an 1 anmn=r t Now you are ready to play the entire scale from the rcwt to tht• 9th using •·iJ:ht-not••s. Sec Ex;unplc 13. Think of the 9th as being the same tone as the 2nd, only an ol'lave higher. EXAMPLE 13 F-7 4 l®ii£ l1WJ t1lf IU!a ~ attJ Ia * II

0-~ tl jjDEfj!l }I 10 100

Several more exercises utilizing chord .tones are next. Bra~s playe~ may struggle in the bPginning with slurring from note to note. You may want to practice the exercises slowly, without the record first. then play ~lnng as it feels more comfortahle. I have written the exercise using n .Be sure you play thPm like n-,... Don't clip the third notP. of each bar' Triads in eighth-notPs. See Example 14.

II

II

Example 15. i~ a variation using notes of the triad in f'i{lhth-notcs.

II

~ I II

l I ]II

I Pnrourage you to make up your own exercises. Maybe play on!' !'Xercisc on the first seal•• ami then switch to a rliffPr<'nt eJwrci'e on thP second seale and yet a third ex!'rcise on t h(' third scale. Don't hesitate to vary the rhythms. I'm sure hy now you ar£' familiar <'nough with the rhythm section on the recorrl that. you have hegun to suhconsciou~ly hear the !'ight measur£' spctions. This will allow you to t.ak<• lih<'rti!'s with th£' PXNCises and will give you more confidence when you start improvising IH•caus<' you'll Ill' hptter ahle to hPar wh::n to change to the next scale. You have proha hly already start"cl lwrtring musical phras<'s in 2. ·1. and 8 measure phrases. Thi~ is very important hecause most Jazz music (Western Art Music) is huilt in 2, ·1. and 8 measure phrases. Knowing this should give you an inner s('nse of form that you can usc the rl'st of your life. 11 101

Example 16 u;;es the sel'enth chord in ci{ihth-nn/l•s. Play with a swing fc<'l. Don't play ev1·n ei~:hth nulcs. Listen to a record by Dukl' Ellington, Count Busie, or Thad .Jones-MPI Ll·wis. The Ceding should lu• loose without dragging.

4 w II

4 t I $ }I

Example 17 is a variation of Example 16.

II 4 $ II

Example 18 uses notes of the ni11th chord, ascending and descending.

l I II 9 =7 S' > I 4 IGtiJaJ. $ II

J I =I >

12 102

Example 19 utilizes the scale to thl' ninth and the ninth chord notes.

II

II ]I

Example 20 I:O<'s up the ninth rlwrd not!'s nnrl hnck down th<' sm/t•.

I frl'! thP moM important l'.rf'rrises arf' numhf'r.~ .1, i. II, 12. 1.1. l!l and 21J.

Adrlitionnl exercises are listed in the hack of the Supplement. Find sev!'ral that you like anrl tran~pose them to your n£'erlcd keys. Jprry Coker's Pal/ern.~ for Jazz is excellent additional study. 13 103

BEGINNING TO IMPROVISE FOR THE FIRST TIME If you have been following me up through the first 20 exercises you will noticll we started with eueh note of the scale in whole notes and ended up playing the scale to the ninth, and back down the chord tones. I feel this gives you a degree of confidence which will enable you to move on to the next step, which is actual improvisation. Granted, we have only been working with the three minor scales to the first track of rt.'cordcd accompaniment, but I feel it is best to be well equipped before journeying into an area of music which, to you, may he untraveled. Let's approach improvising for the first time by using the same type of exercises that we are familiar with. Put the record on the first track (Side I, Track I) and try playing any rhythm you choose and play just . notes found in the scale. You may find yourself playing whole notes interspersed with eighth-notes or even rests. I urge you to experiment at this point with anything your mind can come up with. Put record on first track and begin playing. Improvise! Don't be afraid to take some chances!

There is no such thing as a wrong note ... just poor choices! If you find yourself losing the form (getting lost and not changing to the next o;cale at the proper time), try improvising with a prearranged two measure rhythm. Use the notes of the scale but adhere to this rhythm. Below is an example using a prearranged two measure rhythm ... notice I am extending the range, too.

You will find that using a prearranged rhythm quickly gets boring, but it will help you to keep your place while moving around inside the scales. I'm sure you can abandon the prearranged rhythm after you find yourself able to keep your place. For those who feel the need of the prearranged rhythm, try changing the rhythm with each new scale. You would need three rhythms for the first track (one chorus). Experiment with various rhythms of your own, and try to extend the range of your instrument to include all of its playable tones (within reason, of course). Here are several sugge!jted prearranged two measure rhythms.

Below, I am listing several things to remember when improvising. You may want to choose one or two items and concentrate on them while playing with the rc"'"rded track. 1. Do not limit yourself by beginning evety phrase in the low register, then proceeding upward. Utilize descending motion and use melodic linds that combine the ascending and descending motion. 2. Do not form the habit of limiting your ideas to the middle or the most comfortable register of your instrument. Nothing is more monotonous than listening to a player who confines his playing to his most comfortable or middle register and who refuses to utilize the high, low or unfamiliar registers. Be prepared to take chances and step into the less used limits of your instrument. By so doing you will experience some of the most gratifying moments in improvising; it can also ue quite frustrating at times. Soaring into the upper register or dipping down into the low register of your instrument on occasion can he a surprise, a relief and a joy for the soloist and, particularly, for the listener. 14 104

:J. In orrl!'r to have a~ much freedom of concept as pos

Concentrate on h<'aring, mentally, each tone bP{orr .'·ou p/a_v it. Thi< reCJuirPs constant anticipation anrl awarC"ness, and will help prepare you for more advanced improvisation. as well a< crf'atC' in ea('h player an innr>r

CHECK LIST Ht'rP is n CHECK LIST to re\'if'w hl'fore improvising: I. LISTEN TO RECORDED TRACK FIRST WHILE WATCiliNG TilE \IIORD PROGRESSION IN THE SUPPLEMENT. 2. REVIEW THE NEEDED SCALES AND C:I!ORDS BY PRA\TICING SEVERAL OF THE FIRST 20 EXERCISES. (You may want to do t.his without llw reC'ord - lh<·n. with the rpcorrll. :J. BEGIN MEMORIZING THE SCALES BY THE NUMBER OF FLATS OR SHARPS. 4. BEGIN MEMORIZING THE ORDER OF THE SCALES. THIS IS LEAHNING THE FORM.

EXTENOING YOUR RANGE

}'ou .

15 105

I'm sure most of you hy now are into improvising, experimenting, taking chances and, in l:t·neral, h,·~:innin~: to experience some of the joys and frustrations of improvisation. What usually happens to the l"·~:innin~: improvisor happens to the profe:;sional, too, at whatever level he is, That is, he gets bored with what he is playin~: and can't seem to find new things to play. Everything he plays, he feels he has played lll'forc. What I f<·el we an· aiming for is variety, hut not too much. If you have Jerry Coker's hook, /mpro1•isin11 Ja;:;:, wad the bottom of pa~<· 15 and. the top of page 16.

Let's take a look at how we can add variety to our solos anti stimulate our c-reative process. DEVELOPING CREATIVITY I'm sure many of you mentally sing melodies and in general, improvise in your mind while waiting to doze off in bed at night. We should try and sing with our mouths and also play on our instruments what we hear in our minds. If musicians in general could play on their instruments what they can sing with their mouths, they would he a Jot happer. I view the creative musical process as something like this:

The mind is the originator of all musical thoughts. The mouth (sin~:ing) usually can approximate the pitches, rhythms, and nuances of what the mind hears better than the actual instrument (sax, trumpet, etc.) can. Since the instrument we have chosen is a learned device, it is the least ahle to r<"protluce the musical thoughts of our mind. It stands to reason that the person who is better equipped technically will come closer to playing on his instrument the thoughts of his mind. Be careful not to begin singing (mentally or with your mouth) only musical ideas you know you can play on your instrument. Keep your mind free at all times. Let it roam, soar, take chances and generally he free from the regimentation of practicing. The only reason to practice exercises is to gain freedom from the given instrument so you can approach the area which we call spontaneous improvisation. Again, it isn't mystical at all. Hard work and true development of all your sense of awareness can heighten your ability to he creative musically.

THOUGHTS S !I~GI NG r~US!C

Every good jazz soloist has listened to the jazz greats that came before him. It is very obvious in some peoples playing as they copy their idols sound, phrasing, articulation. note choice, dynamics, etc. I strongly Pncouragc you to listen to anyone you can find on records or tapes who plays in the jazz idiom. This art form was originally learned aurally. Only in the past twenty years has there been hooks and records to help you learn the art of improvising. I fiild the best young players also spent a lot of time listening to a variety of jazz players on records. Start your own jazz record collection now or borrow from your local library or from a friend. You have to hear the music in order to effectively play it. See page 39 for record list.

EAR TRAINING Playing logical flowing melodies seems fairly easy when singing m<'lltally or even with the mouth. This isn't always the case when we begin to improvi~ with our instrument. If you can get in the habit of trying to play what you hear in your head you will quickly sharpen your facility and your ears. A keen car coupled with equal facility usually gives the player an advantage that he can gain no other way. I suggest singing into a tape recorder and then while playing it back, try to match the tones and phrases on your instrument. Sing simple phrases at first ... short phrases. As you get better at transcribing yourself, make the phrases longer and possibly more complex. I call this transcribing the real you!

16 106

It can he fun to practice ear training with a frif'nd. Ber:in with one person playing one note and the other immediately tries to match it. Then the other person plays a note :mel you match it. Move on to two notes. then three, then four, etc. Keep the distance between notes narrow in the hcr:inning and gradually wid!'n the intervals as you progrcs.~. · I also suggest playing along with a regular ja1.z record. You don't. have to know the kcv or th!' scales or anything. Just try to match notes as you hear them being played. I u~ually try to retain a few n~tps and frantically look for them on my hom while the record plays away. After I find them, or as I sometimes do, forget th••m, I listen and pick out spv••ral mnrp noll's to try and match. This is excellent ear training. Ma.~t jazz musicians throughtlw past s••r•eral decadcs /carnrd to play by doing thi.~.

1 .•lrong/y recommtond improt•i.~inl! with any of thf' recordrd tracb with the SupplPmrnt closrd. This hPips develop your ear. I don't suggest starting out this way, hut after you undPrstanrl the prin~:ipiPs of how s~:ales relate to the chord symbols and how eAch scale is souncl<·d lor so many m•·a~urcs. I feel playing hy Par without the chord symbols in front of you can he extremely beneficial!

A cassette recorder that many musicians have hcen usinr: has a pitch control on it that allows you play ha~:k in eight keys. It is the Supcrscopc C-204 or the Supcrsmp•• C-20.'t Both have a !milt-in mike and arc mono r!'rortl and play back. A great machine if you enjoy practi~:ing anrl are truly intPrPsterl in improving yoursl'lf musically. These recorders allow you to record a play-a-long r!'cord anrl then improvi~c with it in play.ha~:k in diffNPnt keys. For instance, you can record the Bb Blues off Side 2, Track 1 then play it hack as a hlu!'s in R. C, or Dh or A, Ab, G, or Gb. The tempo gets faster as you ascend and slower as you dt•sccnrl. • (The oodel nuobers sen to constantly change. The newest nuobers are "arantz PM0-200, PM0-220, Two-speed recorders with pitch control are Superscope C-202lP and C-200lP. Call "Ca• Audio" on th•i.r toll free nuober for further infor.. tion. l-800-527-4893).

PENTATONIC SCALE AND ITS USE The Pentatonic scale has hcc~ used in music for a long time. Pentatonic gpnerally means a scale !milt of fi\'1' tones. In jazz, the two scales which have become popular arc the major pPntatonic and the minor pPntatonic. If we build them in the key of C and in the key of F they look like this:

Cll. Major Pent. c- Minor Pent. Fll. Major Pent. F- Minor P\nt. '·H1 II 9 ? ~ %; f II pfi'tf i .! j II

The Pentatonic scale probably gets more use during a blues progression than in any other harmonic ~equ!'nl.'c in jazz. Especially with young players. There arc hooks on the rnarkct which advocate using the Pentatonic '~:nit• as a means to solo on the blues progression. I like to think of th!' Pentatonic scale as a sound which can adrl varif'tv to the overall musical framework. Rat~cr than "running it in the ground," I like to sprinkle it in amongst oth~r scale sounds. The Rlt~t•s scale nnd the minor Pentatonic scale are very similar. The Blues scale hns six tones and the PPntatonic scale has five. If we write both scales in the key o( F they look like this:

F Minor Pentatonic F Blues Scale bas liO po " II &a New Note ( #4) Blue Note ... Tension Note ' 17 107

The Pentatonic scale can be used over major, minor, dom. 7th, half-diminished, dim., whole tone and almost any other scale. There arc usually several pentatonic scales inside every regular scale. Below I list the Pentatonic possibilities found inside the C major scale and the F minor scale.

