A Comprehensive Method for Jazz Style and Improvisation

A Comprehensive Method for Jazz Style and Improvisation By Mike Steinel From the trusted ESSENTIAL ELEMENTS family of band methods, ESSENTIAL ELEMENTS FOR JAZZ ENSEMBLE offers an exciting ay to introduce young players to the orld of jazz Specifically designed to teach jazz basics to students ith 1 or 2 years playing experience

DIRECTOR S INFORMATION GUIDE ESSENTIAL ELEMENTS FOR JAZZ ENSEMBLE A COMPREHENSIVE METHOD FOR JAZZ STYLE AND IMPROVISATION By MIKE STEINEL WELCOME to the exciting orld of jazz! This book ill help you get started by introducing the important elements of jazz style and improvisation You ll also learn basic jazz theory and some highlights of the history of jazz The exercises and compositions in this book can be played by a full jazz ensemble, or individually ith the CD Listening to good jazz players is an extremely important ay to learn, and playing along ith the CD is an excellent ay to hear ho jazz is played The full band arrangements in this book include sample improvised solos for study and reference And remember have fun playing jazz! ABOUT THE AUTHOR Mike Steinel is an internationally recognized jazz artist and educator He has recorded ith the Frank Mantooth Orchestra and the Chicago Jazz Quintet, and performed ith a ide variety of jazz greats including Clark Terry, Jerry Bergonzi, Bill Evans, and Don Ellis Since 198, he has been a member of the jazz faculty at the University of North Texas here he teaches jazz improvisation and jazz pedagogy He is the author of Building A Jazz Vocabulary (a jazz text) and numerous compositions for jazz ensemble The University of North Texas pioneered jazz education hen it instituted the first jazz degree program in 194 Its flagship ensemble, the One O clock Lab Band has toured four continents and has been the recipient of four Grammy nominations Throughout its history, UNT has produced a host of fine jazz talent Alumni of the program can be found in all facets of jazz and commercial music Managing Editor: MICHAEL SWEENEY Copyright 2000 by HAL LEONARD CORPORATION International Copyright Secured All Rights Reserved

4 THE BASICS OF JAZZ STYLE Attacks and Releases Jazz In traditional music (Concert In jazz it is common to use a attack (soft Band and Orchestra) you use a and legato) to begin a note It is also common Tah articulation to begin a note to end the note ith the tongue This tongueand taper the note at the end Tah it stop gives the music a rhythmic feeling 1 ATTACKS AND RELEASES 4 Tah Accenting 2 and 4 For most traditional music the important beats in 4/4 time are 1 and In jazz, hoever, the emphasis is usually on beats 2 and 4 Emphasizing 2 and 4 gives the music a jazz feeling 2 ACCENTING 2 AND 4 J 4 Jazz Playing and Bah (Full Value Notes) 1 2 4 In jazz, notes marked ith a dash (tenuto) or an accent are played full value ith a soft legato articulation The scat (vocal) syllables and Bah ill Tenuto Long Accent help you hear the sound of these articulations Remember in jazz it is (full value) (full value, accented) important to play full value notes ith a legato articulation Note: The Bah articulation is used only hen vocalizing the scat syllables Bah helps demonstrate the appropriate amount of accent When articulating on your instrument use the syllable Dah Jazz Sing 8th Notes Sound Different Than They Look In sing, the 2nd 8th note of each beat is actually played like the last third of a triplet,and slightly accented 8th notes in sing style are usually played legato 6 SWING 8TH NOTES Sing the scat syllables of each exercise before you play it Quarter Notes Quarter notes in sing style are usually played detached (staccato) ith accents on beats 2 and 4 QUARTERS AND 8THS 8 MORE QUARTERS AND 8THS J it Jazz 1 2 4 4 4 4 4 Tah Tah Tah Tah Tah Bah Bah Tah Tah Tah Tah Tah Jazz Bah Bah = = or Bah Bah j Bah Bah Bah 5 2 CDs WITH EVERY BOOK One of the most important ays to learn to play jazz is by listening to professional players Each book comes ith complete recordings of every example and every full band arrangement On the repeated exercises, the rhythm section only plays the second time This allos students to hear the correct interpretation the first time, then play along the second time The full band arrangements include sample improvised solos recorded on separate tracks for study and reference STARTS WITH THE BASICS Students are shon ho the approach to jazz is different than traditional music step by step With the help of vocal scat syllables, the correct style inflections come naturally The concept of sing 8th notes is taught gradually, using single pitches to start ith, then reinforced using easy scale patterns Building Jazz Chords Most jazz is harmonized ith Seventh Chords Seventh Chords are fournote chords built in thirds (every other note of a scale) A Major Seventh Chord uses the first, third, fifth, and seventh notes of a major scale 1 4 C Major Scale Loering the top note (called the seventh) of the Major Seventh Chord changes the chord to a Dominant Seventh Chord Loering the second (called the third) and top note (seventh) of a Major Seventh Chord changes the chord to a Minor Seventh Chord 2 1 2 4 4 4 C Major Seventh Chord Chords have specific labels called Chord Symbols The first letter in a Chord Symbol alays indicates the root or the bottom note of the chord The letters and numbers on the right indicate the chord type (major or dominant for example) Chord Name Chord Symbol C Major Seventh Cma C Dominant Seventh C C Minor Seventh Cmi MAJOR SEVENTH CHORD WORKOUT (Cma ) 4 4 (Play either note) 4 DOMINANT SEVENTH CHORD WORKOUT (C ) 4 4 5 6 8 C Dominant Seventh Chord C Major Seventh Chord b BLUES WORKOUT Roots and Sevenths b b (Play either note) (C ) 1 5 8 BLUES WORKOUT Roots, Thirds, and Sevenths 5 1 C Minor Seventh Chord b b b 9 MAKE UP YOUR OWN 2Bar Solos using Roots, Thirds, and Sevenths C 4 4 Band b Solo b C F 4 4 C F 4 4 b C G F C b Building the Dominant Scale Solo b Band b 11 F C Band n b Solo b b n b b C G F C n b b b b b n b b EASY INTRODUCTION TO JAZZ HARMONY One of the most challenging elements of jazz is learning the concept of jazz chords and harmony Chords are taught by shoing ho they relate to familiar scales Only the basic types are shon (major th, dominant th, minor th) and they are immediately reinforced ith a series of simple exercises IMPROVISATION MADE EASY Building on the concept of jazz chords, the Blues Progression is taught as a series of dominant th chords Improvisation is introduced gradually, starting ith 2measure phrases using only a fe chord tones at a time Students are improvising before they have a chance to be orried about it! They are shon ho jazz first evolved around jazzin up the melody, and are taught basic scales to use hen improvising Blues Scale, Dominant or Mixolydian Mode, Bebop Scale, and the Dorian Mode You can build a dominant scale by inserting notes betee h This scale fits (sounds like) the D

