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    JAVol030 Rhythm Section Workout

    Загружено:

    Cristhian Alexis Gallego
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    © All Rights Reserved
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    CONTENTS INTRODUCTION NOMENCLATURE ...nssrnere INTRODUCTION TO SCALE SYLLABUS ‘SCALE SYLLABUS. TIPPIN' TIME Petersen's Solo Haerle's Solo... BYE BYE BOSTON Haerle's Solo Petersen's Solo ‘Todd Coolman BOSSA FOR CHERYL Petersen's Solo Haerie's Solo Todd Cooiman FAST MODE AL Haerle's Solo Petersen's Solo Todd Coolman ® LADY'S BOUNCE ° \ Todd Coolman : Petersen's Solo Haerle's Solo SCOTT'S WALTZ Petersen's Solo Haerle’s Solo Todd Coolman... REFLECTION .. Haerle’s and “Oy SAMBA DE LUV@ME_ Petersen's Haerle's Solo. THE PIANIST! Piano Voicit THE BASSIS thy How To Build 1 oP cl International Coy —_ Robe 8 9 10 "i 14 15 16 7 19 Scor 26 31 33 35 36 INTRODUCTION "WORK-OUT is designed to help the players in the rhythm section. It not only allows them an opportunity to “comp,"itallows them space to solo, too. Volume 308 is for Keyboard/Guitarists. Volume 30B is for Bassists/Drummers. Be sure you have the correct recording before practicing. The booklet is the same for both volumes. ‘This is the first play-a-long recording in my series that allows the drummer to actually play along with others while they are soloing, comping, trading 4's, 8's, etc. Volume 30B is in stereo and the drummer (Ed Soph) can be tuned out or in, depending onwhich channel (left or right) you are listening to. This stereo separation allows you to hear Ed if you want to, or cut him out and put yourselt in his place. you listen to this recording in stereo it wll sound like a regular jazz record, with people taking solos and interacting as usual feel that educators can benefit by listening to the recordings while following the songs in the book. Being able to see what is coming next (piano solo, bass solo, fours with drummer, etc.) and then hearing it on the recording will make it easier 10 understand FORM as well as the normal jazz group procedure for playing songs. Several transcribed solos by Dan, Jack and Todd are included in this book to give you an opportunity to examine and play their solos. When playing their solos, I suggest beginning slowly and gradually increase your tempo to that of the recording, Inexperienced players will want to pay particular attention to phrasing and articulation! When “comping” itis probably best to use the chords found above the melodies rather than use the ones over the individual's actual solo. And, if you are “comping,” you wouldn't necessarily play the allgaalions of every chord. ; Try to emulate the FEEL of the players on these recordings win playinllaggos ifft are fi Won ifhao agg style. Use your ears to help you decide your volume, articulation, phrasing andiiher importa BAR and p| fat int 19 music Never play without listening to yourselt AND those groun, The distinguished personnel you will heart iN gtND tM reBording features DAN HAERLE on keyBBards, JARK PETERSEN on guitar, TODD COOLMAN on BR an PH on drums DAN HAERLE presently teaches at No SiMe University. He is a driving force in their jazz department. Danis a prolific composer and has written several be ‘books on jazz education. He is responsible for the actual recording you will listen to. It was recorded in Dan's studio it gs._Dan has always been in the forefront of jazz education and has made it a habit to give of himself in a wecoming jazzer to better equip himself for playing and/or teaching. Dan's playing experience odfe Clark Terry, Stan Kenton and studio work JACK PETERSEN teaches zg guitar aj Berklee School of Music in Boston, North Texas State Uni : of music. He is the author of Guitar Styles and Ark this collection. Jack's name truly a well-rounded musici TODD COOLMAN is pr Indiana and graduated trol York. He has kept good ti onthe faculty of the Summer Jazz Works at North Texas State University. —_ NOMENCLATURE + or# = raise 1/2 step H= Half step or b= lower 1/2 step W = Whole step Because jazz players, composers, educators and authors have not agreed on a common nomencla- ture for