errs Rene: Senn ae lee pol a ae ES Le) mC] ele mela bedhead neue can cenen . a ; BY DEAN ence & BRUCE PEARSON enaJAZZ ARTICULATION/NOTATION GLOSSARY Long Accent Short Accent Tenuto Staccato Bend Short Fall Long Fall Scoop Doit 7 Glisand cis) ela PS cena Fin eer Cutoff Indication == oe Closed Plunger a Open Plunger : tom sa" eee ES Saxophone, trumpet, and trombone on the cover warps Play with a strong attack, then sustain the note for its full value Play the note short with a strong attack Sustain the note for is full value, Do not accent the attack. Play the note short. Do not accent the attack Use your embouchure to temporarily dip the pitch of the note. Within the note’s duration: 1) play the note; 2) bend the pitch down about one half step; 3} bend back to the original pitch. Play the note, then immediately slide the pitch quickly downward by relaxing ‘your embouchure. Decrescendo as the pitch drops. Play the note, then slide the pitch slowly downward by relaxing your tembouchure and haltvalving (partially depressing the valves}. Decrescendo as the pitch drops. Slide into the note from below by half-valving and tightening your tembouchure. Complete the scoop before playing the written pitch (which should be played in shythm, Play the nate, then slide the pitch upward by tightening your embouchure and halfvalving. Decrescendo as the pitch rises Play the first note, then use your embauchure to slide the pitch smoothly to the next note. A fast slide is usually preferable, unless a comic effect is desired. Halfvalving or apidly activating the valves may also be used to aid in creating the glss. Bridge two written notes by playing ornamental notes hetween them. The ornamental notes are usually the harmonic just above the first written note, and the pitch of the first written note itself. The ornamental notes should be played just before the second written note (which should be played in Thythm),. Retain the same fingering for the first note and the ornamental notes Release the note on the beat indicated {in this case, beat 3}. With your left hand, hold a plunger tightly over the bell as you play the note, \With your left hand, move the plunger away from the bell before you play the note, With your left hand, hold a plunger tightly over the bell as you begin to play the note, then move the plunger away from the bell during the note’s sustain and release, provided courtesy of the G. Leblane Corporation, Kenosha, Wisconsin, U.S.A.Cee ny ae STANDARD OF cicadas BY DEAN SORENSON & BRUCE PEARSON Dear Student: Welcome to the STANDARD OF EXCELLENCE JAZZ ENSEMBLE METHOD. The jazz tradition is rich and varied, calling many styles of music its own. This book will provide you with an introduction to understanding, enjoying, and performing this exciting music. The book is divided into three sections, each representing a different jazz style: Rock, Swing, and Latin. The three sections are color-coded: The Rock section is indicated by MBL sand graphs, 4 The Swing section is indicated by HMMM tabs and graphics. @ The Latin section is indicated by MMMM bs and graphics Each section contains RHYTHM STUDIES and IMPROVISATION STUDIES which may be played with other members of the jazz ensemble, or withthe CD found on page 49.-The CD ‘track number for each exercise is indicated by a CD icon and number (for example: Further information about the CD is included on CD track 1. Each section of the book also includes compositions, or charts, that apply what you learn in the RHYTHM STUDIES and IMPROVISATION STUDIES. These charts are designed to be played with the full jazz ensemble. As with any type of music, leaming to play jazz requires hard work and dedication, Careful study and use of this book will help you develop the skills you need to become a fine jazz musician, The rewards are well worth it Best wishes, Dean Sorenson Bruce Pearson ISBN 0-8497-5748-7 {© 1996 Neil A Kjos Music Company, £380 Juand Drie San Diego, California Irerntionl copytigh secured alight reserved. Printed inthe U.S.A WARNING! Governmens around the worl provide copyright ws to encourage compouton and publction of new musi. Anyone copying music withowt perminson balan the copyight law an aubjec to penaies. Peace do not walate copyright ls ‘de nat eapy or reproduce tee contents ofthis Book