The Sing Era In the 190 s and 40 s, the orchestras of Duke Ellington, Count Basie, Benny Goodman, Glenn Miller, and Fletcher Henderson created a ne type of dance music called sing The strong beat and smooth big band sound made sing the most popular music of the time Edard Kennedy Duke Ellington (1899 194) gre up in Washington, DC and led a band nearly Duke Ellington all of his life Although Duke as a gifted pianist, he is most remembered for his compositions and orchestrations It is estimated that he rote over one thousand orks Ellington is considered by many to be the most important jazz composer of the 20th century Count Basie William Count Basie as born in Red Bank, Ne Jersey (1904), but his style of big band music is associated ith Kansas City In the early 190 s, Basie joined the Bennie Moten Orchestra, a riff styled band that specialized in playing the blues and performed primarily in the midest When Moten died in 195 the Count took over the band, and under his leadership it became one of the most popular jazz bands of the era Even after Basie s death in 1984, The Count Basie Orchestra continued to tour and please jazz audiences around the orld PERFORMANCE SPOTLIGHT 99 BOPPIN AROUND Full Band Arrangement 100 DEMONSTRATION SOLO FOR BOPPIN AROUND G # 4 # n n # n# # # j # 4 % # b G G # # n # n n b n # n b b tertaining shoman made him a recognizable figure the orld over n n # n j b b n J D b n j G D J j n # n # # n b n n b n n b n n # {14} Solos # n # 1 To Coda fi C G # n b n j b b b b b C # n 2 div # nn G Mike Steinel G C n # n b n G D G # 12A fi CODA # b n n # # b n n # DS al Coda div Jazz Chord Voicings Jazz Chords can be played many different ays The ay a specific chord is played and hich notes are used is called a Voicing Jazz voicings can have as fe as to notes or as many as eight or more Thirds and Sevenths are Important These notes determine the quality (major, minor, or dominant) of the basic chord Notice in this example ho simple voicings made up of only roots, thirds, and sevenths sound full and complete Ninths, Elevenths, and Thirteenths To make jazz voicings sound jazzy, pianists often include upper extensions (ninths, elevenths, and thirteenths) in the chord voicing These notes are the same pitches as the 2nd, 4th, and 6th notes of the major scale from hich the chord is built FOR PIANO ONLY 4? 4 4 Cma Root C b Extended C Major Scale Root 8 9 10 11 12 1 14 15 Cmi b b Root C Major Thirteenth Chord ( ) Cma 1 JAZZ HISTORY AND PEOPLE The method book is laid out chronologically by important historical periods in the development of jazz music While the students are learning the music, they are also learning about the important composers and performers associated ith each stylistic period Styles covered: Early Jazz, Sing Era, Bebop, Latin and Fusion FULL BAND ARRANGEMENTS Carefully paced throughout the book, these full arrangements provide a focal point for the material in each unit They also provide rearding performance pieces even in the beginning stages The arrangements start out very easy and then gradually progress in complexity as more techniques and concepts are learned QUICK START THE RHYTHM SECTION Critical to the success of any jazz ensemble is having a rhythm section that can play in a stylistically correct manner In addition to learning concepts along ith the other instruments, each rhythm section book includes additional material specifically designed to address the unique techniques of these important players This allos the rhythm section to play along ith the full band in a rehearsal setting, but also gives each player the individualized information they need Note: Ninths and thirteenths can be added even though the chord symbol indicates a seventh chord Comping With Jazz Voicings It is important to remember that comping must compliment and not compete ith the rest of the band In order to achieve this, 6A pianists and guitarists improvise chord voicings that supply the most necessary harmonic information ith the least amount of notes The Ride Cymbal When you are first learning to voice chords,it is best to start ith to,three,or fournote combinations These provide an adequate picture of the harmony ithout sounding thick or muddy Here is a blues progression harmonized three different ays supply the rhythmic foundation of sing music FOR DRUMS ONLY In jazz marked sing the ride cymbal reinforces the quarter note alking bass line provided by the bass player These to instruments Blues in Bb using tonote voicings (thirds and sevenths)? b b 4 4 b Bb b Eb b Bb F n b Eb b Bb The Basic Ride Cymbal Pattern The ride cymbal pattern is usually played in a triplet feel,hoever it is not alays strict At slo tempos the pattern is very triplety but at faster tempos the eighth notes are played more evenly In this book e ill alays notate the ride pattern in eighth notes Blues in Bb using threenote voicings (thirds, sevenths, ninths, and thirteenths) These voicings are used for exercises 9 and 41 45 b b 4 B b 9 1 E b 1 b The basic Ride Cymbal Pattern is notated as: B b n b F The basic Ride Cymbal Pattern sounds like: 9 n E b b 9 4 4 4 B b n 1 The Basic Sing Pattern Playing time b This is the basic sing pattern for Jazz Drumming (ith and ithout bass drum) Practice each until they are automatic 4 4 Achieving Va i t