writing chord and scale symbols, the novice will have to become familiar with several different ways of writing the same scale sound. Listed below are the most common symbols in order of usage - most used!o least used. The symbol thatis bold face is the one luse most often. Notice that throughout this book you will see CA and C to designate a major chordiscale sound. | am doing this so you can begin to get acquainted with various nomenclature. ‘4 = major scale/chord or major seventh. A 7 alter a letter means to lower the 7th note of the scale, makingit a Dominant 7th quality Adash (—-) when located beside a letter means to lower the thirdand seventh of the scale 1/2 step, thus making it a minor tonality (Dorian minor). Ex. C-, F-, Eb-, etc. © means halt- diminished. C-A means a minor scale/chord with a major 7th. ~3 means 3 half-steps (a minor 3rd) 9:0 759) CHORD/SCALE TYPE ABBREVIATED CHORD/SCALE SYMBOL * MAJOR (Ionian) (WWHWWWH) ©, Ca, Cmaj, Cma, Cma7, C7, Cmaj7, CM, CM7 * DOMINANT SEVENTH (Mixolydian) (WWHWWHW) C7, C9, C11, C13 ~ “MINOR SEVENTH (Dorian) (WHWWWHW) C-, C-7, Cmi, Cmi7, Cm7, min, Cmin7 LYDIAN (Major scale with #4) (WWWHWWH) ~CA+4, Cmaj +4, CM+4, CA+11, CADS *HALF-DIMINISHED (Locriany (HWWHWWW) C@, Cmi7(b5) 7 : HALF-DIMINISHED #2 (Locrian #2) (WHWHWWW)- CO#2, CO2 7 — DIMINISHED (WHWHWHWH) eer" — LYDIAN DOMINANT (Oom. 7ih with #4) (WWWHWHW) Ci@4,C7+4&C7b5 WHOLE-TONE (Augmented) (WWWWWW) c7AC7 aug, c E O [ DOMINANT SEVENTH Using a Dim scale (wiv a DIMINISHED WHOLE- TONE (Altered scale b c749, 07 alt, 07495 LYDIAN AUGMENTED (Major with #4 WH) Gy #5. CAs5 x MELODIC MINOR (ascending only) (WH “Car Cmin(maj7), Cmid, C-A (Melodic) HARMONIC MINOR (WHWWH-3H) Cmis, CA(Har), C-Ab6 SUSPENDED 4th (W-3WWHW) on WWH * BLUES SCALE (use at play eto (-3,W,H,H,-3,W) (1,03,4| i * These are the most common ™ When we speak o} Ihave triedggguandar| many years there this one Heel that Mfrd nomenclature ongne pagt he will have to regve ght] ‘a reduced chord sya not: are playing a music g 2 their correspo fing #pbrepial Chee! retuly th Remember: 2nd's are’ Example: key of C.... thegnd, D, is Wl of the scale he prefe the chord symbol Ga (maj. pentato@): Cc pp INTRODUCTION TO SCALE SYLLABUS Each chord/scale symbol (C7, C-, CA+4, etc.) represents a series of tones which the improvisor can use when improvising or soloing. ‘These series of tones have traditionally been called scales. Scales and chords are the backbone of our music and the better you equip yourself, the more fun you will have playing music. list the scales in the Scale Syllabus in the same key (C) so you can have a frame of reference and can compare their similarities and differences. You are urged to write and practice them in all twelve keys. Be sure to listen to David Liebman soloing on all of these scales in the Seale Syllabus - Volume 26. Itcan really help one's ears to hear what these scales actually sound like with saxophone and piano. His transcribed solos are also available in book form. This Scale Syllabus is intended to give the improvisor a variety of scale choices which may be used over any chord ~major, minor, dominant 7th, half-diminished, diminished and sus 4, Western music, especially jazz and pop, uses major, dominant 7th, dorian minor and Blues scales and chords more than any other. Scales and chords used less often are the half-diminished, diminished and sus 4. If we agree on these five chord/scale families as being the most predominant, then wecan set them up as categories and list substitute scales beneath each heading...see Scale Syllabus page. Each category begins with the scale most clearly resembling the chord/scale symbol given to the left. The scales are arranged according tothe degree of dissonance they produce in relyggn to the basic chord/scale sound. Scales near the top of each category will sound mild or consonanignd a choices increasingly tense or dissonant. Each player is urged to start with ca tice and experimentation gradually work his way down the list to dissonant ju should work with anew scale sound on your instrumef unt ‘atQand fire bec alc Wh alt the eS in the scale, Also try singing the scale wi We with your voice over the