C~+4 c~ c~ c~ c~ (C Lydian Scale) {C Major Pent.) (G Major Penz,l (A Minor P~n!i.) (E ~linor Pent.) (D Major Pent.) 0 0 oa o 0 II 0 s il a a il a o £ ~a a~ 0 0 ll~of'<'"o II F- Pent.) (Bb ~ajar

We usually avoid using thll olth note of the major scull• as part of a Pentatonic scale. All of the notes of the minor (Dorian) scale arc useable. Blues heads (melodies) arc often made up of a single Pentatonic scale, usually a minor Pentatonic scale supcr­ imposed ovN a dominant 7th chord/scale. See example below.

Bb7 {Bb Minor Pent.) @j II uff· s3 j I ,J &J ;j fl~. zr I -

Try improvising over the Bh Blues on Sid" 2. Track 1 and use just the Tih minor Pt·ntatonic scale throughout. The notes in concert are: Bh, Db, Eh, F, Ah, Bh. You may want to alternate hack and forth between the Bb minor PPntatonic scale and the Bh lllucs scale. Next, try improvising with the F Blu1•s, Side 2, Track 2 and use the F minor PPntatonic scalP and the F llluL·s scale. The F minor Pentatonic scale is comprised of these notes: F, Ah, Bh, C, Eh, F. Of course the minor Pentatonic scale can be pla)£·d over a minor scale. You use the Pentatonic scale (minor) that corresponds to the root of the minor scalc;d10rd. The first choice Pentatonic scale for Pight measures of F minor would he the F minor Pentatonic scale. Remcmlwr, there are several Pentatonic scalt·s within each minor, major and dominant 7th scale. Expt•riment with the various Pentatonic scales and get the sound of each in your l}{:ad. You may want to write these out so you can see how they relate to om• another. Fo, further Pentatonic study I hi!;hly recommend PPn/atonic Scale., for Jazz Improvisation hy Ray Ricker.

Play with the record, Side 1, Tracks 1, 2, :1 and 4 and apply the Pentatonic scales in a melodic fashion. Occasionally, throw in a phrase using the blues scale that corresponds to the key you are in ... eight hars of F minor uses the F Blues scale or the F Pentatonic or the F minor 'calc.

By now ''JU can see Wf! have several scales that we can incorporate in our solo . Minor, Blues, and Pentaton!~. These can all he played over the first several tracks on Side I. This should allow you more variety in your solo construction and is a start at enabling you to produce un your instrument the sounds that arc swimming around in your head. Don't overlook listening to records of jazz grf!ats and trying to locate phrases that usc the scales you have been learning. Dan Haerle's hook, Scales for Jazz I mprouisatiun lists ninctePn diffl'rt•nt scales written in all kt•ys and in treble and bass clef. You may want to look into this book. 18 108

I nm li~ting hclow thrrc Pentatonic scales found within the C major scale. Their inVI'I'l'ions are found to the right o( the hasic scale. Each ol them represents a Pentatonic scnle. ExpNiment with improvising for four nr eight bars using one of the inversion scales. They definitely hm·c a different sound nnd warrant your nttention.

C.6. Inversion IV ;?t(C Major Pent.) Inversion I Inversion· I I Inversion I I b II aoa 0 II a a o a a..;. ~ oaa II """ II "" "Q II -e-""C.6. Inversion I I I Jl Inversion IV (G l~ajor Pent.) Inversion I AL Inversion I~~ ,{}.1!: J;. o" av O-v- a-e- ~- 0 -e- .a -- ~6'" o o II ao oo II 0"" II o a II a II

C.6. Inversion I I I · Inversion IV (D Major Pent.) Inversion I Inversion I

CHROl\lATICISl\1

Chromaticism mean~ u~ing haH-step interval~. \Vh('n listening to jazz solos or nnalyzing trnns~·rihed ~olns you will undouht .. dlv come across notes thnt are not. in the scale or chord hPing sounrl<•d. This is not unusunl. I usrd to mnrV!'I at hn;v a plnycr could he so far from the scnle or chord and still sound goml. In the Pxamplt"' hPlnw, I will try to show you how notes outside the hnsic scale enn he incnrpnratPd in ~·our ml'lndi .. s. Tlw proper '"" nf chromaticism can instantly mnke you sound mort• maturr·. 1\ci•p in minrl thnt nny noiP cnn lw play!'rl against nny rhnrd symhnl if it is properly IPrl into nnd properly relcnsPd ... tension and rl'iPnsP.

A goodlwginning l'Xf'rcisc is to approach ench chorrl tone (root. :!rei. :ilh and 7th) from 11 half sflop hdow.

0 II

II / S" 7 7 I

C;OR; ~ ~~~~-J~s. II O(;L J I J f 7 ~ Z1' I 1' 19 109

By using the scale tone above each chord tone, and, using the half step leading tone from below we get sounds like this: F- 1/j J J D ~;~~ Hlr(i•'frt 4 u 1 ~ 1 £fJJJ55j IJJPJ fC rrlf(-trrtgirfF~ II I 7

By starting a whole step ahove the chord tone and de"c•·ncling in half steps we ~:et a sound like this:

II · I S 19 I·

Here is an example using the half step from below ancl the descending half steps from above.

20 110

NPi[Jhhoring chromaticism using each scale tone as the basic note sounds like this:

C6 (this sounds strange)

ii ¥fl]J I MJ J IJ IJ m:J I Jfl:¥@J I BiBb$ I .... -"· --- .. J-J .. .;. . I I %._ • reversed bJJ3 J ~~ I f!Jqho&t=J

The following examples are other ways of incorporating chromaticism into your playing. Chromati(~ism can he used over any type scale or chord, not ju,;t major or minor. ffiJ- dffi@ I I rfir dr @: I t:~ r& E II II 'GGi'CY,JO I J5ii)]v r@ "El£?tsso II rfii?P,rrifilBnu II 'Cfffirrtr l!fi5JJJ 11

1i@irt rr itra r- 11 'tffrt srfi5Tcr 11 21 111

Jt'f$ I j &JJ.J 1 I'6iif rltt I~ II II,~JJiiPISr ~ II ~tfFltAf II,__ II

II 112

You should practice playing one or two of the chromatic exercises with one of the recorded tracks. They should become part of your melodic and harmonic vocabularly as soon as possible. The major jazz players don't . think just sooles or just chords, they fuse the two with sprinklings of chromaticism. Some players usc more chromaticism (Dave Liebman, Mike Brecker, Steve Grossman, John Coltrane) than others and to my way of thinking, have helped to gradually change the melodic direction of jazz. Practicing any pattern or lick, with or without chromaticism, in all keys at various tempos should become part of your daily practice routine. I think you will find the play-a-long set "Gettin' It Together" helpful because it goes through all twelve keys at slow to moderate tempos. (Yoluu 21 in the play-a-long series)

PLAYING THE BLUES The Blues is a musical form which jazz musicians have always embraced because it allows them the opportunity to express emotion and everyday feeling and intellectual concepts. These are often learned hy studying another player's style and conception. Most beginning improvisers use the Blut•s as a springboard to other jazz forms. Many band directors and private tea~;hers feel there is not too much to playing a dc•·ent blues ·solo. They feel that you learn the blues scale,; of the key the blues is in and "just sorta' improvi~e what you feel" over that scale sound. They probably think this is what they are hearing when they listen to jazz players on radio or records. I admit, they do hear some of that, but, if you check out the major jazz influences, you will begin to hear much more than just the blues scale. I would like to point out things to watch for in the blues that will make your playing more rewarding, con­ vincing and musical. We should begin by asking you to sing (with your voice) several choruses of blues along with the record. I suggest taping yourself so you can listen to yourself back and then,, with your instrument in hand, try playing the phrases that you just sang! I contend that what you sing is oflen closer to the REAL YOU than what comes out of your instrument. On our instruments, we are inhibited and limited hy our lack of knowl­ edge of the instrument. If this is so, and I truly b:-l;.,vc it to be, the musician who knows his instrument well will have a much better chance of conveying the music that is contained within his brain to you, the lis!Pncr. When you arc trying to play on your instrument what you have just sung, be sure to play with the same inflec­ tions, articulation, dynamics, etc. If you are used to listening to jazz music your vocal solo will probably be fairly recognizable, even though your voice may rrack and sputter at times. Practice singing when you arc drivinl{ by yourself or walking to school or to the o!fice. Practice singing within your mind while lying in bed or waiting for a hus. Put your mind to use and it will i ..

One that Charlie Parker used on "Blues for Alice" uses de~cending root movement coupled with a cycle of fourths (upward). This is sometimes called Bird Blues. /FIE~ A7/Dmi G7/Cmi F7/Bb7/Bbmi/ Ami/Abmi/Gmi/C7/Ami 07/Gmi C7/ Sec volume 2 "Nothin' But Blues".

These are some of the various chord progres:~ions that can be used. If you need more, check out Dan Haerle's book Jazz/Rock Voicings for the Contemporary Keyboard Player. He lists 17 different progressions ranging from wry simple to very complex. When beginning to practice the blues, I feel it necessary to get the feel of the roots, then the first five notes of each scale, then the triad (root, 3rd and 5th), and finally the entire scale. Here is what that would sound like: Example 1 F7 Bb7 F7 F7 ETC. po Ihi a a Q

F7 Bb7 F7 ETC JJ JP r 1per rr-r 1 JJ JP r I

F7 Bb7 F7 ETC. J J F 1 pr r e J J F

When two chords appear in one measure you have to alter the rhythm of the pattern or condense the number of notes in your pattern. No matter what song you are working on, use the above method. for getting acquainted with the harmonic movement of the tune. I have heard two of the top jazz trumpet players in the couutry say this is the first thing they do when looking over a new piece of music that they arc going to solo over. It makes good sense because it gets your car accustomed to the various scale and chord sounds in advance of the actual soloing. I ..~trongly advise using thi~ method of practice when approaching ANY new song. The most important harmonic points in the blues progression, and these are often totally neglected hy young improvisers, are the measures circled below: Example 2

F7 F7

F7 F7 Q I~ 24 114

It. might he good to improvi!

F7 Bb7 F7 F7 Bb7 Bb7

1$$~ ~~ &g ~g ~g &g b~ F7 F7 G- C7 F7 C7

~g ~g 9~ ~5 ~:3 ~: ~

I urge you non-pinno playerg to pmcticP r•xnmpl" ~~ wit,h your ldt hnnrl. nnp oct;tvP lowror than writiPn, nnrl l.ry playing exercise~ in =I with th~ right hand so you cnn hPar thP h:~sic hnrmony (:1rrl & ilh) in l.hP l<'ft hnnd whilP running patterns or soloing in the right hand.

Mo~t good wind players have a knowledge of the keyhonrcl and can piny hlw;s in scvPral kP~'<. It is much Pasicr to solve harmonic problems while LOOKING at the pinno keys lhnn it is to SI'P it on n snx finger tahle or trumpet valves.

It i~ a good irica to lead into the .'lrcl or ith hy hnlf step. This ~trr·ngthcns the harmony. Notps thai. arC' ~:ood choicPs n t the beginning of measures are listed below.

F7 Bb7 F7 - J €!J3 bp

07 I Jl l J

':.7

The Blues ~cale can, of course, he playerl at any time riuring the chorus. The notes of the hines scale oft.>n cl:~sh with the givPn harmony, hut that is what makes it sounri like th(• hhll's! If it didn't clash in the lwautiful wny it rloes, we wouldn't cnll it. n hlucg, Be careful not to confine your soloin~: to jugt the sounrl'of thP hill(·~ scalC' anrl in go rloinJ: overlook possihilitiPs of vnrirly hy employing the other scales such as minor and dominant. The h(nps scale in the key of F is F Ah Bh B C Eh F 25 115

Conclusion I. Play what you hear in your head. Use a tape recorder to record your voice and transcribe it on your instrument. ·> Sing with your voice while driving, showering, walking, etc. Think about the intervals you arc singing. Arc you singing hits and pieces of scales or chords? 3. Listen to jazz players play the blues. Suggested li~tcning: Sonny Rollins and Sonny Stilt on the song "Aftt·r Hours" found on Verve douhle record ,.VE2-2.50.5 under Dizzy Gillespie's name. ·1. Check out my Volume 2 "Nothing But the Blues" play-along book and record set. If you already have this volume, have you tried playing with all the tracks or have you just played the blues in Bb and F'! Time to move on! 5. Remember leading tones are the 3rd and 7th usually. These Lones should he emphasized in order. t;.. bring out the harmonic movement from chord to chord. 6. Usc everything you have lt·arned about melodic construction when playing on a blues. Don't just play on the blues scale. That sound can wear pretty thin in the hands of a novice but can sound fine when interspl'rsed with phrases from the original harmony. 7. Transcribe a solo or a portion of a favorite solo and play it on your instrument with the same inflections as the recorded version. The jazz tradition has been passed down by imitation and you can hendit greatly hy transcript ions.