4 THE BASICS OF JAZZ STYLE Attacks and Releases In traditional music (Concert Band and Orchestra) you use a Tah articulation to begin a note and taper the note at the end Tah Jazz it In jazz it is common to use a attack (soft and legato) to begin a note It is also common to end the note ith the tongue This tonguestop gives the music a rhythmic feeling 1 ATTACKS AND RELEASES 4 J J Tah it Jazz Accenting 2 and 4 For most traditional music the important beats in 4/4 time are 1 and In jazz, hoever, the emphasis is usually on beats 2 and 4 Emphasizing 2 and 4 gives the music a jazz feeling 1 2 4 Jazz 1 2 4 2 ACCENTING 2 AND 4 Jazz 4 Playing and Bah (Full Value Notes) In jazz, notes marked ith a dash (tenuto) or an accent are played full value ith a soft legato articulation The scat (vocal) syllables and Bah ill help you hear the sound of these articulations Remember in jazz it is important to play full value notes ith a legato articulation Note: The Bah articulation is used only hen vocalizing the scat syllables Bah helps demonstrate the appropriate amount of accent When articulating on your instrument use the syllable Dah Tenuto (full value) Long Accent (full value, accented) Bah DOO AND BAH 4 Tah Tah Tah Tah Tah Jazz Playing and (Short or Detached Notes) In jazz, notes marked ith a staccato or a roof top accent are about half of full value The scat syllables and ill help you hear the sound of these articulations Bah Staccato (short, unaccented) it Roof Top Accent (short, accented) 4 DIT AND DOT 4 Jazz Tah Tah Tah Tah Tah 5 DOO, BAH, DIT, AND DOT 4 Bah Bah