scale yORMre lear and then play on your instrument what yol Music is made of tension and release. nes produce tension or they produce relaxation, The improvisor's ability to control the amount and frequen’ n and release will in large measure determine whether he is successful in communicating to the listener. the player are also a listener! Read in Volume 1 ~ A New Approach To Jazz Impdvisat pation of tension and release in melodic development. Any of the various oocin Pep and assimilation of any of should be transposed and for each scale on the s For additional informal Improvisation by David Baker, Repository of Scales & cy" ‘These books are availabk jan at your local music N Several play-a-long Me offer you 24 Major & Minor; Vo In All Keys and Vol. 47. 1" In All Keys, pf SCALE SYLLABUS CHORDISCALESYMBOL SCALE NAME ‘WHOLE HALFSIEP = SCALEINKEY OFC BASIC CHORD ‘CONSTRUCTION INBEY OFC ¢ Major WWHWWWH CDEFGABC, CEGBD © gavepasie Dominant 7th WWHWWHW CDEFGABbC| CEGBbD C. > FIVEBASIC — Minor(Dorian) WHWWWHW CDEDFGABDC — CEDGBbD co Half Diminished(Locrian) HWWHWWW C Db EbF Gb Ab BbC CEbGb Bb e Diminished(@ tone seal) WHWHWHWH _CDEbFGbADABC CEbGD A (Bbb) LMAJORSCALE = SCALENAME WAHCONSTRUCTION SCALEIN KEY OF C BASIC CHORD LMA10 Basic cuOR CA(Can be written C) Major(don't emphasize the 4th) WW HWW WH cD CEGBD A Lydian(major scale with 4) WWWHWWH = GD CEGBD Bebop Seale WWHWHHWH CD CEGBD Harmonic Major WWHWH3H | CD CEGBD Lydian Augmented WWWWHWH CD CEGHBD ‘Augmented SHSHSH CDHE CEGBD 6th Mode of Harmonic Minor. —3HWHWWH_ = CDREFHG CEGBD Diminished(begin with H step) HWHWHWHW CDbD#EF# CEGBD Blues Seale “3WHH-3W CEDFFAGREC GCEGBD Major Pentatonic WW3Ww-3 CDEGAC CEGB SCALE NAME WA&HCONSTRUCTION SCALEINKEY OF C BASIC CHORD INKEY OFC Dominant 7th WWHWWHW CDEFG CEGBbD Bebop Scale WWHWWHHH CDEFG CEG BD Spanish or Jewish scale H-3HWHWW CDbEFG CEG Bb (Db) Uydian Dominant WWWHWHW = CDEEVG CEG BbD C76 Hindu WWHWHWW CDEFG CEG BbD C7+ (has #4 & #5) Whole Tone(6 tone scale) wwwwww CDEF CEG#BbD C7o9{also has #9 & #4) Diminishedibegin with H step) HWHWHWHW CDbDk GEG Bb Db (Ds) G79{als0 has 69, 44,45) Diminished Whole Tone HWHWWW €DbD CE GH Bb D4 (Db) cr Blues Scale -3WHH-3W CEbF CEG Bb D(D#) @ Major Pentatonic Www3w-3 CDE CEGBDD DOMINANT 7th SUSPENDED ath ° Gfssd MAY BE Don. hse bu drt cps thehid G7sus4>> WRITTEN — Major Pentatonic built on b7 Crsus4 & Bebop Scale Corer Cor C7 Ca (maj. 7th) ‘SCALE NAME. Minor(Dorian), Bebop Scale Melodic Minor(a Bebop Minor Blues Scale Pentatonic(Minor Pent Harmonic Mi Diminished( Phrygian Pure or Natural Miy NOTE: The above chord sygpbo! guige aware that each chord symbf@l repress also has ab9, +4 & +5. The Ms chord symbol abbreviation is C73ggga t C7b9 appears to have gr. 3rd, +4, 5th, 6th, b7 & rol . Da, All scales under the Dominant 7th categt tension than the basic dominant 7th sound and requir with the first side of Volume 3 "Thgggas-1 Progression” sinet *~ Incategory #3, MINOR S@AEt BES, tobe Dorian, Bebop, Melodic, Bl nly Ono QrO> a oot Tah a so 3 vue $30 Seeger rey os Domo mo aaaaandaag PPeEPrerer TRACK ROADMAP ee Tippin’ Time 2 guitar, 2 piano, 2 bass, 2 drums (trade 2's with guitar, piano, bass) ‘melody chorus by Dan Haerle 42/08 Bb? Ab7 867 4b7 2b7 Bb7 Jack Petersen’s Solo on Tippin’ Time 43106 . Bb7 a 3b” Dan Haerle’s Solo on Tippin’ Time 42/08 ep Ct oe Bye Bye Boston by Jack Petersen d2/% er prt? G76? f Hz 4 5 = wae iL - c-7 er oe? B67 , 7 pb@kbs £7 _ — é ec ctdé s C4, As C-7 bs 7 id Dan Haerle’s Solo on Bye Bye Boston Do OoOO Doo ooOoY 2S SS C7 Qo Aaa Cer ee | (Ste FSS pate tp FI Fa. fed pte] ole _o" be £4, Jack Petersen’s Solo on Bye Bye Boston pT o7 bs B07? soe «Eb ar fo Fe Todd Coolman on Bye Bye Boston pr 3677 as EoD “er Abb p79 o. Fn ope ep — SS ae tt ti grb? 7 og 367°? the EDD Pet errr trtrertiy pad “o7 Abe DF cr hy oad Se an Fae it fide == Prete erartiertitert jitott 5 D7? Bor"? [tt ap aration eles £66 («£bD £67 Cob tity ero OFe, : 47 ert? wrt lod ft es raat oA 07 C7 fu7 rts 4b6 26h Abb 27 or Cbs 7 Gr? Joaten te srt ett Dt? Cae Cr oe fp? EEREMErr Tr eeete = = £66 Ha er He Pet arterial els : eeteeeth b EP be Petree itt pee peta ey Tae Bb74? ffi or 1p 4b? c-7 arent ft QU “Les ~ died i eee — Bossa For Cheryl by Jack Petersen d= (20 Daum reo 8 oF Jack Petersen’s Solo on Bossa For Cheryl £bh De ots C7 Ag Ab? 6-7 or fe7 “ ui Serres Pert Dan Haerle’s Solo on Bossa For Cheryl £64 De ert oh Sa A aeeere ir epeetite Aten opel tae FoT 7 & 367 Todd Coolman on Bossa For Cheryl £63 De 68 eur Ab Ab? G- OT oF e757 bh Gb? Ch7 gg. Cb Mp pLb ip Or pay SET a= a7 == D7 GT D7 of fT pd pe 2 canis slemid t ta fer Bort? Pd ort ne peat path ba phd ha 6 o7 = a ae Dilan err oie ptr? as eas ea be He pte = Poe Gelntiey SCO fen ae pea \ «\ fT Boh eet @ s tT RD Db ear al Fast Mode Al by Dan Haerle Dan Haerle’s Solo on Fast Mode Al See gp epettttayt tit br Pet ttre C7 TN Boe tte tg Deer ig = BST 4 Je eS = Jack Petersen’s Solo on Fast Mode Al Statist isa tte pero toh oS Se e fer —— Todd Coolman on Fast Mode Al MELODY) £b-7 Lig £ Wr tt tt abt ‘ tte) C-7 Sasa et Help tal lit pie ble peer pS paeerat tte BAN Sco f Qt ~ fap RRS eterna PAN SOLD petty Bett Rt ttt Cn-7 pt ie tS pa ate a eS Seetrip step teh ere ee reeteres a 5COre ; Fast Move Av-Coorrm- 2.3 rite a apa Ladys Bounce by Jack Petersen deu2 ‘Tadeo (oar 5 fines) BH) aes ‘a oF 4 k ppt ghd ee Todd Coolman on Ladys Bounce SA a re oo g-7 C7 eT grt? Got fre? fo fe SSS aa c-7 a7 a G7 7 3b G7 ¢ ” 3b Bh pS Te te ep £ £ ore ~) Cor g pr Ow eet Ss \ or fT by ————— LADYS DOUNCE - CO0LMAN ~ [G3 3b 37) kb ge * be on az ra Cac Tett tepeseep = Set C7 e7 Bb o-7 C7 eT Bb 367 Lb “ Let pf fp te fp fos 6 o79 ae or C-7 FT Be Ge? fp eek ty Dep i rete the tip ey peat Ma jad “ggg 2hole. 3 etre oar rp tS ened eth etter tig LADS Boudee- Coctman) - 72.4 o” Cae a pa a Seaeeet (Se 3b 6-7 C-7 fT Bb (te C7 gr Bb 37 ~ = ; Se fate tS 2 a BLE See f= b a 2 Cl gt sy oo SSetartot fied ——— fa : —_—_—= or, a? gy 3 G7 27 f ae Lavls Boudee-Coorram - Fe. a G7 C-7 fT Bb BIT Bb grt? Jack Petersen’s Solo on Ladys Bounce i Bb G7 gt gt Bb ge? C7 8 3 G-7 ££ ¢@ C7 FT g AEP get (= =e = z cf ££ o 0-7 g fame tr tts A ae a £b mreewti srades C-7 j ——— tet Gt EE pt hf fT 4 BERG ft be Bb 6 er ei Bb fof fpr ode 6 £ waerss pet te eee ht te pec tittet tot Eee Ettee » Dan Haerle’s Solo on Ladys Bounce 36 COB £67 £e cn? isan A era or Bagg eats of ett Scott's Waltz by Jack Petersen Jack Petersen’s Solo on Scotts Waltz -, oT gt pee Dan Haerle’s Solo on Scotts Waltz er ge & Ie Fs Todd Coolman on Scott's Waltz ote Reflection by Dan Haerle 760 G7 Abd, 4 fa Bd OF prtee aber dL, Fad a ad a E PANO) aS eats Png P ate 6 Abe, Abb ve.) te tt SE t 42 cart Ba = = ai oe if lay 1s if eatt Eercectiod — Pé-2 Dan Haerle’s & Jack Petersen’s Solo on Reflection a ears 2 | an oy tere tot RE eee TRACK ROADMAP ‘melody chorus, 1 bass, (1 drums 10 and guitar), Samba de Luvsme by Dan Haerle melody chorus dz/20 Iwrko:» (EA) ‘ * Jack Petersen’s Solo on Samba de Luvsme get brit hrertitpset BbyZy ee eee toe ep bene httet 66 | sie ‘aot (5¢ ore. Dan Haerle’s Solo on Samba de Luvsme &% gpa et Pht => be = “| tte _ = a oo wn SCOre . The Pianist IN THE RHYTHM SECTION By Dan Haerle ‘The pianist in the rhythm section has many responsibilities and many opportunities for interacting members, Basically, the responsibilities are the other 1. To play the chords of a piece in accompaniment of the melody and other soloists. 2, To improvise solos which involve right-hand melodie activity with left-hand voicing accompaniment. 3, To listen to the guitarist (or vibist) for specific aspects of the harmony, such as alterations, which may be optional 4, To listen to the bass player for the occurance of root substitutions in the harmony. 5, To listen to the drummer for the time pulse and outlining of the form of the piece. 