THE BLUES SCALE AND ITS USE

The Blues Scale consists of the following tones: Root, b3rd, ·llh, lf.Jlh (l~o~). 5th and b7th. Example: F Blues Scale ... F, Ab, Bh, B, C, Eb, F When playing a twelve bar blues in the key of G, you may want to ust• the blues scale exclusively: G, Bh, C, Dh, D, F, G. When playing a twelve bar blues in the key of Bb, you may want to usc the Bb blues scale exclusively: Bh, Dh, Eb, E, F. Ab Bh.

The blues scale can also be used over minor chords when the minor dwrd is sounded for:!, -1, 8 or 16 measures or longer. Example: If D minor is sounded for eight measun•s, you may use the D Blues scale - D, F, G, Ah, A. C, D. When playing in minor tonalities you may choose to alternate between the Dorian minor and the hlut·s scale, huth having the tiamc root tunc. Example: D minor is sounded for eight measures - play D minor (Dorian) or play D hlu!'s scale- or alternate between the two scale sounds. The blues scale is uticd to convey a "Ftmhy", "Dotcn-Home", "Earthy" or "H/ul!sy" sound/feel. Don't run it in the ground by overuse! Rhythm and blues players use this scale extensively. Experiment with the blues scales listed below and apply them to th" rceorclcd tracks on the play-along record. THE TWELVE BLUES SCALES 0 c Db !) EP ?"p..@a lpJa~l"a<>io 000 lj)o@$if@~

TURN PAGE FOR BASS CLEF SCALES 26 116

BASS

9=

After you hccome familiar with thl' blul's ,;cnle as I have it listPrl you rna~· want to add tont•s to the scale which give the scale sound more variety. Example: F hlucs scale ... F. G . .-\h, A. Rh. R. (', D. Eh, E. F.

This scale sounds strange wlwn playl'rl stmi~:ht up or down ..Jazz pla~·l'fs ""'""~' play hits and pil't'CS of tht• scale or make up licks utili7.ing certain noll's of the scale. You will want to transposp this scale to all twelve kl'ys for practice.

SEVENTH CHORDS A sPt•enth chord is like a triad. in that it contains intPrvals of varying widths stack!'d on top of Pach other. If you arid an interval of a third, either major third or a minor third. to an existing triarl, the result is a sevpnth chord. There arc four types of seventh chords within the minor >cale. The four types arc: Major 7th, Minor 71 h. Dominant 7th, and Half-Diminisherl 7th. The rlifference in the ronstru<"tion of thc·se chorrls is shown helow.

~ b ~ t+.~~ ~~§ ~ F "'~ 'TT!I F 'bowNA~ '1nl F MtlloQ 1nl F MI...F -tlii'I'I.~O 1!ll ~ ~U) CHO(l) c~

Each tone of a scale can he the root of a triad or of a scvPnt.h chord. WhPn building seventh chords uj;on each >cale degree of a Dorian minor scale, starting with the lowl'st tone, the type of chords built follow this s!'qu!'ncp: minor, minor, major, dominant, minor, half-tlimini>hcd, and major. For example."" we build seventh chords on each scale degree of the F minor scale, it looks and sounds like this:

As we build these seventh chords using a vprtical structure. it looks like this:

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Each tone in a seventh chord has a name. The lowest tone is the root, the second tone from the bottom is the third; the third note from the bottom is the fifth, and the top tone is the set•enth. Since all of the seventh chords found inside a minor scale contain tones of the basic scale, any of these seventh chords can he used in improvisation when the tonic minor chord is sounded. Thus, every chord listed can be played horizontally or vertically over the I<' minor scale. Some seventh chords will naturally create more tension than others. Tension is arrived at hy playing tones other than the root, 3rd, or 5th of the basic scale. These three tones are in closest relationship to the basic scale and therefore are consonant. If a soloist uses seu••nth chords built on the root or 3rd of the basic scale, he produces a sound very similar to the basic scale. If the soloist chooses to use seventh chords built on the 2nd, 4th, 5th, 6th or 7th degrees of the basic scale, the sounds produced will automatically create tension, which wants to eventually resolve to the root, 3rd, or 5th degree of the basic scale. In es&,nce, the most consonant tones of scale are the root, 3rd and 5th. When dwelling on tones other than these, the soloist creates tension which should even­ tually resolve naturally - melodically (to one of the consonant tones), or by artificial means such as change of key, abrupt change in dynamics, change of tempo, use of rests or combination of these. Seventh chords should be practiced in the same manner as triads. Begin by starting the individual notes of each seventh chord found in the basic scale. The basic scale is whatever scale you happen to be working on. There arc seven seventh chords in every basic scale. Remember, there are twelve minor scales, twelve major scales and twelve dominant seventh scales. Practice seventh chords over all the scales; do not limit yourself to, several of the more comfortable ones.

TI.ME One of the most important elements of melodic phrasing is the placement of notes relative to the basic heat. The three recognized placements of notes and their rcla tion to the basic pulse are: i\head of the beat (on top) - sec Example 1 On the beat (right on) - sec Example 2 Behind the beat (laying back) - sec Example 3 Playing ahead of the beat docs not mean rushing. It simply means the player is constantly anticipating the basic pulse but at no time does he get faster. Playing on the beat means phrasing your notes so they coincide exactly with the tempo of the rhythm section. If a person plays behind the beat, his phrasing will tend to trail the basic pulse or seem to lag. Playing behind the beat can imply a lazy feeling where playing ahead of the beat usually implies excitement. Playing right .on the bent gives a solid, secure time feel. I personally feel beginning improvisors should learn to play on the beat. If, later in their musical development, their personalities suggest they play ahead or behind the beat they will at least be able to find the basic pulse because they have played there. When playing behind the beat, one must be careful· to keep his quarter notes consistent with the basic pulse laid down by the rhythm section. If he places his notes later and later in the measure, he is guilty of dragging. Phrases that drag often resemble something dying! On the other hand, if the player's notes (phrases) come earlier and earlier in relation to the basic pulse, he is guilty of rushing which of course is also undesirable. Our 4 3 6 5 7 considerations of time hold true regardless of the meter (4,4,i,4,4, etc.). Each player will hopefully find his own "grooue" and learn to play with rhythm sections that play ahead, on, and behind the beat. The way you place your notes in relation to the basic heat can also produce tension or release. The basic pulse in the following examples is represented by numbers 1234.

· Examplr.:! Example :1 1 2 3 4 4 4 lLGI lU) /lJJ_J/

A head of /J~al On the /Jeal 28 118

MELODIC DEVELOPMENT - TENSION AND RELEASE

Creatin~ hPautiful melodies has been a long sought-after goal of all musicians of all ages. CrP,ting tbef'C melodies spontaneously is the art of the improvisor. The ultimate goal of the musician is to communirate to the listener. Once you have mastered some of the various scales and have begun using a variety of rhythmic ideas you probably will begin feeling very limited melodically. When the chord/scales change every m••asnre or two there is a certain built-in harmonic motion that keeps the piece alive - to a point. Improvising on one scale for four or eight measures or even longer requires the musician to emphasize melody and rhythm. A more advanced playPr can also utilize harmonic devices in his playing, (chord superimposition or altered scale) hut the novice will usually have only melody and rhythm from which to build meaningful solos. Melodies of all musics - jazz, classical, folk, pop, rock have a common thrend which seems to appeal to the listener as well as the performer and that thread is the proper utilization of TENSION and RELEASE. Tension is that which builds intensity and excitement. In music, tension can he achieved through the manipu­ lation of volume, direction of the melodic line, range (tessitura), intervals (wide intervals), speed of notes (whole­ notes moving to half-notes to quarter-notes to eighth-notes, etc.), silence - movement - silence, rl'pitition (of almost anything), contrast (especially sucjen contrast), or any combination of these clements. RPIPnse is the natural relaxation of tension and must follow any climax. Tension can he quickly released hy downward motion. If tension is allowed to go on too long it has a tcnrlency to evolve into boredom. The player has tn he const;~ntly aware of how he is building his solo. It is logical to cr,nstruct solos in four and eight hnr phrns~s. Most good improvisors like to think in long, flowing lyrical lines as opposed to "hort, unrelated. fragmented phmses. Short, choppy phrases initially create tension, but ii allowed to continue without proper development will wear thin and an undesired type of release results. Strive for continuit:· of thought throughout your entire solo. As your solo gains momentum, you should direct the flo\~ of your melodic line townrd a natural climax and then immediately taper off (release), drawing your solo to a close. What I have just described would look graphically like this: Climax X

Truly mature improvisors can construct melodies with tension/release sections hack-to-hack for a •h•sired over-all affect looking like this:

Final Clim:n: X

Many beginning improvisors play solos which lack contrasts. Too much sameness has a dullinJ! pffect on the listener and produces a line like this:

A good beginning coupled with a poor ending may look like this: Climax

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A long final release numbs the listener ar.d completely negates the tension produced in the early stages of the solo. When•. utilizing more than one climax per solo it is best to make each successive climax more dramatic than the previous one. This will achieve an over-all feeling of increased tension leadin,; to the final release, which shoul

All improvisors should keep in mind the age-old musical sequence of events: Statement of theme (motif), development of theme, climax, and release (relaxation of tension). I have often thought most good jazz solos were constructed of 50':'~ emotion and 50'1~ intellect. Solos which leave lasting impressions have just the right amount of emotion coupled with intelligent over-all design. I can think of no better way to learn to improvise melodically than listening to the masters and trying to emulate their playing concepts. How can we expect anyone to listen to us if we don't earnestly listen to those already doing it? A few of my favorite jazz soloists who have the ability to construct meaningful melodies consistently are Charlie Parker, Louis Armstrong, Sonny Rollins, John Coltrane, Miles Davis, Wes Montgom,·ry, Freddie Hubbard, Erroll Carner, Herbie Hancock, Coleman Hawkins, Lester Young, Clifford Brown, Dizzy Gillespie, Ornette Coleman, Roy Haynes and Elvin Jones. Transcribed solos can be quite helpful in understanding tension and release and how musicians build their solos. I recommend the following: 28 Modern Jazz Trumpet Solos by Ken Slone and Jamey Achersold. Book #l and #2. Jimmy Raney Solos- Volume 20 Supplement (recording only$ 1 ) (written solos in Vol. 20 hook) Charlie Parker "Omnibook" for Eb instruments. 60 solos taken off n•corcl. Also wrirten for C and llb instru. ,Jazz Styles & Analysis for Trombone by David Baker. Jazz Styles & Analysis for Alto Sax by Harry Miedema. Jazz Rhythm & The Improvised Line by John Melll'gan. ~lifford Brown Solos transcribed by Ken Slone. Miles Davis Solos - Book and LP record set. Hear and see Miles' solos.

ELEMENTS WHICH PRODUCE TENSION INCREASED VOLUME - ASCENDING LINES - EMPHASIS ON PASSING TONES (non-chord/scale tones) - EXTREME REGISTERS 0~' INSTIWMENT - WIDE INTEH\'ALS (esp.·cially ascending) - NOTES OF SHORTER DURATION (l:lths, 16ths, 32ncls or shorter) - REPETITION (of almost anything) -ALTERNATING DIRECTIONS -JAGGED ARTICULATIONS (flutter tongue, stab the reed, over-hlow) - NON-CHORD TONES (~ths, 6ths, 7ths, & 9ths) - DRAMATIC DEVICES (swoops, glissandos, shakes, trills, etc.)