5 Sing 8th Notes Sound Different Than They Look In sing, the 2nd 8th note of each beat is actually played like the last third of a triplet, and slightly accented 8th notes in sing style are usually played legato = or j 6 SWING 8TH NOTES Sing the scat syllables of each exercise before you play it Jazz 4 Tah Tah Tah Tah Tah Tah Tah Tah Tah Tah Bah Bah Bah Bah Quarter Notes Quarter notes in sing style are usually played detached (staccato) ith accents on beats 2 and 4 = QUARTERS AND 8THS 4 Bah Bah Bah Bah 8 MORE QUARTERS AND 8THS 4 Bah Bah Bah Bah Important Tip: Notes at the ends of phrases are usually played short and accented Jazz Articulation Revie These are the four basic articulations in jazz and the related scat syllables for each Tenuto (full value) Staccato (short, unaccented) Long Accent (full value, accented) Bah Roof Top Accent (short, accented) Quarter Notes Quarter notes in sing style jazz are usually played staccato Staccato Legato Bah Bah Bah Bah Sing 8th Notes 8th notes in sing style jazz are usually played legato

6 9 SWINGIN THE SCALE 4 Bah Bah Bah Bah continue sim Bah Bah 10 MOVIN AROUND 4 4 Bah Bah Bah Bah Bah Bah Bah Bah Bah Bah Bah Bah Bah Bah Bah 11 RUNNIN AROUND 4 Bah Bah Bah Bah Bah Bah Bah Bah Bah Bah Bah Bah Bah Bah Bah Bah Bah 12 TRADIN OFF 4 Trumpets Bah Bah Bah Bah Saxophones Bah Bah Bah Bah Trombones Bah Bah Bah Bah All Sections Bah Bah Bah Bah Bah 1 JADA Bob Carleton 4 # Bah Bah # Bah Bah Bah Bah n Bah Bah n Bah Bah Bah # Bah Bah Bah Bah n Bah

Syncopation in Jazz When beats are played early (anticipated) or played late (delayed), the music becomes syncopated Syncopation makes the music sound jazzy 14 SYNCOPATING BY ANTICIPATING THE BEAT (PLAYING EARLY) (Syncopated) 4 4 J Anticipated (Syncopated) Anticipated 15 SYNCOPATING BY DELAYING THE BEAT (PLAYING LATE) (Syncopated) 4 Delayed (Syncopated) J Delayed 16 WHEN THE SAINTS GO MARCHING IN Without Syncopation 4 4 James Black and Katherine Purvis 1 WHEN THE SAINTS GO MARCHING IN With Syncopation 4 Bah Bah j Bah Bah j Bah 18 RHYTHM STUDY FOR JADA 4 Bah Bah Bah Bah Bah Bah Bah Bah Bah 19 JADA Full Band Arrangement With Syncopation 4 n # n nn # # # div n div Bob Carleton Arr by Mike Steinel # # ## div b

8 20 READING SWING RHYTHMS To play the correct rhythm ith a good jazz feel, think (or feel) the basic 8th note pulse and the jazz syllables To play the correct rhythm think of the underlying 8th note pulse 4 4 Bah To play the correct feel think of the jazz syllables Bah ( ) ( ) J Bah Bah Bah ( ) J ( ) J 21 SWING RHYTHM WORKOUT #1 4 4 Bah ( ) ( ) J ( ) J Bah ( ) J ( ) J J 22 SWING RHYTHM WORKOUT #2 4 j Bah Bah Bah Bah Bah Bah Bah j Bah j Bah Bah Bah Bah j Bah Bah Bah j j 2 SWING RHYTHM WORKOUT # Remember to keep the 8th note pulse going in your head ( ) 4 J J J Bah ( ) Bah ( ) Bah ( ) Bah 24 SWING RHYTHM REVIEW 4 j J J j J J

9 Jazzin Up the Melody ith Syncopation Syncopation is the first step to improvising in a jazz style Early jazz musicians syncopated all types of music, including marching band tunes, hymns, and blues songs They called it raggin the melody 25 JAZZIN UP ATISKET ATASKET 4 Original Melody Jazzed Up (syncopated) Melody Bah Bah Jazzin Up the Melody by Adding Rhythms Adding rhythms to a melody is another easy ay to improvise in a jazz style Start by filling out long notes ith repeated 8th and quarter notes Remember to sing the 8th notes (play legato and give the upbeats an accent) Bah Bah Bah 26 JAZZIN UP JINGLE BELLS 4 Original Melody Jazzed Up Melody (rhythms added) Bah Bah Bah Bah Bah Bah Bah Bah Bah Bah Bah Bah Bah Bah J Pierpont MAKE UP YOUR OWN (IMPROVISE) 2 LONDON BRIDGE Complete the melody in your on jazzed up ay Use only the notes shon in parentheses Slashes on the staff indicate hen to improvise 4 Original Melody Jazzed Up Melody Band Band Solo ( ) ( ) Band Solo ( ) ( ) Solo complete the melody Helpful Hint: Using The Melody Is Never Wrong When starting to improvise, keep the melody in your mind It is a helpful guide for beginning improvisers