6, To listen to the soloist in order to reinforce what he is doing in a musical and tasteful manner ‘Though the responsibilities may seem somewhat overwhelming, the actual playing turns out to be great sport with many exciting and musical events taking place spontaneously along the way! To make things go smoother, keep the following in mina: Working With Guitar— Remember that with two or more chord instruments, you @l probabl for opportunities to answer the guitarist’s comping and create’a total gccompan ally to create a different sound, with the guitar comping only. If youl&e playing at hot sure what alterations of the chord you may be fgaring, ugly tones of the any serious clash, Additionally, if a chord is played Waccaiffe wt Oss criti the guitarist ~ Working With Bass— Avoid playing roots or fundamd harmony down in the low register of the piano since they could easily conflict with the bass player's walking line Instead, use inversions built on the 3rd, Sth or 7th of the chord and keep them in the middle register (generally, aye on either side of middle C), Remember that most root substitu: tions a bassist will make are either a 3rd above Spbol inal chord root in the scale of the key. Sometimes, the root a tritone away may be substituted “yen ee Working With Orums— Besides playing the e solo by playing accents fn various drums or eymbalgftger anist can help the drummer eeinforce the anticipation (the “and” ofthe Working Wi = A good pianist is especail MO ¢ {question to ask yourselggoeriod gal you are listening carety enougl! Toualy when the soloist hy could not hear in time to reset as soloing, with the sight k Of course this series, AON OICINGS) by Jamey Aebersold Piano voicings have often been a mystery to the up-and-coming pianist, 1 would like to list some voicings which | hear the “masters” use when accompanying others on recordings. I group the voiings according 0 QUALITY, ‘e,, Major, Minor, Dom. 7th, The numbers represent the notes from the scale which wwe will use to form the’ actual voicing, ‘The voicings always read from bottom (lowest note) to top (highest note in voicing). The horizontal line divides the right hand from the left, Notes above the horizontal ine are Usually played in the Right Hand, notes below are usually played in the Left Hand. 2 and'9 are actually the | encourage you to experiment by occasionally leaving off the top note, or the bottom note, The im: portant thing to remember in chord voicing is ~ the Third and Seventh should most always be present! Those tones are most important when conveying the quality of the voicings/chords to anyone listening To quickly get the FEEL of any voicing, | highly recommend learning voicings in this manner a. Pick a voicing that appeals to you. It can be ANY quality bi, Play that voicing in the key of C, then the key of Db, then D, and continue up the keyboard CHROMATICALLY until you again reach C. ‘c Memorize what you just played and be able to stop on any voicing, any key, and recite to yourself the KEY, QUALITY, and NUMBERS of each ton 4d, Now, play the same voicing, in the same C key, same quality, but this time go DOWN CHROMAT. ICALLY until you reach the key of C. . Several other root sequences | highly recommend are: up and then down in WHOLE STEPS, up and then down in MINOR 3rd's, and the CYCLE of FOURTHS. The Volume 21, “Gettin’ It Together" records are excellent for practicing the above suggestions. You ‘an turn the piano channel of your stereo off and practice these voicings along with the bass and drums on the right channel The purpose for learning several good-sounding voicings for each quality is to allow you to move from one chord to another and maintain smooth voice leading, For instancgs if one were to take the voicing 3, 5, 7,9 and play al he way trough 9 ong, on each diferent Key angi, the comping would sound very monotonous and choppy. Hence, the need for a variety @t voicing@for each 8 Also mthe register of the Keyboard oftens dictates which voicingls) to us Usually Marte: feomony he] ter of the keyboard, Approximately D or E below middle C an ‘octave i Examples using numbers for voicings. MAJOR 993565 771332 567116 335773 MINOR (Dorian) 9b3 5 1 5 b7 1 b3_ 5 b3 5b? b7b3 2. DSS #2 #2 4 b6 Exampl b7 b7 #2 4 DS BS b7 #2. CHH2 = D3. 