ELEMENTS WHICH PRODUCE RELEASE (RELAXATION) DECREASED VOLUME - DESCENDING LINES - NOTES OF LONCF.I{ DURATION (quarter-notes, half-notes, whole-notes) - REST (space) - SMOOTHNESS (legato) EMPHASIS ON CHORD TONES (root, 3rd, or 5th) In the hands of a ma.turc improvisor, any of the clements mcntiom·d ahove can create tension or release. For instance, a player could be,;in his melodic line in the high register very softly and gradually inerease the volume as he works his way down to the lower tones. Upon reaching the hottom he will have eaused a climax to occur. Ultimately, the player should know in advance where he wants his line to go and,with proper usage,the various clements will help him best aehieve his goal. Th" individual is the manipulator of all the clements. Listening and emulating can he the finest tcaeher. For further study of melodic development and time, as WPll as other aspects of playing music, consult the recommended hook list on page 39. I particularly like lmprovisill/! .Jazz hy Jerry Coker, l'atkrns fur Jazz hy J. Coker, J. Greene, J. Casale and G. Campbell and Jazz lmprovisatiull hy David Baker.

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RELATED SCALES AND MODES

After working with triads and seventh chords it should he obvious that there arc scalPs and chord.~ within scales. Many players like to think of the D minor (Dorian) scale as a C major seale llf•f(inning on the second scale degree of C.

c D E F G A B C D I Lc Major I_D Minor (Dorian)~

Since each of these scales share the same key signature, this way of thinking is natural and useful. Anothf'r commonly used scale that _is also found within these two scales (with a key signature of no sharps and no flats) is th£' Gi (G dominant ith scale).

___ C Major (Ionian) 1 1 C D E ·F G A B C D E F G A 8 c

I___ D Mi~or (~orian)---.-. _I . . I Lc, (Dom. ,_,;-M•xnlydwn)-

:\• you nm s•·c. anytiml' a C rna jor is play<·d for an octave and a half or more you are also sounding the D minor (Dorian) scale and the G7 (Oom. 7th- Mixolydian) "call•. All three lww one thing in common; n kPy signature of no sharps nnd no flats. It may he hPipful to hPginners to relate t.hl' Dorian minor scnle to tlwir rdatNI major kl'y whidt of course, liPs one whole-~!ep clown from the minor, C major cc' 0 minor (Dorinn) -'- Gi (Dominant. ith - Mixolydian).

When t.hinlcing of scalPs in this r1•latf'd m:tnncr thPre nrc twdvP scalf's to l!'arn or twl'lvc• kPy signaturps to m•·morizc•. The :H> scales on page 3i can he reduced to 12 seal!'•. * I don't mc•

EXAMPLE: Fmi. Bh7 Eh Eh II: .1 flats :l flats 3 flats :l flats :!I DORIAN OOMTNANT 7th MAJOR MAJOR COMMON KEY SI<:N ATURES

See Scale Syllabus for other scale choices. See page 36 & J6A. 31 121

Outlined below is a chart listing the seven scales (sometimes called Modes) that combine to form our major scale. The names in parenthesis are derived from the early Church modes (16th century) and several names are still in use today - Dorian, Lydian, Mixolydian.

B Half-Diminished (Locrian)~~ 1 A Pure minor (Aeolian) ~ --...,--- G~ (Dom. 7th- Mixolydian) I .---:----;1 F major w/#4 (Lydian) 1 .tJ. • .Q .fJ-

'------E Minor (Phyrgian)---;---' I L______D Minor (Dorian) ___.;..I _ __.

L_ C Major (Ionian) ------.1------C Major (Ionian)------'

POINTS TO KEEP IN i\IIND WHEN IMPROVISING • Music is communication - improvisation is a special way of communicating. • Don't play everything you know in every solo. • Listen to yourself as you play - develop the idea you just played!

• Cues j'011r playing contain too much tension - too much release? • Would you ramble on with words the way you do with notes? • Everytime you improvise you have a chance- to say something. Do you? • We can usually remember what-we just said (verbally). Can you remember what you just said musically? • Your instrument is merely a means of delivering the thoughts of your mind. • Make your melodic lines SING through your instrument. • Your goal ... to reproduce instantly on your instrument what your mind hears.

STANDARD JAZZ TUNE LIST

BALLADS It Could Happen to You Freddie the Freeloader Blue in Green When Sunny Gets Blue Bags' Groove Body and Soul I Can't Get Started BI ues lor AI ice But Beautiful Lament Sonnymoon for Two Crystal Silence Fall Now's the Time Here's That Rainy Day Infant Eyes Blues by Five In a Sentimental Mood My Funny Valentine Dr. Jackel I Remember Clifford Bass Blues Lover Man BLUES LINES Vierd Blues Naima Blue Monk Traneing In Peace Mr. P. C. Cousin Mary Round Midnight Some Other Blues Search for Peace Bessie's Blues BOSSA NOVAS Sophisticated Lady Blue Train Blue Bossa Summertime Equinox Desafinado Coral Isotope 500 Miles High Prelude to a Kiss Straight, No Chaser Girl From Ipanema I Got It Bad Billie's Bounce Meditation Lush Life Au Privave Once I Loved Yesterdws (old) Walkin' Quiet Nights of Quiet Stars When I Fall in Love Israel Recorda me My Foolish Heart Blue Seven Song For My Father Misty Barbados Triste CONTINUED ••• 32 122

Airegin Shadrs of Light. Watch What Happens l\loltrn Glnss Wave Confinnation Ceora Daahoud WALTZES Carnival Grand Central R••autiful Lovp How Insensitive Moment's Notice Rinck Narcis.•us The Red Blouse Nica's Dream Blurerltr 0 Grand Amor oleo EIAA Shadow of Your Smile Donna U>e Flv M•• to lhP Moon Pen..•ativa Chl'rokee F,;...tprints Coral Keys SU.blemates &lmrd:w Mv Prince Will Comp .Joy Spring Up .Jum.ped ·spring JAZZ STANDARDS Whisper Not Vrry Early All the Things You Are Along Came Betty Window~ Gro>en Dolphin Street Four Child Is Rorn Invitation ,Jeanine W!'st Coast Blurs Stella by Stmli~tht Doxie What Was You Stepprd Out of a Dl't'am Groovin' High r., Fi .. sta Nev('r Be Another You Half Nelson Floatin~t How High the Moon Nard is Rlu!'Danirl I Love You Killer JOt" Valse Hot .Just Fril'nds Ornithology All Blm•s SL1r EvPs Scrapple From the Apple l\1y FnvoritP Thinf!s What's New Yardbird Suite TPndPrlv Tt's You or No Onr Solar \Valt7. For DPhhir S:~tin Doll Well, You Needn't i\li~r In WonrlNlancl In a Mellow Tont> Jordu Windows Tnkc the "A" Train Woody'n You I'll Rcmemhrr April Softly, As In a Morning Sunrisp MODAL TUNES What is This Thing Call!'d Lovr All Bh"'s Out of Nowhere SAMBAS Cnnh•lnpP Islanrl I Remember You One Note Samha Lii!IP Sunflowpr Gl'tting SentimrnL1l Over You CapL'lin Marvel !l.lnirlPn Voyn!l<' My Romance Spain l\·1 iiPslonrs 1 nrw) End of a Love Affair St. Thomas SnWh:~t Wine and Roses Witch Hunt CURRENT (60's) Imprr~sions BEBOP TUNES (ll-V-1 oriented ,Con Alma Strail!ht Lifr Afternoon in Paris Dolphin DanCP Lns VPJ!:lS Tnngo Anthropology Falljng Gmce Hurnmin', Giant Steps E.S.P. .'nshun Tune-Up Forest Flowl'r Nutvillr Countdown Fortune Smiles Atlantis Have You Met Miss Jones Ff('!'dom Jazz DanCP \rpnc~is Lazy Bird NPfPrtili Night in Tunisia S..ven Steps to Heaven

ARTICULATIONS: HOW TO BETTER EXPRESS YOURSELF

One of the special featur!'S of jazz music i~ the articulation that th!' various playrrs use in expressing thPm­ selves through their music. Some players enjoy using the standard swing style articuln lion vrry eommon to Swing and Behop eras, others use little articulation relying on legato or slurrcrl phrases, some usc staccato in their play­ ing to add interest or emphasize certain notes or phrases.

Most all players eventually arrive at a style of articulation that is suitahle for expressing themsrlv<'s. Yo,~ng players often struggle with getting the various muscles to respond at the precise time the fingers touch the kP·:~. ill:> it saxophone, trumpet, piano, guitar, or whatever. Think of arti<"tllation as proper enunciation. No one f'njo:, s lis­ tening to a speaker or a musician who cannot properly or effectively grt. his message across hecausc his rr:ind is not coordinated with his voice, lips. fingers, hrcath, etc. Some players seem to have a natural ahility to articulate in the jazz idiom. These players usually have listPned to records anrl have etched into their minds the common. most used styles of artkulation of the MAJOR jazz mu­ sicians. In incorporating these past styles of articulation into his own eoneept of playing music, he often will horrow a lit.tle here, a little thrre, add some of his own, :~nd in the Pnd he ahlc tn play out of several hags, as it wrrr. One of the major stumhling hlocks that needs to he turned into stepping stones is the playl'r who uses too much tonguing, tat tat tat tat or tut tut tut tut. Note: (for keyboard, hass, guitar. and others, tonguing in this article can mean Attack or Emphasize). When you play several tongued notes in a row (one right. after the other) the effect is a choppy feel. The music of the past forty to fifty y!'ars has hcen leaning toward a more relaxed, ll'gnto,

33 123

smooth sound and flow. When I hear a player play phrases with the tat wt or tut tut articulation I immediately feel this person has not had a chance (or has not taken the time) to ht>3r jazz music as it has b(:en played over the past forty years hy the major jazz players. He should be tonguing legato style - tah tah tah tah or tu tu tu tu. Jazz is still basically an aural art form and the chances for you to be a jazz player without listening to the music that has come before you are very slim. With all the records on the market today there is no .,xcusc to not he aware of. the various schools of articulation and the main exponents.

When a note is tongued it naturally emphasizes that tone. It makes it stand out from the notes prec~ding it and the notes following it. By practicing the following exercises, listening to jazz musicians on record and in live performance who play the same instrument that you do, experimenting with articulation in general and keeping an o~n mind, I feel you can improve your playing and in the process, be happi~r with the music you arc playing. Good articulation definitely improves communication between performer and listener! All of these exercises should he played with a metronome. Begin slowly and gradually increase the tempo. Don't increase the tempo too rapidly. Make sure you are listening to yourself as you play. After you get the feel of the exercises in G major try improvising or just practicing with Side I, Track 1. You can use these articulation exercises with any of the recorded tracks. Apply the articulations to any of the 20 exercises in the front of this book. The articulation bas to become AUTOMATIC before it will begin to sound natural. Don't rush or force the exercises. Eventually, make up your own exercises and move the accented notes around in the scale. Gradually broaden the scale to include two octaves and then move on to include your;. instrum~nt's entire range! I feel it is a good idea to he~:in with a fairly heavy accent, then medium, then light. F~r those who haven't done this before, they need to hear what an accent sounds like and by playing heavy at first, the idea seems to come in focus quicker. You want to get to the point where you can instantly accent (heavy, medium, light", staccato, legato, breath, throat, stah, jab, etc.) any note or group of notes anytime you choose without disrupting the FLOW and FEEL ·of }·our melodic lines. !\lOST IMPORTANT: Don't get stuck practicing the G major scale or the chromatic scale. Use (practice) these articulation exercises over ALL scales and chords in ALL keys. Remember, we improvise in all keys, ~ot just the easy ones. Don't we?

Tongue every other note on the up beats. ~ )~ )h 1& i (ifpfPH! I §H41if;f) / " j z Tongue the 4th note.

Chromatic - every other note on up beats.

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Random tonguing

Chordal exercises

GA(9) ,.,.._ ~ GA(9) G TRIAD t$i l§'fj]4f tilFll?(it1Bitt:tllt

A good order for practicing would look lik<' this: Major. Dom. ith, Minor (Dorian), Lydian rlom, Lydian, Whole tone, Diminishrrl, Dim. whole tone. Practice going from one scale right into the next like this: (Use any of the suggestetl articulations for the exercise hclow, or, chang!' articulations every two h~~->"

G-MINO~~(Dorian.; tr • G7+4 Lydian Dom. • tr •j lu•utrr:tl CHrbl&dfttfJI Uercrl +4 G6+4 Lydian ~ • •f G7+5 WHOLE TONE + Iu clt UP Itc 0' r:*r u 12Edf.tcffrilfttj

II

Several players who I frcl have made significant contrihutions in the field of jazz articulation arc: Cannonhall Adrlerley. Sonny Rollins, Phil Woods, Freddie Huhhard, Clifford Brown, Miles Davis, John Coltrane, Dave Liehman, Wcs Montgomery, Herhie Hancock, Lee Morgan, Ron Carter, Art Farmer, Lee Konitz, .Charlie Parker, Clark Terry, J .• J. Johnwn. Slirle Hampton, Woody Shaw, Kenny Dorham, McCoy Tyner, Ornetl Colf'man, Horace Silver and Joe Henderson. The list goE's on and on, hut whm I think of these players nnrl other~ I haven't mentioned, one of the outstanding features is their articulation and how it relates to the jazz tradition. Try to get the sound, Sound, SOUND in your ear!! You learn more about articulation from listening to music than from reading about it or even verhalizing. Opening yollr ears;,, one of the f:py inl[redimts in bt'cominl[ a jazz mllsician.