10 16 Improvising on the Melody Jazz musicians often improvise on or around the melody of a song There are many ays to change a melody to create an improvisation 5 ST LOUIS BLUES Original Melody # 4 4 j # b j # b # b J 54 ST LOUIS BLUES Changing Rhythms # 4 4 b j # b J j # b 55 ST LOUIS BLUES Repeating Parts of the Melody When there are pauses in the melody, repeat notes or groups of notes # 4 b b b # b J 56 ST LOUIS BLUES Filling in the Skips Skips in the melody can be filled in ith the scale steps # 4 b b # b 5 ST LOUIS BLUES Adding Wrong Notes (Chromatic Ornamentation) A rong or dissonant note (usually a half step off ) can create a great jazz effect if it leads into a good melody note # 4 b n # b # b # a n # b

PERFORMANCE SPOTLIGHT 111 58 ST LOUIS BLUES Full Band Arrangement ~5} # 4 Intro 4 j # b W C Handy Arr by Mike Steinel # j # b # b J 1 2 div b {19} # G Solos Play 1st time only ( C ) # Solo starts here (use the melody as a guide for improvisation) G D C G {1} # Full Ensemble (DixieStyle) b n # n j # b # b div b n J b b b a U nb n 59 DEMONSTRATION SOLO FOR ST LOUIS BLUES G # 4 J b C b G # n D # # C n b j G #} G J J b C b b # G D C b G j b

12A FOR PIANO ONLY Jazz Chord Voicings Jazz Chords can be played many different ays The ay a specific chord is played and hich notes are used is called a Voicing Jazz voicings can have as fe as to notes or as many as eight or more Thirds and Sevenths are Important These notes determine the quality (major, minor, or dominant) of the basic chord Notice in this example ho simple voicings made up of only roots, thirds, and sevenths sound full and complete? 4 4 Cma Root C b Root Cmi b b Root Ninths, Elevenths, and Thirteenths To make jazz voicings sound jazzy, pianists often include upper extensions (ninths, elevenths, and thirteenths) in the chord voicing These notes are the same pitches as the 2nd, 4th, and 6th notes of the major scale from hich the chord is built 4 4 Extended C Major Scale 8 9 10 11 12 1 14 15 C Major Thirteenth Chord Cma 1 ( ) Note: Ninths and thirteenths can be added even though the chord symbol indicates a seventh chord Comping With Jazz Voicings It is important to remember that comping must compliment and not compete ith the rest of the band In order to achieve this, pianists and guitarists improvise chord voicings that supply the most necessary harmonic information ith the least amount of notes When you are first learning to voice chords, it is best to start ith to, three, or fournote combinations These provide an adequate picture of the harmony ithout sounding thick or muddy Here is a blues progression harmonized three different ays Blues in Bb using tonote voicings (thirds and sevenths)? b b 4 b Bb b Eb b Bb n F b Eb b Bb Blues in Bb using threenote voicings (thirds, sevenths, ninths, and thirteenths) These voicings are used for exercises 9 and 41 45 B b E b B b F E b b b? b b 4 4 1 b b 9 n 1 b 9 n b 9 B b n 1 b Note: In a jazz chord, the Thirteenth (hich is actually the 6th note of a scale) is often used in place of the fifth Blues in Bb using fournote voicings b b? b b 4 4 B b 1 1 b E b 5 9 b B b 1 n 1 b F 5 9 n E b 5 9 b B b 1 n 1 b

FOR PIANO ONLY 12B 1 Ho to Build Jazz Voicings Although voicings are often provided for you in the music you play, it is important to be able to build your on voicings Here is a simple procedure 1 Find the notes of the chord (all the ay to the thirteenth) 2 Omit the root and fifth For best results put the third or seventh at the bottom 4 Add ninths and thirteenths to make the chord sound jazzy 5 Connect smoothly beteen chords (keep common tones if possible and move voices by step) The Importance of ThreeNote Voicings Threenote voicings are very important to jazz pianists because they can be played by one hand Jazz pianists use threenote voicings three ays 1 As a chord in the left hand hile the right hand improvises a melody 2 As a chord in the right hand hile the left hand plays a bass line (hen there isn t a bassist) As a chord in the left hand hile the right hand adds notes to fill out the voicing Six Basic ThreeNote Voicings By folloing the guidelines in the box above you can build to basic voicings for each of the three basic chord qualities (Major, Dominant, and Minor) Note: Ninths and thirteenths can be added even though the chord symbol indicates a seventh chord 9 5 or 1 Piano? Cma 9 b C Cmi 5 b b Cma C b 1 Cmi b b 5 When chords change, keep the motion beteen chord voices to a minimum Avoid voicings entirely above or belo middle C G bc F b ToHanded Voicings Often pianists ill need to play voicings that use both hands These are the most commonly used hen accompanying the entire band or hen added excitement is needed Expanding ThreeNote Voicings One of the easiest methods of producing excellent tohanded voicings is to expand the basic threenote voicing by adding notes in the right hand hich fill out the chord Here are three simple ays to do that:? Basic ThreeNote Left Hand Voicing B b b 1 Adding the Root in Octaves LH 1 1 B b b b b RH 1 Adding a Triad Built on the Root of the Chord B b 5 b 1 LH b RH 1 Adding Root, Fifth, and Ninth LH 1 5 9 B b b RH 1