4 BS DT b3 bS b3 The Guitarist IN THE RHYTHM SECTION By Jack Petersen The word “comp” is the short version of complement, not accompaniment. All four instruments of the rhythm section are accompanying the soloist or large ensemble, Comping involves an intimate relationship between thythm section players and the soloist, Listening becomes a crucial part of playing and the degree to which you listen often determines the eventual outcome of a person's solo. Interaction is another way of defining the guitarist’s role as an accompanist. Be careful never to become overpowering due to Working With Piano— Both the pianist and the guitarist should know a great deal about harmony and voicings. The role of the guitarist in working with piano in a rhythm section is 10 complement or match the voicings the pianist uses. The guitar should never overplay the piano and vice-versa. Usually 4- and 5:string voicings using the higher strings will help give @ piano-like quality to your comping. Don’t use any yoicings which employ roots in the lower strings because this may clash with the piano voicings and add a heavy sound to the overall Background, Working With Bass— ® The guitarist must also understand the function of theggags plal&r in order to BPicKpords iy fi ith the bassline, Again, avoiding roots played on lower@rings QT aM TA bas ling Foch ic ata Working With Drums— The guitarist must understand 1 gs se can be very conscious of what the drummer is doing. Listen care. fully to the hi-hat and ride cymbal, Try 1 ing/rhythms complement the natural rhythmic flow that originates with the drummer, Don’t force rhythms if you ‘98ing against the grain All four players in the rhythm section carefully to each other and be aware of balance and volume. One thing a guitarist can do to get a better concept of Boy the pianist’s use of the left hand while soloing. On the following pages are sudested thy As a general rule, voicings should be played in a more sustained manner at slower tg cis at medium to fast tempos. Lv © WU VW) —_ VOICINGS for COMPING MAJOR SEVENTH VOICINGS MAJOR VOICINGS USING FOURTHS MAJOR SIXTH VOICINGS (CONTINUED) DOMINANT SEVENTH VOICINGS WITH NINTHS & THIRTEENTHS, DOMINANT SEVENTH (+9) VOICINGS MINOR SEVENTH VOICINGS . + y Y ‘ i nf are at a? + 7 / 7 8 g ee G-7 MINOR SEVENTH VOICINGS USING SOME FOURTHS & Pee G-7 (Wo SRD GT e-7 086 AS Paid cdoxD> 1 Quo seo) HALF—DIMINISHED VOICINGS -y + a DIMINISHED VOICINGS ee ye ¥ 2 %, 7 2 + + + 7 7 4 e o a cr) cgey cr, (62) cf 9g (36° cr? (o#*) The Bassist IN THE RHYTHM SECTION By Todd Coolman The following bass lines and solos utilize musical notation which has been standardized over the last twenty years in the jazz idiom. It should be noted, however, that this notation is a sort of musical shorthand. The jazz feel most dveetly corresponds 10 the 12/8 feel, Therefore, below you will find a few “translations to aid in the interpretation of notation, (1) Bass line rhythmic embellishment written as aaifil should actually be played as (2) Eighth note sola lines written as AANA 373 ‘i SCOr @ Playing the bass in any jazz group is expec demMginggcauW it 1 the only instrument which has 2 dual function, “The bass provides a rhythmic and harmonic founda Nmul Moo should actually be played as ‘The execution of the “walking” bass pasic and perhaps the most important of all bass playing priorities in a chythm section. In a conventional rhythm assist will spend abaut 90% of the time accompanying others, so his/her worth as a player is based largely on the ay tBcgompany, Remember, the bass line should stand on its own 35 a beautiful piece of music without any assistance fro The best way to begin playing in f she bass acts as a common link between the piano, guitar and drums, the information «M bassist clear, Every bassist should consider the following priorities when playing in a ehythm Time— The first objective is mostly of quarter notes with 0 yt the bassline and ride cymbal i@Mgguncie A great feel with so-so notes stil fet NoTEs- © a7 Sf rs e 61 pp (2) Reinforce the sound of the root by preceeding it with an upper or lower half-step leading tone. (LT. = Leading Tone) ar 2 oA 6S at 2 LOWLE LT Oh PPE LT (3) Fill in the chord with notes chosen from (a) the chord, (b) the corresponding scale, (c) chromatic motion. AaT 27 GS (aie eer ee 4-7 2 GS (©) USE THESE BASIC PRI ae aE en eG (roots & upper leading tones) er Coc ring 3 bests 367 B67 a7 a7 (roots & choice of leading tones) 7 Lot ring 3 beats ‘7 Om fee = BE at rte a eae poet tit # top e , ¢ ‘ or epee i fey Pott 7G a Sere pee SI ee ad SEE i Pw (copoated notes) @ _ B67 bad ¢ = Sa SE PaaS @ aaa wr et ert adder ; af =e aS = Scere