35 125

SCALE SYLLABUS

Each chord symbol (C7. C-. Co, etc.) represents a series of tones which the improvisor can use when improvising. These series of tones have traditionally been called scales. The scales listed here are the ones I most often hear musicians play. All examples are in the key of C so you can compare the scale construction and similarities. This SCALE SYLLABUS is intended to give the improvis-Jr a variety of scale choic.,s which can be used over any chord-major, minor. dominant 7th, half diminished. and diminished. Western music, especially jazz and pop. uses major, dominant 7th and dorian minor scales and chords more than any other. Scales and chords used less often are the half diminished and diminished. If we agree on these five scale families as being the most pre­ dominant, then we can set them up as categories and list substitute scales beneath each heading. Each category begins with the scale most closely resembling the chord symbol given to the left. The scales are arranged according to the degree of dissonance they produce in relation to the basic chord sound. Scales near the top of each category will sound mild or consonant and scale choices further down the list w111 become in­ creasingly tense or dissonant. Each player is urged to start with the scales at the top and with practice and experimentation gradually work his way down the list to the more dissonant or tension producing scales. You should work with a new scale sound on your Instrument until your ears and fingers become comfortable with all the tones in the scale. Music is made of tension and release. Scale tones produce tension or they produce relaxation. The improvisors ability to control the amount and frequency of tensior and release will in large measure determine whether he is successful in communicating to the listener. Remember-you. the player are also a listener! Read pages 29, 30 and 38 in Volume I tor a more detailed explanation of tension and release in melodic developement. .. Any of the various ~ractice prQCeedures and patterns listed in Volumes 1.;_ O! 3 can be .applied to the learning an~ assim1la!ion of·an.v. of the scale choices listed in this SCALE SYLLABUS. Naedless to 5ay, any scale you want te learn· should be transposed and practiced in all twelve keys. The column on whole and h-alf step construction that I have listed tor each scale on the syllabus should prove helpful when transposing a scale to an·y of the twelve keys. For additional information on scale substitution. I recommend "Scales for Jazz Improvisation" by Dan Haerle, "Jazz Improvisation" by David Baker, "Patterns tor Jazz" by Jerry Coker etal., and the "Lydian Chromatic Concept of Tonal Organization" by George RusselL These books are available by writing Jamey Aeb.trsold, 1211 Aebersold Drive, New Albany, Ind. 47150 or possibly at your local. music dealer. All of the scales listed in the scale syllabus are listed in the key of C so you can have a frame of reference and can compare the similarities and differences. You are urged to write them in all twelve keys and practice them in all twelve keys. '* CHORD SYMBOL GUIDE FOR SCALE SYLLABUS H • Half seep, W • Whole step, -3 8 3 Half seeps

~ • Major scale/chord (emphasize the major 7th & 9ch)(don't emphasize the 4th) ~+4 • Major scale/chord with raised 4ch (Lydian) " W W W H ~7 W H V7 • Dominant 7th scale/chord (don't emphasize the 4th) (Mixolydian) - • Minor scale/chord (Dorian) (all scale cones are usable) + • Raise the fifth tone of the chord ~ step V7+4 • Dominant Lydian scale (emphasize the 9th,/14th,& 6th) • W W W H W H W V7+ • Whole tone scale/chord • W W W W W W V7b9 • Diminished scale beginning with a half step • H W H W H W H W V7+9 • Diminished whole tone scale (emphasize the b9,119,/14, & 115)• H W H W W W W ~ • Half diminished scale/chord (Locrian scale or Locrian /12} • H W W H W W W (/12) w H w H w w·w EXAMPLES: C~ • C D E F G A B C (Don't eophasize the 4th) C4 +4 • C D E FU G A B C {Lydian) C7 • C D E F G A Bb C (Dooinant 7th) C- • C D Eb F G A Bb C (Dorian Minor) C7+4 • C D E FU G A Bb C (Lydian Dooinant) C7+ • C D E FU GU Bb C (Whole tone l C7b9 • C Db Eb E Fll G A Bb C (Dioinished beginning with half step) C7+9 • C Db Dll E Fll Gil Bb C (Dioinished whole tone) C~ • C Db Eb F Gb Ab Bb C (Half-dioinished - Locrian) * Several play-a-Long sets thac offer you an opporcunity to practice the various scales in all twelve keys are: Vol.24,"HA.JOR & MINOR"; Vol.2l,"GETTIN' IT TOGETHER"; and Vol.l6,"TU~AROUNDS, CYCLES & II/V7' s". 36 126

SCALE SYLLABUS

IIIIOLE & IIALF STEP BASIC CHORD CHORD St!ll!OL SCALE HAM! CONSTRUCTION SCALE Ill JXf OF C IH KEY OF C

Major 111/KI/111/R CD!FGABC C E C B D 1/ 1/ K II 1/ K 1/ CD!FGABbC C ! G Bb D ~7 } l'IVE BASIC DotoiBallt 7tb C- CATEGORIES Minor {Doriao) 1/ H 1/ II 1/ R II C D !b F G A Bb C C!bCBbD ell Half Dta. {Loeriao) K 1/ 1/ K II II II CDb!bFGbAbBbC C Eb Gb Bb Co Oialo1ahed(8 tone •e•le) 1/ K 1/ H II R 1/ K CD!bFGbAbABC C !b Gb A{Bbb)

1. !IA.JOR SCALE CHOICES SCALE NAM! II & K CONSTRUCTION SCALE I !I KEY OF C CHORD IN C

c A( can be written C llajor{doo' t ""'phaoize the 4th) II II H II II II K CD!FGAaC C E G B D cC.+4 Lydlao{IUjor oeale vith +4) 1/1/1/KI/1111 C D ! Fl G A B C C E C a D cC.b6 H3r•onic Jhjor II II K II K -l H CDEFGAbBC C E G B D cC...s,-+4 Lydtao Aupentod 1111111/KIIR C D ! Fl Gl A B C C E Gl B D c Au~uted -1 H -J H -J R CDI!CAbac C E G B D c Diainiohed{besio vith H atop) H II H 1/ H II R II C Db 01 ! VI C A Bb C C E C B D c Blues Scale -J II K H -J 1/ C !b P Fl G Bb C C E c a D c Major Pentatonic v w -3 w -3 COEGAC C E G 8 2. OOHINANT 7th SCALE HAM! 1/ & K CONSTROCTIO!I SCALE IN JXf OF C CROI!D I!f C SCALE CHOICES

C7 Doainant 7th 1/1/HI/1/HII CD!PGABbC C E G Bb D C7+4 Lyd tan Dollinant 111/1/HI/HII C D E PI C A Bb C C E G Bb D C7h6 IUndu IIIIHIIRI/11 CD!FGAbBbC C ! G Bb II ... C7+ (has #4 & IS) Whole Tone: (6 tone ac:ale) 1/1/1/1/1/1/ C D ! Fl Gl Bb C C E Gl Bb D .. . c7b9 (also has #9,14) Dialnlshed{besin vith H otop) KI/RI/HI/RII CDbOI!riGABbC C E G Bb Db {Df) c7+9 (also has b9,1.;,1S) Dlll.lnishe:d W'hole Tone R II R II II II II C Db 01 E Fl Gl Bb C C E Gl Bb Df{Db) ll7 . Blues Scale -3 II R H -l II C Eb F Fl C Bb C C E G Bb D {DI) CJ H•jor Pentatonic w w -3 w -3 CDEGAC C E G Bb D 3. KIHOR SCALE CHOICES • SCALE NAME II & H CONSTRUCTtOM SCALE 1!1 ICZT OF C CIIORD IN C C- or C-7 Minor (Dorian) V H V V V H W C 0 Eb F G A Bb C C Eb G Db 0 F C- (oaj.7th) Melodic Ninor (ascending) M H V V 11 II H C 0 Eb F G A 8 C C Eb G B 0 F C- or C-7 Blues Scale -3 II H H -3 II C Eb F Flf G Db C C Eb G Db D(F) C- or C-1 Pentatonic (Ninor Pentatonic) -3 M II -3 V C Eb F G Db C C Eb G Db 0 C- (b6 and uj· 7th) Har•onie "inor -. II H II V -3 H C D Eb F G Ab 8 C C Eb G 8 0 F C- or C-7 Oioinished(begin with Mstep) V H ~ ri WH WH C 0 Eb F F# G# A 8 C C Eb G 8 0 F C- or C-7 Phrygian H WV V H II II C Db Eb F G Ab Db C C Eb G Bb C- or C-b6 Pure or Natural oinor VHIIIIHWM C 0 Eb F G Ab Db C C Eb G Db D F C- or C-7 Bebop Seale V H H H V WH II C D Eb E F G A Bb C CEb G Db D f 4. IIALF DIHIHISRED SCALE NAME 1/ ' H CONSTRUCTION SCALE I!f KEY OF C CHORD IN C SCALE CHOICES C Db Eb F Gb Ab Bb C C Eb Gb Bb Ctl Kalf Dl.a1nbhod(Loer1an) R II II K II II II C D Eb P Gb Ab Bb C C Eb Gb Bb D ell 112 Half Dl.a1n1shed 12(Locr1an IZ) II K II K II II II

S. DIIIINISHED SCALE CHOICE SCALE HAM! II & K. CONSTRUCTION SCALE IN KEY OF C CHORD I!f C

Co Dl.a1ntshod (8 tooa seale) 1/ K 1/ K II H II H CD!bFGbAbABC C Eb Gb A

6. DOt!INANT 7th SCALE HAM! 1/ & R CONSTRUCTION SCALE I!f UY OP C CHORD I!f C SUSPENDED 4th

C7 •uo 4 Doa. 7th scale but don't 1/ -J 1/ 1/ R II C D F G A Db C C F G Ob D nph.. tze the third -3 w -3 Db C 0 F G Db C F G Db D C7 sus 4 Major Pegtatonic built on b7 w w HOT!: 'nla abcnoe chord .,.-ol autda ia .,. ..,..t. .. of notation. I feel it baat rapraaanta the eounda t hear iii J•••· The player ahoul4 be avare that each chord 1pbol representa a aerie a of tonea called a I!IC&le. ' Even thouRh a C7+9 would appear to have only a rai!led 9th it al1o hae a b9,+4 6 +5. The entire C7+9 scale vould look like: Root,b9,+9, lrd,+4,+S,b7 I. root (C,Db,DI,E,FI,GI,Bb,C). Hy chord syt~bol abbreviation 11 C7+9 and the nUI.a of thia acala 11 Dtminiahed Whole Tone emaeti.Jaea called Super Locr1.aa or Altered Scale. C7b9 appears to have only one altered tone (b9) but ac.tuallJ' has three: b9, +9, and ..f-4. The entire acale

looka like this: Root,b9,+9,Jrd,+4,5th,6th,b7, & root {C,Db,OI 1 !,FI,G,A,Bb,C). ntta 111 called a Dilliniahed acale aod •Y chord oysbol abbreviation 1• C7b9. All sc:ales under the Do.inant 7th category are scales that e•bellieh the baaic Dmdnant 7th sound. So.e acalea provide IIUC:h •ora tension than the baaic da.inant 7th sound and require practice and patieac:e to grasp the @lienee of their meanin~. I encoura1e you to vork vith the first aide of VolUM J "The II-V7-I Prosresaioa" llinca it 1!!111'haai:r:ea Diainiahed Whole Tone ac:alea and chorda aa well aa Di.ainiahed acalea and chorda. • In category Ill, MINOR SCALE CHOICES, the PURE MINOR scale choice is not used very oft•n. l have found tho order of preference to be Dorian, Melodic, Blues, Pentatonic, and then any of the reuining Minor sco~e choices.