14 12A FOR BASS ONLY Constructing Bass Lines Although all of the exercises and songs in this book ill have bass lines ritten in the part, it is important that young bassists kno ho to build simple alking bass lines Remember these bass lines are for jazz hich is marked sing and in 4/4 time Effective alking bass lines provide the harmony (notes of the chords) in a smooth and melodic fashion The most important note in the harmony is alays the root, hoever a bass line made up entirely of roots sounds boring:? b b 4 B b E b B? b b b F E b B b A bass line hich arpeggiates chord tones sounds slightly better It provides a complete picture of the harmony, hoever it does not sound smooth or melodic:? b b B 4 b b B? b b b b b b F b b E b b E b b B b b b b To Basic Walking Melodies 1, 2,, 5 and 8,, 6, 5 You can build effective bass lines ith to basic melodies (1, 2,, 5 and 8,, 6, 5) The numbers indicate hich scale tones are to be used Notice that each melody starts ith the root (1 or 8) of the chord Providing the root on beat 1 of each bar is an important role for the bassist Notice that each of these melodies contain three chord tones and one scale tone Each is harmonically and melodically strong 1, 2,, 5 8,, 6, 5 C Cmi?4 Cma b Cma C b b Cmi

6A FOR DRUMS ONLY 15 The Ride Cymbal In jazz marked sing the ride cymbal reinforces the quarter note alking bass line provided by the bass player These to instruments supply the rhythmic foundation of sing music The Basic Ride Cymbal Pattern The ride cymbal pattern is usually played in a triplet feel, hoever it is not alays strict At slo tempos the pattern is very triplety but at faster tempos the eighth notes are played more evenly In this book e ill alays notate the ride pattern in eighth notes The basic Ride Cymbal Pattern is notated as: 4 4 The basic Ride Cymbal Pattern sounds like: 4 4 The Basic Sing Pattern Playing time This is the basic sing pattern for Jazz Drumming (ith and ithout bass drum) Practice each until they are automatic 4 4 Achieving Variety of the Ride Pattern Although many drum parts are notated ith a strictly repetitive ride cymbal pattern, in practice jazz drummers use a ide variety of cymbal rhythms Practice each of the rhythms belo so that you can execute them ith steady time and good feel When playing the exercises and songs in this book feel free to use any of the rhythmic patterns listed belo 1 2 4 4 4 4 4 5 6 8 4 4 4 4 Using the Bass Drum in the Sing Pattern When playing the basic sing pattern the bass drum can play quarter notes on all four beats of the bar very softly or it can be omitted It is important to develop a very light bass drum as it can easily sound heavy and cover up the notes of the bass line It is often said that the bass drum should be felt but not heard

16 Charles Christopher Parker (1920 1955) ho as knon to jazz fans as Bird gre up in Kansas City As a young boy he idolized Count Basie s star tenor saxophonist, Lester Young Bird became a virtuoso performer on alto sax hose solos displayed fire, brilliance, and a keen understanding of the blues Although he died before he received the recognition he deserved, his style became idely studied and imitated Dizzy Gillespie 2 Charlie Parker John Birks Gillespie (191 199) as born in South Carolina While touring ith the Teddy Hill Band, he earned the name Dizzy because of his cloning and horseplay His main influence as Roy Eldridge ho as perhaps the most brilliant trumpet soloist of the sing era In addition to being a great trumpeter, Dizzy as an entertaining shoman His puffed cheeks and bent horn made him a recognizable figure the orld over PERFORMANCE SPOTLIGHT 99 BOPPIN AROUND Full Band Arrangement # 4 4 # n# # # n {14} Solos # % # n n n b b b b # # n b n 1 b n n n n n To Coda fi 2 div # nn Mike Steinel G n # C n b n # G n # fi CODA # b D # # n n G n # b n div DS al Coda 100 DEMONSTRATION SOLO FOR BOPPIN AROUND G # 4 n G # n # n# G # # # b n b n n # D j C n j b # n b C G b n j b b n J b b b # G D j n J n j # G n