playing experience. Poo entire band. The register shou] (on the musical requirements of LISTEN TO OTHE! All aspiring bassists bass playing that are alive in jaze teeay “family tree” by being influgficed byfind vn tae orn ew Every bassist shauld haf section, particularly the Qlumgffnd thi around him. If one does MmiiRderstand 1 Last but certainly not least, thgsbassst mut (One must be absolutely lexi geri hisdher owe rm coal in ensemble playing is the icige , ‘Some thoughts on our objectives might include (in alphabetical order) the desire to be: Assertive Basic Confident Deliberate Energetic, Feeling Groovy Humble Intense Jovial Knowledgeable Loving. Musical Nimble Observant Patient Qualified Round-sounded Sensitive Trusting Unobtrusive Versatile Warm X-ceptional Young at heart Zestful The Drummer IN THE RHYTHM SECT] By Ed @ph Keep these guidelines in mind when you play within tyggghytN section and any e DYNAMIC BALANCES— x The drummer must be able to balance ABNgend us Parts of the set itself before he can balance and blend dynemic- ally with the rest of the rhythm section, seNNgust be heard equally, unless the drummer wishes to contrast instruments of the set by deliberately making one fou ‘the overall balance of the set. CONSISTENT TIME-KEEPING— ‘time-keeping abilities of the hands musig® match e-versa. Consistent time not only refers to repetitive rhythmic patterns, such as a hi-hat play on 2 This consistency applies to syncopated, non-repetitive figures as well. Down-beats, up The drummer must be able , rent time, just as he must be dynamically consistent, The STRUCTURE- other members of the band rhythmic and dynamic inter u RHYTHMIC INT| The two styles rey eighth-note interpretation Sensitivity to these four aspects of rhythmic improvisation depends upon one’s ability to LISTEN and to RESPOND musically to what he has hea being played around him, Improvisation is like a good conversation. We don’t interrupt another's train of ‘thought with unrelated ideas. We don’t drown-out whomever we are conversing with ...... piano, guitar, bass or others. PRACTICING & PLAYING SUGGESTIONS [SWING TUNES: Tippin’ Time, Bye Bye Boston, Fast Mode Al, Lady's Bounce “TWO-BEAT’ PATTERN (Tippin’ Time and Lady’s Bounce) ‘The drums and bass play off of the Ist and 3rd (thus two beat) beats of each bar rather than four beats per bar. LISTEN to the bass and complement his two-beat pattern on the hi-hat or the ride cymbal. Notice that on Lady's Bounce the bridge of the tune goes into a four-beat feel. ‘STRAIGHT-AHEAD’ 4/4 SWING Play along with only ride cymbal patterns and the hi-hat on 2 and 4 played with the foot pedal, You might try playing the hi-hat with the “rocking” technique: heel down on 1, toes down on two, heel again on 3, and toes again ‘on 4, Some examples of ride patterns are: aga ga] adden | ad Ag] and variations/combinations of these, The faster ride pattern as used with Fast Mode AY is built on tA | > e ‘The basic ride pattern is acca ‘and 4, DON'T ACCENT 1 AND 3 UNLESS YOU FEEL THAT IT COMPLEMENTS WHAT IS Gt IN THE REST OF THE RHYTHM SECTION. Aga ~ Add the snare and bats ge ride vd base ae “comping” instruments, They often play nonsepe,ayconnig uy ically and dynamteal. Thee figure help to unity the riytnm scion. Jementary fashion. LISTEN to the piono/gitr at they come beh ran comping fires onthe Oh SAR 5 As a general wget olayinn swing tun these bea ise, qyoid a repetitive 2 and 4 the snare Wee to plagsMricopations. 2 67 ‘You will hear that the drummer on the record is playing neither all anticipations nor all dowr-beats. Try to achieve a BALANCE between the two, just as the soloist and other comping instruments vary where they begin and end phrases or rhythmic patterns, faze acre: scons ware Follow the same practice suggestions as for the 4/4 swing tunes. Some 3/4 hi-hat patterns played with the foot pedal: Jersdsrrberederrl Some 3/4 ride cymbal patterns: pA GAP Ld oy Avoid too much, meaning repetitive, use of the bass drum on beat 1. Try to anticipate some of the down-beats [LATIN JAZZ STYLESBossa Nove: Bossa For Chery] pies The rhythmic improvisations are based on the standard bossa m this pattern: tern for drum