36A Major, Minor and Dor.~fnant 7th Scales Below are listed the twelve Minor (Dorian minor), Major, and Dominant 7th scales. They are written in treble and bass clef In all twelve keys. Each scale Is written from the root (first note of any scale) to the 9th note of that scale. The blackened-In notes are chord tones: root, 3rd, 5th, 7th and 9th. TREBLE. CLEF SCALES BASS CLEF SCALES .. . .. ~ . . - . . - . - .

~- II J)- t Q + ~ ~ v- 0 t ' ~- 8 lP • 4: .1. ~ 8 G- . " ' "+ [ 8 • • 1 • ., • e • • 1. ai' p • II eJ e. I • is • 8 I, " i Q I , "'' Q , " , I The Twelve Major Scale$ to The 9th The Twelve Major Scale$ to The 9th c 8 • #.I. ;:: .aJ ,be+ 8 t&L;:il" 'o' I ~IS'abl r € • p • ~)~,ha•"+~~~ I ft:1=#§ • • I jpD6' • i1 • a· li~ ,be•" I w ~ . • -....] . £J •Pi~•+" ~:! AJ •tih, Z't p.,p,la+P.i1~ t@tt~,b~fj a ,bo' lt'?ij-teb.~·t-l:~.t.,;,tt~b.iP'·~ ftP·i lii·h?·i&.s I•"""' I tiJ {1:"1) b ~ .8 ' -jz;,lr ,s,. & $ .ji,Jl t.k ' FGfj,joP•P'' ,ta41 ;j"J.,al.taf+~ I~··~ ",Jafgh i ,oR ttlih<'•·•"'•e" • ", I.,l§j• "'' , 1·11 d - I tf J-i' A j. 4 J) ~.1. :D 61 ~ af.:'+ I f . ci+~1:. ;~.&i. !-:. I J» D ·• 8 • @ I • " • Q , • I: : I d •ffj ~ l, 8 t.M· • I "•"'' II 'J= • The Twelve Dominant Seventh Scale$ to The 9th The Twelve Dominant Seventh Scale$ to The 9th

~ C" . .&-" r i • 817 ~ , aU.~~~ C" ~·-# .1. .&-7 t l2~ ~! ,6)7 !Ia• riP e • a , " IF ~ ,u• "r. " • I .e • It• I E"95&•eu?~ iz;Z jt,b·'· lt•"'bo•o•• I 1 •" &J"' ~ ~,.fl.tli:t!. AP ~ t• ~ ~) ~ o.,~.r.11 ~ ~ rJ" paP• ,h.Pa, 'l;?~-~sb.e~·ttrr1~~>3$¥¥9 EJ:P.o • a I FP h· e~•A li , pa i~" • I ,, Q. • Pi.9« p.Fi?•

A/7 ~;!) 'J J;zk 1 ,r7 i. ! al•k'*~h ("7 l" • ,,J, I f5TtrcJ;t.tZ~- = .3 ~ ,af+. #J-o•/+.t£! PfJuo-&t-. ' •M• .laS•"' ?Jki Q 1· I ~ A"' f • 4 .1. .D1 ~1 a+ A"' l e , ZJ' l , a + ll :!: ~ 7 o , I j.s•P I .e•l a•"' I 3 fl • ~ • •J• I • i1 " • El: wt1t-" • ] I,·· '" I t!l' o, " ' I '

1-' N -....] 128

THE TWELVE MINOR SEVENTH CHORDS

L.Bbml Ebmi7 Abm1'7 7 7 B .7 7 7 7 7 7 Dbmi Gbmi mo Emi Ami Dmi Gmi Fmi 111 I ~9 I IIJ 1ttl 1:~a 1tce 1~ 1if 1 1 1 e 1 e Ptl THE TWELVE MAJOR SEVENTH CHORDS F Ma7 Bb Ma7 Eb MaT Ab Ma7 Db Ma7 Gb Ma7 ;,M•7 E Ma7 A Ma7 D Ma7 l Mo7 1 R I ,f I U I ~9 I WB I ll Ili ill 1/i 1/g I =g 11

THE TWELVE DOMINANT SEVENTH CHORDS 7 c1 F7 Bb Eb7 Ab7 Db7 Gb7 B7 E7 A7 7 a7 ~~ I@ j. p i ~'· ,_ I I •< I I I I I •II 9 I , 'I .':~. 'tl ~~ s; ~~ 1d 9 Ill

MUSIC FUNDAMENTALS TO KEEP IN MIND WHEN IMPROVISING

Dynamics - loud & soft Use full range of instrument Tension - Release · Emphasize certain notes of scale or chord

Accent.~ Listen to your own sound - do you like it? Slul'!l Use narrow intervals (chromatic pas.~ges) Held Notes Use wide intto:vals (leaps)

Shake~ Be PATIENT with your!ICif

Scale Pas.~agcs Be patient with your fellow musicians Trills 8th & 16th notes build tension

Use rc~t (space). Silence can be beautiful. Rest, whole & half notes create relaxation Vibrato Chord Passages Repetition (of anything) Arpeggios Glis.•andos Staccato (Sonny Rollins)

Vary your rhythm~ Listen to others Think in terms of BU!l-DTNG a Mlo Don't overplay

You should use variety above all else, but not too much. Keep the interested listener in mind.

The pretty notes for major and dominant 7th chords/scales are the 6, 7, 9, and #4. The pretty notes for minor chords/scales are 4, 6, 7, and 9th. These notes create tension and should be used in the over-all tension-release process.

38 129

Ei9li&f$11fdWd~it(IIH:MQiiM

Trpt. freddie Hubbard llub of Hubbard w/E.Danlels, R.Hanna HP5 15 267 Sky Dive CT! 6018 Keep Your Soul Together CT! 6016 Ready for Freddie w/W.Shorter, Elvin Jones, H.Tyner Blue Note 84085 Tenor Sonny Rollins The Bridge w/Jim Hall, B.Cranshav RCA 2527 Hax Roach Plus 4 w/Kenny Dorham Trip 1522 Hevlt's Time w/W.K•lly,D.Watklns, Phllly Jo Jones Blue Note 84001 Nov's the Time v/Ron Carter, Herbie Hancock QJ 25241 Next Album w/George Cables Milestone 9042 Sonny Rollins (2 record set) EXCELLENT!!! Prestige 24004 Trpt. Clifford Brown Study In Bro.., w/Harold Land, Hax Roach Trip 5530 Rro"" & Roach Inc. w/Sonny Rollins Trip 5520 Brownie Eyes Blue Note LA267-G The Beginning and the End Columbia KC32284 Piano Herbie Hancock The Best of Herbie Hancock (2 records) Blue Note 89Q07 Empyrean Isles w/Freddie Hubbard,R.Carter,t.WLlllams Blue Note 84175 Maiden Voyage w/F.Hubbard,R.Carter,T.Wllllams Blue Note 84195 The Prisoner w/Joe Henderson, Johnny Coles Blue Note 84321 Crossings Warner Bros. 2617 Trpt. Hiles Davt~ Jazz at the Plaza w/Coltrane, Adderley, Bill Evans Columbia 32470 Hy Funny Valentine w/G.Coleman,R.Carter,H.Hancock Columbia 9106 Milestones w/Coltrane, Adderl~y. Paul Chamb~rs Columbia 9428 Sev~n Steps to H~aven w/Hancock, Carter, T.Wllllams Columbia CS88~1 Hll~s Davis (Excellent l record set from 1956-57) Prestige 24001 Nefertitt w/W.Shorter,R.Carter,T.Wllllams,H.Hancock Columbia CS 9594 Kind of Blue w/Coltrane, Adderley, W.Kelly, P.Chambers Columbia 8163 Bitches Brew w/C.Corea, Shorter, OeJohnetter, L.White Columbia GP 26 Alto Charlie Parker Somethln~ Els~ w/Hiles Davis, Blue Note LA169-f Jazz at Hassey Hall w/H.Roach,B.Powell,Dlzzy Gillespie Fantasy 6003 Hiles of Jazz w/early Hiles DAvis Trip SOlS Nov's the TL~Jte Verve 8005 One Ni,~thr Lrt W'a!thiny.ron Musician F.t-nonlQ Tenor John Coltrane LivH at Birdland w/H.Tyner, J.Garrlson, Elvin Jones HCA 2901~ Impressions w/same as above MCA 29014 A Love Supreme w/same as above HCA 29017 Crescent w/same as above HCA 29016 Blue Train w/C.Fuller, L~e Morgan, Philly io Jones Blue Note 81~77 The Art of John Coltrane (2 records) contains Glanr Steps Atl SD2-313 More Lasting than Bronze (2 records) Presti~e 24014 Alto Ornett Coleman Tovn Hall Concert w/Izenzohn,Mo(fett & strings ESP 1006 Something El~e! w/Don Cherry, Walter Norris Cont.J551 This Is Our Music w/Cherry, Haden, Blackwell At!. IJSJ Alto Roscoe Hi tche 11 Congliptious (excellP.nt fre~ jazz) Nessa - 2 Piano Ch lck Corea Light As A Yeather w/Joc Farr•ll, Stan Clarke, Alrto Polydor 5525 Now He Sings, Now He Sobs w/Roy HaynP~, H.Vitous Pacific Jazz LNl00~7 Drum Various Artists The Drun~s (1 rPcord set of m<~ny drummers) [mpuh..! ASH 9272-J Sax The Saxophone (J record set of many saxophonists) Impul•e ASH 925)-3 Drums Elvin Jones Live at the Llghthou~e w/Liebm<~n & Grossman Blue Note LA0l~-G2 Live Rt Village Vanguard Enja 2036 Tenor Joe Henderson Live in Japan (thls ls a must for Joe Henderson fans!)Htlestone qo47 Pow~r to the People v/H.Hancock, R.CartPr, DeJohnettP. Milestone qo24 Inner UrRe w/Elvin Jones,Hc TynPr, B.Cranshaw Blu@ Note 841~9 Trpt. Lee Horgan Cornbread w/H.IIancock,J.HcLean,H.Hobley Blue Note 84222 Organ Larry youn,. Unity w/Woody Shav, E.Jones, Joe Henderson Blue Note 84221 Tenor Wayne Shorter Speak No Evil w/freddle llubbard,Hancock,E.Jones Blue Note 84914 Piano Horace Silver Song for My Father w/Carmel JonP.s, Joe Henderson Blue Note 84185 The Cape Verdean Blues w/J.J.Johnson,W.Shaw,J.HendersonBluP Note 4220 The Jody Grind w/Woody Shaw,J,Spauldlng,L.Rldley Blue Note 84250 PLano McCoy Tyner The ReAl McCoy w/Joe Hendergon, R.Carter, E.Jones Blue Note 84264 Enlightment (Award wlnninR 2 record set) Milestone 55001 RE-evaluation: The Impul5e Years (2 r(>cord SE"t) HCA 20'•156 The I!Rrly Trios (Exc~llcnt 2 record set) HCA 204157 Alt~ Cannonball Adderley SonM!thlng P.he w/Hil•s Davl• Blue Note LA169-f " Inside Straight w/Mat Add•rley, Hal Galper fanta•y 943S Phenix w/Sam Jones, Nat Adderley (2 records) fantasy 79004 Write for list of jazz .-rcord" for sale: "DOUBLE-TIME" JAZZ, 12118 Aebersold Drive, New Albany, Ind. 47150 U.S.A. APPENDIX B

CLASS TEXT SUPPLEMENT

(With Permission of Jamey Aebersold)

130 PREPARATORY EXERCISES Below are several exercises every musician should memorize' and be able to play in all MAJOR, HtNOR (Dorian minor), and DOMINANT 7th keys. The~e are basic exercises which will help you gain speed and dexterity. Begin by practicing slo~Jly, then gradually increase speed. Strive for smoothness and slur. each exercise. Keyboard and string players should play legato. These exercises are great for warming up each day. You can also apply these to ANY scale, regardless of quality.

eiiRtlMAT"IC St:AJ.I ON£ ~r4Y£ < Cl 1 ~hl ~Jl ~~!~FJ_~-.-g-- ~.]·''.!J.fgi'~~:;;-=;:f*rj 1 !Learn the tHRo"Am SCALE froo your lo.est note to the higloest) r Major · h. Minor C6 r1ur s "'"r.l."s C1 0 ommant 71 V) c- c: ~c-~~-~-Fff;~-~-~--,=:-::.:_il\·:c~~--;. .,;;;~::F~-~~~-.1 -c 2 J -c ~If];•~· •J; ;;•· ~ •• • r.~•~• p-+--1 :.; ,;~ ~~ .. ,~,; P! ~ ..n; ~-J,; •• ~,; F' ~--- ~::.rr.r. n;n f!;ITlf;,T~~li~ r- C6 rv1.1. S~AJ.£ r" r~<'£ g,,. -~~ -:;:·--- n =,-.:.--::-·:-:--. -_------. --=-~:-:=: ·::::.:-.c-::- C1·•. -- -- :. .:.:::---~~- ~- ::.:-:__ .. .-- --,:~ -=:: ~-i! c-,-:· - .. - :.-::·:c_ ~-'.i- ""i--_.:J· ___ .. - :: ..c-'0. ~ 3 u- i r,.fl:-:::~_:;:]o_:f-=f-:!:LP,.u::~~~~~--.!...cii:.::J:~_=t ...~. :=:11 ______~-~-J-~=#c• dil· ~LtJH*f'~u-~-~~ ~ --~ - _=]_4- - = 11"-j"i"=--1~"~;-;&_f.:!f-i-1'~ -~-- ni~-JJ"tt'}===-=t...,. . --".ir !;z!_.,. "' "~ 4 ~ ~ -c ~ m 5~' z o:J I-' )> f.;_~~-.. :-~ ___::JI:C= 6 ~~~1L~:~~:+~=Cll::::~ "' -# ~ "V n ""0 )> -c -c 7 ~~~~---- m [~.;:rl-tJ--lJiil-=3. ~~~ ·- :::0 c_-___ -- ~""'" z fl~-~~p---- 8 Hc::::'.E=h·..t.·· C.... z.!·... =9~~~f" --= -. - ~If?. -----=·--· --"-----' ·------.:.:· "' 3~.1.1.£ ,.;.