Correlated Arrangements Grade 15 Written for full band, playable ith Saxes, 2 Tpts, 1 Tbn, Rhythm Section Each arrangement is a selfcontained teaching unit ith exercises for Melody, Rhythm, and Improvisation Fulllength recordings included ith each arrangement ALL OF ME arr Michael Seeney 0011159/$4000 BALLAD FOR A BLUE HORN Mike Steinel 0010955/$4000 BASIN STREET BLUES arr Michael Seeney 0010951/$500 BLUES FOR A NEW DAY Mike Steinel 001086/$4000 BOSSA DE CANCUN Mike Steinel 001145/$4000 BUBBERT GOES RETRO Mike Steinel 0011055/$4000 BUBBERT GOES UNDERCOVER Mike Steinel 001084/$500 BUBBERT GOES WEST Mike Steinel 001129/$4000 BUBBERT IN LOVE Mike Steinel 0011459/$4000 BUBBERT KICKS BACK Mike Steinel 001095/$500 BUBBERT S GROOVE Mike Steinel 001048/$4000 BUBBERT TAKES THE TRAIN Mike Steinel 0011161/$500 COMIN HOME BABY arr Michael Seeney 001105/$500 JADA arr Michael Seeney 001082/$4000 MISTER COOL Mike Steinel 0011061/$500 ON BROADWAY arr Michael Seeney 001088/$4000 PERFIDIA arr Dominguez/Seeney 0011165/$500 RIFFOLOGY Mike Steinel 001116/$500 SATIN DOLL arr Michael Seeney 001040/$4000 SO THERE! Michael Seeney 0011059/$500 SO WHAT arr Michael Seeney 001042/$4000 SONG FOR SAN MIGUEL Mike Steinel 0011295/$4000 SUNDAY AFTERNOON Mike Steinel 001046/$500 TAKE THE A TRAIN arr Michael Seeney 0010925/$4000

ESSENTIAL ELEMENTS JAZZ PLAYALONG (Jazz Standards) A great resource for: Teaching improvisation Combo performance Jazz Ensemble supplementary study By Michael Seeney and Mike Steinel At last, a jazz playalong book for developing players! Besides being a perfect introduction to some of the bestknon jazz standards, this book includes hints for improvising (every tune!), a guide to jazz articulations, a scale/chord correlation chart, and biographical sketches of key jazz figures And if that eren t enough, each tune comes ith its on sample solo for reference or performance, and the professionally recorded CD/CDROM includes tempo adjustment softare for students to start at their on pace and gradually ramp it up! Includes: No s the Time Killer Joe Blue Bossa CJam Blues Footprints Song for My Father Autumn Leaves Freddie Freeloader St Thomas Blue Train 0084198 B b, E b C Instruments $1499 00841988 Flute, F Horn, Tuba $1499 00841989 Rhythm Section $1499 (includes bass lines, piano voicings, and drum patterns) 60 CD %: FULL PERFORMANCE : RHYTHM SECTION ONLY E Version # 4 P Medium Sing G FREDDIE FREELOADER By Miles Davis C # G n 1 D # n C b F 2 D C # # n b G (DC Only ) n U Solos ( choruses) CD includes 2 fulllength recordings of every # G tune (Full Performance or Rhythm Only) n Biographical information gives insight on the composer and on jazz history # C n b G n DC al Fine (last time) Improvisation hints help students to create # D C n b F n b b n melodies hile teaching jazz chords and rhythms Copyright 1959 Jazz Horn Music Copyright Reneed This arrangement 2004 Jazz Horn Music All Rights Administered by Sony/ATV Music Publishing, 8 Music Square West, Nashville, TN 20 International Copyright Secured All Rights Reserved MILES DAVIS (1926 1991) Miles Davis began his career as a trumpet player ith bebop legend Charlie Parker, but he quickly emerged as a leader ho became and remained a trend setter for the rest of his career He had a particular gift for finding and nurturing the most talented young musicians of the day The list of musicians ho played in his bands is a veritable ho s ho of modern jazz and includes John Coltrane, Cannonball Adderley, Herbie Hancock, Chick Corea, Tony Williams, Bill Evans, and John McLaughlin HINTS FOR IMPROVISATION This classic blues tune uses a unique variation of the traditional blues progression A concert Ab chord is used in the 11th and 12th measure, here a Bb ould be more typical Use the scales shon as a reference, or use either of the blues scales throughout