set, Variations derive from FPP he CLOSED H/-WA of RIDE CYA, RM Sot OW SWARE BASS di _ SS or off bf 6 give the sound of a clave. Lay a stick on the snare drum with the bead the stick protrude over the edge of the snare drum, Bang the butt end oft ‘ Anticipation of dowipeats m: chm indicated, sticks on eymbals, snare, wy he hit sping, syncopations are played with the in the same manner as the STICKS SASS Meda t Tin _ on the ride eymbal andi pf ‘As with the bossa nova, the feet usually maintain a repetitive figure while the hands comp/improvise EXPERIMENT. BALLAD: Reflection] Brushes are often used to play ballads. Here are two basic ballad patterns. The first one (Diagram 1) consists of the left hand (right, if you play left-handed) making a circular motion lightly accenting 1-2-3-4 as indicated by more of the brush fan being pressed against the head to produce a darker, heavier sound than that produced when the brushes are played on their tips. The right hand taps a ride pattern, EXPERIMENT! If you desire a continuous sustained sound, make half-ciles with each hand (see Diagram 2 on page 70) Using the hishat to enhance the legato sound of the brushes by “‘chinging’” the cymbals——lightly crashing them by use of the pedal, rather than constantly playing them with the “chick” sound on 2 and 4, Definitely avoid a heavy bass drum on ANY beats when palying this type of ballad ‘TRADING FOURS AND EIGHTS— [As with complementing 2 soloist, trading four- and eight-bar phrases is also meant to be an exchange of rhythmic and melodie ideas. Listen for chythmic and melodie statements in the instrumentalist’s solo and build your response upon what you have heard, not on licks which you have practiced. Remember the conversational aspect of improvisation, ACCOMPANYING A BASS SOLO- In general, the drums accompany the bass solo in the same manner as accompanying any other soloist. If there is any difference its that one must usually play softer than behind another instrument. This is because of the softer projection of the acoustic bass. Sticks as well as brushes may be used. You need not always play on the hi-hat behind the bass solo. Listen carefully to the solo and use good judgement. GENERAL RHYTHM SECTION COMMENTS— Always setup in the rhythm section so that you can make eye contact with thaggher players in the section. Never set-up behind the bass amp, ® {A general approach to determining your dynamic balance is to keepathe dynaMjgel ff the i pbs yagi the bass player's dynamic level. In turn, anything played on the snare, toms or Mss drum shoul ple 10 fhe rig 7 dynamic level e Listen for the spaces which the soloist lea and guitar. Very often itis those spaces which give mean trying to mimic what the soloist/rhythm section folBne spaces left in the comping patterns of Sagano foin in improvising, Rhythmic improvisation does not Baby Dodds: Talkin mee J bb S WRITE FOR A FREE CATALOG Qigg@oD AVAILABLE 1211 Aebersold Drive, New Qj 47350. pf DIAGRAM 1 LEFT HAND RIGHT HAND ‘Swish /N TIME COre | RIGHT HAND starts here LEFT HAND starts here BIBLIOGRAPHY 4 Syncopated Rolls For The Modern Drummer; Jim Blackley Published by Jim Blackley, 260 Hillsdale Ave. E, Toronto, M&S 1T6, Ontario, Canada 4% The Art of Modern Jez Drumming; Jack DeJohnette and Charlie Perry: Drum Center Publications, 2204 Jerusalem Ave., North Merrick, NY 11566 % Progressive Steps to Syncopation For The Modern Drummer; Ted Reed, Published by Ted Reed, P.O. Box 327, Clearwater, Florida 33515 4 The Sound of Brushes; Ed Thigpen Book and Cassette. 4 Rhythm Analysis and Basic Co-ordination; Ed Thigpen Both of Thigpen’s books available from Bernard Fisher, Music for Percussion, ITON.E, 33rd St., Fort Lauderdale, Florida 33339 ‘Stick Control; George Lawrence Stone; Pub. George B. Stone & Son, Ine, 15 Court Square, Suite 401, Boston, MA 02108 ‘Accent On Accents; Elliot Fine and Marvin Dahlgren. Belwin Mills Publishing Corp., Melville, NY 11748, 4 A Guide For The Modern zz Rhythm Section; Stove HoushygPC.L. Barnhouse Company, Oskeloos, toe e Inner Drumming; George Mash, 256 Mullen, San FAgcico, COMB ‘Progressive Steps to BASS DRUM

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