9

10

I strongly urge you to practice the above exercises, using as a guide any of the following root sequences to assure yourself of practice in all keys. l. C Db D Eb E F F# G Ab A Bb B C 4. C Eb Gb A/ Db E G Bb/ D F Ab B

2 0 C F Bb Eb Ab Db Gb B E A D G C 5. C B Bb A Ab G Gb F E Eb D Db C 3 .• C D E F# Ab Bb/ Db Eb F G A B Db 6 •. C Eb Db E D F Eb Gb E G F Ab Gb A G Bb Ab B A C

f-' w f-" 132

0 JcoNCERT KEY CHORD PROGRESSIONsl (~

The large numbers above and below the staff indicate the nwrber of measures each chord/scale is sounded. Each hash mark {/) represents one beat.

Fmi, Ebmi, Dmi 8 BAR PHRASES (Played 4 Times) . ~ SIDE 1, TRACK 1 +=""-· 7 ~. 7 !)~.7 ~Mi ,'1 '* ~~;~~~:o~ l~g~ ~ ¢ ~II

•fmi, Ebmi, Dmi 4 BAR PHRASI!S (Played 9 Times) .. . /"":\ SIDE 1, TRACK 2 ~.7 ~.7 . f)Mi,.7 ~,7 =$! ~~~ iE4~"p,&., 11~43', . o/ ~ ~

RANDOM MINOR CHORD/SCALES 4 BAR PHRASES (Played 4 Times) SIDE1,TRAC~ J) • ~ • ~ 1 7 7 ; ~ .GJ!r~~~~ .. t~'k§f!? 7 ~~~" 1tt~t_:"' 1b~Sf~~ ft 1w'•· 2 133

FOUR MEASURE CADENCES (Played 2 Times)

·.

3 134

CYCLE OF DOMINANT SEVENTH CHORDS

SIDE 2, TRACK 3 4 BAR PHRASES (Played 2 Times) • lfe_u ~~~~-~~~~ fiM... :~s-a 07 "" $~""1~:fio;ryi"'+i ~11! .... 1:: .. ,"'"3.1 ~II ~- 4 -...;· h 4----1 I. _.::.:_4 ____, ~4 ----~~ 135

The large numbers above and below the staff indicate the number of measures each chord/scale is sounded. Each hash mark (/) represents one beat.

Fmi, Ebmi, Dmi 8 BAR PHRASES (Played 4 Times) ~"':'\

Fmi, Ebmi, Dmi 4 BAR PHRASES (Played 9 Times) SIDE 1, TRACK ~ 0 ~~;.7 ~.7 ~ E~1 ~ ~J '\H ~=-::~:!~::~~::7 * JWII 5 136

0 SIDE 1, TRACK 3 RANDOM MINOR CHORD/SCALES 8 BAR PHRASES (Played 3 Times) t; :;t ~~~~·' . ~.; a ~.7 P (; ~~.7 •a 1 ~ ~es;.-: 'lib·";~ lf?t-P¥::2 ~~;'_"--; 137

BLUES IN KEY OF F CONCERT (Played 12 Times) SIDE 2, TRACK 2 7 i ~<;:,.,,.,,, IC iihi" I~ ' ' z~ _+ 4 __ , .,.IJ,a' t:,.,,..,,,_' r r r z _ C7 G.7 a I .,_17 II a ' a PI a l 7 t" ? / I ' "'"'a' I ,., / z 14\

....,.,. m...... - ,::.... ,...... " 111 ~ 1, 1,e""""~ /: v-"~ CYCLE OF DOMINANT SEVENTH CHORDS 4 BAR PHRASES (Played 2 Times) 138 139

(Eb INSTRUMENT CHORD PROGRESSIONS) The large numbers above and below the staff indicate the number of measures ~ each chord/sea 1e is sounded. Each hash mark (.!) represents one beat.

Fmi, Ebmi, Dmi 8 BAR PHRASES (Played 4 Times) SIDE 1, TRACK 1 • • ~ w.1 .,._g_~!:. ~·' -~ l!: ~.7 • ~ ~~~ ~··' 44 ~ ...... ] ,.. .,t.. .. ~ JAzi#l"'~\.-gg&¢' =-=II ,____ ~s · ~---s ' J~ Fmi. Ej?mi..pmi 4 BAR PHRASES.(Piayed 9 Times) •. _ . SIDE 1, TRACK 2 • •·6 · ..,A • t:' ~.~ .. '-· . :· ·. ; .;~'~r:.Z*? Cj~~~~~ ~·1 ~~#-£~.7 · · =i. . _...... _======·. '1--l·==-· I ~~-~~€f===tl~ F

RANDOM MINOR CHORD/SCALES 4 BAR PHRASES (Played 4 Times)

9 140 141

CYCLE OF DOMINANT SEVENTH CHORDS 4 BAR PHRASES (Played 2 Times)

24 MEASURE SONG (Played 5 Times)

SIDE 2, TRACK 4 142

IBASS CLEF INSTRUMENT CHORD PROGRESSIONSJ The large numbers above and below the staff indicate the number of measures ~ 0 each chord/scale is sounded. Each hash mark (/) represents one beat. ~ Fmi, Ebmi, Dmi 8 BAR PHRASES (Played 4 Times) SIDE 1, TRACK 1 . 1"\ nw;: .,.~~g_ E~ 7 -e-P.h 1)~.7 .,.~ +=,m.' ~=t ~~:~~~~~;UF*=p

Fmi, Ebmi, Dmi 4 BAR PHRASES (Played 9 Times)

12 143

13 fw 144

CYCLE OF DOMINANT SEVENTH CHORDS 4 BAR PHRASES (Played 2 Times) SIDE 2, TRACK 3 ~)j ~~4rr~,::r;h~ 1&2r=~~b~;~, .,.~p~&t~~~~P-tl~1t£1 • .-l~t: A7 D7 ~ ~7 .,.,.JLtt.~"!i ~ ~.1 ~.,..___[f .1d1;~1~7-.if 4~~ ~~ 14 145

24 MEASURE SONG (Played 5 Times)

SIDE 2, TRACK 4 =s:i q;;~~~ ,e / ? , 146

PRACTICAL EXERCISES The following pages contain exercises to be practiced with the individual tracks on the accom­ panying record. The musical examples are written in CONCERT KEY. If you play a transposing instrument, you mi.Jiit make the exercises conform to your tunsposed Key•.

These exercises represent only a few of the countle9& possibilities and are aimed at the beginning­ inc~rmediate stu~nc. Every stud~nc should experiment with pacterna built on scales and chords and write down and then memorize the patterns. Use the exercises and patterns in the Guidebook and this supplem.!nt as a sprin&bootrd.

In addition to the following exercises, use the TEN BASIC PATTERNS as part of your d·aily study. You should eventually apply ~ach of the patterns co each of the recorded tracks. For variety, you may want to play the patterns backwards.

SIDE l, TRACK 2, Apply exercises in Guidebook and apply TEN BASIC PATTERNS, Colllbine the patterno a~o they equal eight bar phrue:~. See page on Blues Scale Usage.

SIDE l, TRACK J, See oausical eu•ple on page XVU,

SIDE l, TRACK 4, Apply exercheo in Guidebook and apply TEN BASIC PATTERNS, Colllbine the patterns so they equal eight bar ph('ases. Transpose examples to the seven liCales needed. Eightt\ notes should be played more evenly on this crack. due to the ~ feeling the rhythm :~ection providea.

SlOE 1, TRACK 5. Transpose examples of Side 1, Track l (on the following page) to the seven acalea needed. Use TEN BASIC PATTERNS - lengthen to equal four bar phrat~es.

SIDE l, TRACK 6, See "uaical example on page XVIII,

SIDE TRACK BLUES IN sb CONCERT, Play the sb Blues Scale throughout, This will give a :'funky" Bluesy sound but ruay become tiring due to lack of variety.

Practice emphasizing the Jrd and the 7th of each chord, Notice how the 7th of the Bb7 chord ~ulls to the Jrd of the f..b] dlord in the second measure. Use several chorUiieS to explore the feeling and mood created by ~mphasi~ing the 9th or the 6th of each scale.

Apply concepts discussed in chapter on Melodic development.

Play St!!veral choruses wai.ng only two neighboring tones. To maintain interest 1 vary the rhyth111,

articulation, dynamics 1 and use space (rests).

Apply all Tt:N BASIC PATTERNS as well as any other pattern in this book. Be sure to make the selected pattern conform to the nwrt:ler of measures needed.

ABOVE ALL EL.SE- listen to records of ja~z musicians playing blues. Tenor saxophonist Gene ADIDOns would be a good place to start.

S lDE 2, TRACK 2 BLUES IN F CONCERT. Transpolie above ideas to F concert.

SIDE TRACK 3. See musical example on page XIX

SIDE TRACK 4, 24 MEASURE SONG

Utilize all of the TEN BASIC PATTERNS with this track. This track contains major, minor and dom­ inant-seventh scale:~ a.nd is con!!itructed in two-measure phrases which makes the TEN BASIC PATt'ERNS ideal.

Apply concepts discussed in chapter on Melodic development.

When improvising, be careful in your treatment of the fourth tone o£ the major and dordnant-seventh scales. Thi:t tone should not be emphasized but ru.y be played as a passing tone. lf the fourth muat be em.pha:;ize=d, it should be a raised fourth. The fourth note of .!!!:!.2! scales sounds great.

lt may be interestin~ to apply the various Blues Scales to this track. Begin with the C Blues for two bard 1 cnen the A 7 Blut!s for two bars, followed by the D Blues for two bars and then the c Slues for two bars, etc. Tt\e Bluea Scale intr:oduces several non-scale tone• and in so doing adds a new flavor. The Blues Scale will sound nlce if it is occasionally played rath~r than run in the ground.

Take: any two ~aaure phase previously listed and make that pattl!rn conform to the needed scales of this track.. Practice double time (sixteenth note pas&ages) - play all eighth-note patterns twice at twice the original speed.