By Michael Seeney and Mike Steinel Economical 15 easy jazz charts in one book Written for full band, playable ith Saxes, 2 Trumpets, 1 Trombone and Rhythm Section All arrangements correlated to the acclaimed Essential Elements for Jazz Ensemble series 15 repertoire pieces designed specifically to accompany your jazz curriculum! Series includes optional books for Flute, Clarinet, F Horn and Tuba CD includes fulllength recordings of every chart From Hal Leonard s acclaimed series, here is a fantastic collection of arrangements in a variety of styles As a bonus feature, each arrangement includes a teaching unit ith exercises in melody, rhythm and improvisation A valuable teaching tool in addition to filling your programming needs! Includes: All of Me Ballad for a Blue Horn Basin Street Blues Blues for a Ne Day Bubbert Goes Retro Bubbert s Groove JaDa Mister Cool On Broaday Perfidia Satin Doll So What Song for San Miguel Sunday Afternoon Take the A Train 0011461 Conductor $2499 001142 Trombone $699 0011462 Alto Sax 1 $699 00114 Guitar$699 001146 Alto Sax 2 $699 001144 Piano $1199 0011464 Tenor Sax 1$699 001145 Bass$699 0011465 Tenor Sax 2$699 001146 Drums $699 0011466 Baritone Sax $699 00114 C Treble/Vibes $699 001146 Trumpet 1 $699 001148 Flute $699 0011468 Trumpet 2 $699 001149 Clarinet $699 0011469 Trumpet $699 0011480 F Horn $699 001140 Trombone 1$699 0011481 Tuba $699 001141 Trombone 2$699 0011482 CD$1499

ESSENTIAL ELEMENTS FOR JAZZ ENSEMBLE Complete Order Information ESSENTIAL ELEMENTS JAZZ ENSEMBLE METHOD 008415 Conductor$2999 008414 E b Alto Saxophone $1299 0084148 B b Tenor Saxophone$1299 0084149 E b Baritone Saxophone$1299 0084150 B b Trumpet$1299 0084151 Trombone$1299 0084152 Guitar$1599 008415 Piano $1599 0084198 B b, E b (Jazz Standards) C Instruments $1499 00841988 Flute, F Horn, Tuba $1499 00841989 Rhythm Section $1499 0084154 Bass$1599 0084155 Drums$1599 0084156 C Treble/Vibes$1299 Also Available: 00841620 Flute$1299 00841621 Clarinet$1299 00841622 F Horn$1299 0084162 Tuba$1299 ESSENTIAL ELEMENTS JAZZ PLAYALONG 0011159 All of Me (Seeney) $4000 0010955 Ballad for a Blue Horn (Steinel) $500 0010951 Basin Street Blues (Seeney)$500 001086 Blues for a Ne Day (Steinel) $500 001145 Bossa de Cancun (Steinel)$4000 0011055 Bubbert Goes Retro (Steinel)$500 001084 Bubbert Goes Undercover (Steinel) $500 001129 Bubbert Goes West (Steinel) $4000 0011459 Bubbert in Love (Steinel) $4000 001095 Bubbert Kicks Back (Steinel)$500 001048 Bubbert s Groove (Steinel) $500 0011161 Bubbert Takes the Train (Steinel) $500 CORRELATED ARRANGEMENTS (Grade 15) 001105 Comin Home Baby (Seeney) $500 001082 JaDa (Seeney) $500 0011061 Mister Cool (Steinel) $500 001088 On Broaday (Seeney) $500 0011165 Perfidia (Seeney) $500 001116 Riffology (Steinel)$500 001040 Satin Doll (Seeney) $500 0011059 So There! (Seeney)$500 001042 So What (Seeney)$500 0011295 Song for San Miguel (Steinel) $4000 001046 Sunday Afternoon (Steinel) $500 0010925 Take the A Train (Seeney) $500 THE BEST OF ESSENTIAL ELEMENTS FOR JAZZ ENSEMBLE 0011461 Conductor $2499 001142 Trombone $699 0011462 Alto Sax 1 $699 00114 Guitar $699 001146 Alto Sax 2 $699 001144 Piano $1199 0011464 Tenor Sax 1 $699 001145 Bass $699 0011465 Tenor Sax 2 $699 001146 Drums$699 0011466 Baritone Sax$699 00114 C Treble/Vibes$699 001146 Trumpet 1$699 001148 Flute $699 0011468 Trumpet 2$699 001149 Clarinet$699 0011469 Trumpet $699 0011480 F Horn$699 001140 Trombone 1 $699 0011481 Tuba $699 001141 Trombone 2 $699 0011482 CD $1499

A Comprehensive Method for Jazz Style and Improvisation By Mike Steinel #999DCAAGa HL9000188 Visit Hal Leonard Online at halleonardcom