nary Way. Thank yout IgOs NEIL A. KJOS MUSIC COMPANY, PUBLISHER wares2 RHYTHM STUDIES - JAMMIN’ WITH CHARLIE # Follow the marked articulation on each note. Play notes marked > long and ROCK PLAYING accented, and notes marked 4 short and accented, GUIDELINES @ Separate non-slurred eighth notes. ‘When practicing RHYTHM STUDIES with the CD, listen the first time, then sing and play the second time. Roan J=L16-§20 i Gwe) DA due ce OA DUT rr) ou) @3 es OA Awe DAH DUT a ow) > a DA aut due OA ds DUT A (ina) Gus) Qa DA due aut DA 5 om eu) @ am due ave aut DAK Oona oa @s erate Asean ake DAHIMPROVISATION STUDIES - JAMMIN’ WITH CHARLIE Blues Scale (Concert B> Blues) BLUES SCALE = we Ly dL tly tbe Ibe IL JAMMIN’ WITH CHARLIE Is based on the 12-bar blues, the most common musical form in jazz, The blues scale is a good starting point when improvising over tunes based on the blues. The series of chords that accompanies a melody is called a chord progression. The basic blues chord progression (or simply blues progression) isa series of three chords played over 12 bars. Any note of the blues scale can be played over any chord of the blues progression in the same key as the scale. Roek d=Lb-100 a — > The chords ofthe blues progression appear aver the music in the form of chord symbols, 2 shorthand form of chord rotation, > As you play, listen to how each note of the blues scale sounds with the blues progression played by the rhythm section, Are certain notes ofthe scale more “bluesy” than others? ‘When practicing IMPROVISATION STUDIES B and C with the CD, listen and play both times, Bir Guten uy) oh a Q7 @7 a AA Liste) Guts) a 07 @7 qr qr D These licks (melodic patterns) are derived from the C blues (Concert Bb blues} scale wares4 IMPROVISATION STUDIES - JAMMIN’ WITH CHARLIE, cont. (iste) Gu) 0 a @s uw) a @8 (Listen) 7 q > These licks are derived from the C blues (Concert Bb blues) scale, (Listen Sor me, Puy Ono mae) 7 a ‘7 a a QI Fa > The writen solo is based on the licks from IMPROVISATION STUDIES B and C } In the bars notated with slashes, imorovise your own solo based on the C biues (Concert Bb blues) scale. Use new ideas ‘or licks you know. warts_ tas dbs COMMIN’ WITH CHACLIE gS (porn 0 So. C7 reaeoos mca, | so ae 7 a ‘eso, cacsokon z wartsRHYTHM STUDIES - UNCLE MILO’S SIDE SHOW ‘© Punch (accent) all short notes. YIN’ ROCK PLAYING | rayon op of he groove éxtablened by the rhythm secon by mentaly GUIDELINES anticipating each beat so that attacks are precise and thythmically accurate. Roce dest0-i06 Lona Guy @io ut dye aut dus dot due dus OAT (Gina uw) @10 5 (ona) ow), @u pur DAH 1 Gua) uy) @u de dut due OFF ut mo ee en Dura our Gina) Gu) : @Pr2 ds dt DAH OUT a (ine) Gu) @ Sede oes 8 ait dat OH a ut - Gin) Gu) @B aoe warts 4s da aa da DAHIMPROVISATION STUDIES - UNCLE MILO’S SIDE SHOW D Dorian Scale (Concert € Dorian) DORIAN SCALE gee Lrtle db IG IE See IE “UNCLE MILO’S SIDE SHOW is based on the dorian scale The dorian scale is a common choice when improvising over a minor seventh chord, like Dmi7 (Concert Cmi7} in the solo section of UNCLE MILO'S SIDE SHOW. Boek d=fbd-i6 > As you play, listen to how each note of the dorian scale sounds with the minor seventh groove played by the chythm section, > How does the dorian scale ditfer from the blues scale? Gu) ow D> These licks are derived from the D dorian (Concert C dorian) seale. wortrs8 IMPROVISATION STUDIES - UNCLE MILO’S SIDE SHOW, cont. Guy) Oui oui? @r6 our @16 > These licks are derived from the D dorian (Concert € dorian] scale, When you improvise, you are communicating ideas, just as you do when you speak. In improvisation, some phrases act as musical “questions,” while others act as musical “answers” to the questions. Question phrases sound incomplete and unresolved, as if more is to come. Answer phrases offer a sense of finality or com- pleteness. Skilled improvisers are masters at creating musical conversations that balance question and answer phrases (aisten Sat rine, PL fo re) The writen solo is based on the licks from IMPROVISATION STUDIES B and C. Try to distinguish between the question and answer phrases. D> In the bars notated with slashes, improvise your own solo based on the D dorian (Concert € dorian) scale. Use new ideas or licks you know. Strive to create a musical conversation, waits