Take lieveral choruses to explore the pretty notea using whole or half-note valt.Lea. Pretty notes in ujor and dominant-seventh are: the 6 7 9 and 14. Pretty notes in minor are 6, 7 9 and 4. 1 1 1

SIDE 2 TRACK S, MINOR to DOMINANT 7th, See 11uaical uamplea on page XX,

16 147

PRACTICAL EXERCISES - NEXT FOUR PAGES - CONCERT KEY

Fmi, Ebmi, Dmi - CONCERT KEY

17 148

4 MEASURE CADENCES - CONCERT KEY

18 149

CYCLE OF DOMINANT SEVENTHS- CONCERT KEY SIDE 2 TRACK 3 ElAI'o\ll\.l?i BELOW IWPlV TO ~IP.ST 4 SAI\

~~fo~1 3 5 3 - . 1 3 5 b7 6 b7 6 b7 5 3 ...... 1 1

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MINOR TO DOMINANT SEVENTH - CONCERT KEY

SIDE 2, TRACK 5 $laC~ ET~OTHERKEYS I F1

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~ \~ II ~}·1 I F~ I ETC. OTHER KEYS

20 151

CONCERT KEY BLUES MELODIES ~i7~ TENOR MADNESS ~~~ SIDI 2, TIUlCK 1 Sonny Rollln1

Bb BLUES 6~7 ,.... Eb7. ,....., Bb7, ~ Eb7 ~ Eb.7 1"', lmi j v( 'r Jr ~ •v I ~ r}r ~ r; I f rl9illkt& l ~ ~&4 'r lf' f~S I:r M Bb7 Bb7 C- ~ Bb7 F7 1tffc71itf& ttol tJoWJJJ®Wl to 1fri8ii2&? /t&9

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PENTATONIC BLUES Jamey Aebenold Bb7 !Jb7 Eb7 Eb7 Bb7 Bb7

·.":" .... (repeat preceding four'bars) C- - u~-:-:- • • • Bb7 Fl 1 'r z ¥ill" 1· .f bur ~er liJ I ~FP2?~1 , 1fo--=

Bb7 Bb7 [fEt tih£EJ)· F7

SIDI 2, TUCK 2 BLUES BY fiVE Red Garland FiLUE~ ~ :7 ~ ~ ~7 3 ~ F7 • - F7 4 8~7 ) 11 :b7 > -' l®i 1~ ~· iJSJ 11 ~s. AJ £1 ,8_J J ,01 - 1 J i&J. 's? J i&J. ps r 1 1 C7 -

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Jamey Aebersold ,_ " 4., C1 ? I ~ ~

21 152

Bb INSTRUMENT BLUES MELODIES TENOR MADNESS Sonny Rollina

COI'Uic.t!TC:HH1 'tt£~tTIOL JIL!Sit. I.C., U:AJ.UU, CALIF. MilO THIS ~1111 COI'tllc.MJ01911 PI:UTIGi MIC, !Itt. UUD If r[I•JUIO. IIIITUIIAlltiW.. UIP'llf.Hf UCLIIIf.D MAQl 1• U.S.A. All lllr.Mn llf\U'IED

PENTATONIC BLUES Jomey Aebenold C7 C7 F7 F7 4c7 C7

SIDI2, TUCK 1 THE R0 VI N G TH I R0 Jamey Aebenold C7 F7 -.- C7 C7 F7 F7 .'j(Ff&J tbbff&uqetf&~M·thei1}J teJ?l; usffl 0- G7 G7 ~ t1f2Uf&tpD1f& '0 I CJ - -

BLUES BY FIVE Red Garland G7 C7 G7 G7 C7 C7

ii i Es. hJ J' i £; J 1 ~j u t1,_ ~ J1 •r· ac J1 'r 01· J 1 07 G7 , - G7 A A- ,---...._ G7 07 IfJ J J ~ I - J J I tfUH rtJJ J IJgJ I - - .....__...... -...... ::....4

•CQifllr.rtTOt'JU.i'USTI~ NJSIC. IlK., llRdLU, C.ALif. 94110 IH15o AIIA-"'OUIUI COI'IIIc.Ml0191t PIUtlr.l "'!lolt, IMC.. USED If PUJti\SIO. IIH[alllol(IQW. toi'UUioMI SH!JII(D MOl 1111 U.S.A. All IIIGfttS liliUII'IiD

SIDIJ, TUCil2 SLIPPERY BLUES Jamey Aebenold G7 C7 --G7 C7 4 G7 G7 A- 1§1 j t.:,..StiEr mm:rntJ =: 1J !" ~ I

22 153

Eb INSTRUMENT BLUES MELODIES TENOR MADNESS IIDI 2, TWACIC 1 Sonny Rollin1~

PENTATONIC BLUES Jamey Ael>enolcl G7 G7 C7 C7 4G7 G7

repeat precedir.g four bars -

IIDI 2, TWACIC 1 THE ROVING THIRD Jomey Ael>enolcl

tmtiQITOIWS Pft:STir.t Ml(, I..C,, IUtfLU, uti'. t4111 TliiS Allt ....(ll(lllf COf'YIIr.HtOitrt 'lUSTlG( 1111\IC. IIC. 1.15(1 IY '[1f11111UI

Jamey Ael>enolcl

G7 4,, D1 ,_ A1 4D1 A1 2 * I Z ~ 23 154

Sonny Rollins

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IIDI 2, TIIACK 1 PENTATONIC BLUES Jamey Aebenold

Bb7 Bb7 Eb7 Eb7 Bb7

(repeat preceding-four bars)

IIDI 2, TaACK 1 THE ROVING THIRD Jam•yA•b•nold Bb7 Eb7 . Bb7 Bbl Eb7 -Eb7 . BbBLUESw:;t b"~ f'~ ~p,~ ,~~~~ ~,.- ~ ( ru· 1t f,ptJ JffmLt t cttrTr, iju· i t W l tfli Bbl Bb7 C- ~~~~ ...~,. ~ ~ b&-.Q.b-#- Ill Bb7 F7 1 iLLtWffi. t 'cunmrt v 1 r cn o1 - IIDI2,TaACU BLUES BY FIVE Red Garland F BLUES F7 Bb7 F7 F7 Bb7 b" Bb7 111 It r;: ! 111 A 111 ~ 4 ..- - -' p" ~1. " ~~~~ lz ~. " 12$ J l8 6f' 0? J Ir· & J IPU f r6 (? I -J c I E" v~ r I F' vb J I C7

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Jamey Aebenald

Bb7+F1 F1 G- C1 4, C1 ~ ·4'ft I $ ~

24 t.n t.n rl

Bb INSTRUMENTS ..,. TRANSPOSED EXERCISES e (first 20 exercises from Volume 1 booklet) [;l(.t..M•Lt I . (!!) ...... l~,· 2rc:z:;;;;; . ------Q 0 U( ;; I " I '" I ' I I ~4!P¥rtt~·t~l o I I ·-·~- ~ I , zj I '" I c I "' i '" I ' I ~m~~.111 I ·~: i ~ I , I ,w:-:-vsr.. ~ fiP.lJ¥13iJJOJi#___lijJ:4#£W;lli¥PJtJ1,_, ------; I ~ f. X AMPLE A ..... ~ ~ ~~r ir r 1r r'bfd

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":~;«:_-- ¥iiitfp1 j I I ~ t If r l•; . I I 156

26 157

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Eb INSTRUMENTS- TRANSPOSED EXERCISES (first 20 exercises from Volume 1 booklet)

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29 0 \.0 rl

BASS CLEF INSTRUMENTS- TRANSPOSED EXERCISES (first 20 exercises from Volume 1 booklet)

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• f) 161

31 162

0

32 APPENDIX C

CHORD CHART

(Courtesy of Charles Hansen Music and Books, Inc.)

163 164

c D~oRC# D E~oRD# E t,; ~ c 0\. D E\. Major " .. OJ ...... C-E-G""' D~-F-A~ D-F--A E~·G·B~ E-G#·B " Cm C#m Om R\.m Em TRIADS Minor .... tJ .r~ C-E~-G C#·K-G# D·F-A E~-0~-B~ E-G-B

_/I - C+ 0\.+ D+ E\.+ E+

.. ~ . ~ ;_ . ~ Augmented tJ ., .... ,..... " C·E·G~- D~-F-A D-~'R·A# E~-0-B E-Gi-BR ~ 1\ C6 o~o 06 E\.6 ~:ti Major u "~ .. ~ TRIADS C-E·G·A D~-F-A~-8~ D-1<'#-A-B E~-G-B~-G E ·0#-B-CR with added 6t.hs 1\ Cmti CRmll · Dmti E\.m6 Emti -x..-- Minor u ~ ·a C-Eb·G-A C-~E-:#·A· D-F-A-8 E~-G~·BI>-C E-0-B·C· I _{). C7 Olo7 07 E~7 E7 DominanL 7th u ., .... ,. .... 3:=: C·E-G·B~ Db-F-AI>-Cb D-~'··A-C E~-G-B~·Db E-G#-8-D

_/\ Cm7 CRm7 Dm7 pm7 Em7 Minor 7th .... ~ tJ 'lt . SEVENTH C-E~-G·B~- C#-E-GR-B D-F-A-C E~-G~·8b·Db K-G·B-D Cmaj7 D\.maj7 Dmaj7 CHORDS fl. E\.mllj7 Emaj?-

Major 7th u ... ~ "-u- ~ C·E-G·B D~·F·A~-C D-F~-A-C# K~-G-B~-D E-G#·B-D# Cdim7- C#dim7 Ddim7 E~dim7 Edim7 • Diminished 7th " tJ ..... C-EH'~-A·- c•-l:::ab D·F·A~-B K~-0~-A-C E-G-Bb-C# -4 C9 .tu~s 09 Elo9 -~~ Dominant 9th u ..... ,..... rll=:= NINTH C·E-~Bb-D Db-F-Ab-G~-E~ D-F#-A-C-E Eb-G·B~-D~-F E-O# -8-D·F· C7\.9 D\.7\.9 ?7lo9 E7\.9 CHORDS II ,E~?lo9 • Dominant 7th a= with Flat 9th u ...... , ..... C·E-G-Bb-Db Dlo-F·A~-C~-D D-F#-A-C-Eb Eb-G- Bb·D~·Flo E-G~-R-D-1.<' ' ' -- *Spelling of Chords has been altered for easier reading. 165

F F# OR G~ G A~oRG# A Bb BoRCb F G ,.. r·- ,A~ A H~ ~II OJ F·A·C F#·A#·C- G-8-D A~-C-E~ A-C--E B~-0-F 8-0--F- Fm F~m Gm G.m Am B~m ~Bm ~

"' F·A\.-C F-·-A·C# G-81>-0 G··B·O# A-C-E BI>·OI>·F 8·0-F# y ... ,.. G~+ G+ A~+ ,.A+ ~Bo+ .~

"' F·A·C· G!>-Bi.-0 G-8;0- AI>-C·E A·C#·R# BI--D- F# 8-0#-G F6 F#6 G6 A\.6 ~ AS JJ I_ -~6 ~!!:. ~

"' F-A·C·D F-·A#-C#-O# G-8-0·E AI>·C·EI>·F A·C#-E-F# 8~-0-F·G 8-D#·F#·O# ,.. Fm6 F#m6 Gm6 1 A~>m6 -~ Am6 8~6 ~!l~~

t) F-A~-C-D F#·A·C-·D# G-8~-0-R A~·CI>- K!•·F A·C·R-F# B~-Ob-F-G 8-0·F-·G# F7 F#7 G7 A7 8~7 87 fl. 1 ~_C;: . ..,

t) " F·A-C~E!- FtA#·C#·E G-8-0-JI' Alo-C-R\.-G\.. A-C#·R-G a~>-"o~-At. 8-0H'~-AJ:~-:- Fm7 ,.. F#m Gm7 .?J.m7 Am7.., B~m7 Bm7

OJ F·Aio-C·E\. F#-A-C,·R G-81-·0·JI' G#-8·0#-F# A-C-R·G 81-~J'b~·Ab 8-D·Fi!A P'mRj7 F1maj7 ~maj7 Ab':.,aj7 A!tm.!J7 R"maj7 Bmaj7 " 1 t) P'·A-C-1!: F-· A·-C-·E# G·B"O-F# A\.-C-EI>-G A-C#-R-0# BI>-~D~-A 8-ot-Jf-A# ,.. Fdim7 F~dim7 Gdim7 G~dim7 7~~7 B!Jdim7 lldim7

t) " F·A\.-8-0 F#-A-C-EI> G-8~-Db-E G#-8·0-F A-C-R\.-ol>· Bl>-lht.~-0 8-D-~Ab G9 A!l Bb9 R!l ,.. ~~ ~~:~9 ~~~ -A-

o.l - P'·A·C-EI.-0 F#- A#-C#-E·G~ 0·8·0-P'·A. Alo-C- EI>-Gb· 8\. A.-C#-E-0-B B~-D~~AI>-C B·O# • F1"!1- C# 7 9 G-7\.9 A7~9 B7r9 ,.. F~"9 ~9 8~7\.9 I,..,IC, " ·lk~ ~-R

t) " ~tt. .11'-tt" F-A-C-EI>-01. "'·d-c~-~~:-o G-8-0·F-A.\. O#- R#- D~- F#- A A-C~·lHl-RI> RI-·0-F-Ai.-CI> B-O~·F#·A-C