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59271EEJazz guts 12 2 08 4 36 PM Page 1,DIRECTOR S INFORMATION GUIDE. ESSENTIAL ELEMENTS,FOR JAZZ ENSEMBLE,A COMPREHENSIVE METHOD FOR. JAZZ STYLE AND IMPROVISATION,By MIKE STEINEL, WELCOME to the exciting world of jazz This book will 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 with the CD Listening to good jazz players is. an extremely important way to learn and playing along with the CD is an. excellent way to hear how 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 with the. Frank Mantooth Orchestra and the Chicago Jazz Quintet and performed with a wide variety of. jazz greats including Clark Terry Jerry Bergonzi Bill Evans and Don Ellis Since 1987 he has been. a member of the jazz faculty at the University of North Texas where 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 when it instituted the first jazz degree. program in 1947 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 pro. duced 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. 59271EEJazz guts 12 2 08 4 36 PM Page 2,2 CDs WITH EVERY BOOK. One of the most important ways to learn to play jazz. is by listening to professional players Each book,OF JAZZ ST. YLE comes with complete recordings of every example. THE BASICS and every full band arrangement On the repeated. attack soft,on to use a Doo,Releases Jazz In jazz it is comm common.
Attacks and Traditional,n a note It is also,In traditional musi. and legato to begi,to end the note,stop gives the,with the tongue. musi c a rhyth,This tongue, mic feeling exercises the rhythm section only plays the second. Band and Orchestra Doo it,n to begin a note,Tah articulatio. and taper the note,at the end,time This allows students to hear the correct.
AND RELEASES,1 ATTACKS l,interpretation the first time then play along the. 4 second time The full band arrangements include,Swin g 8th. Notes Traditional,the 2n Sound,Dif sample improvised solos recorded on separate. ch beattime are ferent Th,Accenting 2 cd the,an te of ea. tly acce beat,impo nted 8ts in 4 4,rtant is actuall an Th 4.
For most traditiona,l musi h no beats 2 y playe,hasis is usually ontes in sw. ey4 Loo 1 2 3,1 and 3 In jazz,and 4 Emp6,however the emp. hasizSWing 2 and 4 gives,the music a jazz,feeling ing style are us 1 the las2. ually pla third of a,5 tracks for study and reference. ING 8T ato,Tradition H NOTES or 3 j,2 ACCENTING,scat syl Jazz.
Traditional,STARTS WITH THE BASICS,Tah Tah Jazz,Tah Tah Tah. Quart o and Bah Full Value,Playin g Do,tes tenuto or an accent are played full. note with a dash,denote s marksedin swing,and Bah will. syllables Doo,full value,Doo full accented,Students are shown how the approach to jazz is. The scat vocal,In jazz tache sty h Dot,d stacartic is.
n le usually ns Remember in jazz it,with a soft legat. help you hear,o catoulatio,with ac are,d of these,value note. articulatio,cent s on legat,s with abe,les Bah helps. demonstrate the,appropriate amo, unt of accent different than traditional music step by step With. important to play vocalizing the scat,is used only when.
the help of vocal scat syllables the correct style. 7 Bah articulation le Dah,NoteQ UARTER on your instrument use the syllab. When articulating S AN, inflections come naturally The concept of swing 8th. notes is taught gradually using single pitches to start. with then reinforced using easy scale patterns,S AND Doo Ba. 8THS h Doo,EASY INTRODUCTION TO JAZZ HARMONY,of a scale. s every other note,Building Jazzd with Seventh Chords Seventh Chor.
fifth and seventh,ds are four note,notes of a major. chords built in third, scale One of the most challenging elements of jazz is. Most jazz is harm uses the first third,A Major Seventh. C Major Seventh, ww learning the concept of jazz chords and harmony. C Major Scale,4 Chords are taught by showing how they relate.
3 4 nth Chord,to a Dominant Seve d, d changes the chord the chord to a Minor Seventh Chor. Lowering the top,note called the,seventh of the Majo. d called the third,and top note,r Seventh Chor,seventh of a Majo. r Seventh Chord,to familiar scales Only the basic types are shown. Lowering the secon C Minor Seventh,b b major 7th dominant 7th minor 7th and they.
C Dominant Seven,32 C Major Seventh,The first letter in. a Chord Symbol,always indicates,the root or the,nant for example. are immediately reinforced with a series of,Chord Symbols type major or domi. fic labels called indicate the chord,ers on the right. Chords have speci,bottom note of,the chord The letters and numb.
Chord Name,Chord Symb,ol simple exercises,C Major Seventh C7. C Dominant Seven Cmi7,C Minor Seventh,33 MAJOR 7,SEV CHORD WORKO. WOHRKOUT Ro,Play either note,IMPROVISATION MADE EASY. Building on the concept of jazz chords the Blues,7 Play either note. C7 WORKOUT C, w Progression is taught as a series of dominant 7th.
ENTH CHORD,34 DOMINANT SEV G7,chords Improvisation is introduced gradually. Roots Th C 7,C7 irds and Seventh,starting with 2 measure phrases using only a few. b chord tones at a time Students are improvising, C7 before they have a chance to be worried about it. They are shown how jazz first evolved around,C 7 Band ar Solos us. d Seventh jazzin up the melody and are taught basic scales. to use when improvising Blues Scale Dominant,C7 or Mixolydian Mode Bebop Scale and the.
Building th,e Dominant,b Dorian Mode,You can buil,d a dominant Scale. This scale fits scale by inse,sounds like rting notes. the D betwee h,59271EEJazz guts 12 2 08 4 36 PM Page 3. her Henderson crea,n Miller and Fletc,y Goodman Glen ic of the time. The Swing Era s of Duk e Ellin gton Count Basie Benn. band sound mad e swing the most popular mus,40 s the orchestra and smooth big.
In the 1930 s and,e music called swin,g The strong beat. and led a band near,ly Duke Ellington,new type of danc. Edward Kennedy,Duke Ellington 189,9 1974 grew up,pian ist he is mos. in Washington D C,t remembered for,his compositions. and JAZZ HISTORY AND PEOPLE,ough Duke was a Ellington is cons.
all of his life Alth thousand works,he wrote over one. is estimated that ury,orchestrations It,by many to be the mos t imp ortant jazz compose. r of the 20th cent,The method book is laid out chronologically by. e was born in Red, Count Basie William Count Basi big band music important historical periods in the development of. 4 but his style of,New Jersey 190 In the early 1930.
is associated with,Basi e join ed the,Bennie Moten Orch. estra a riff,ing the blues,jazz music While the students are learning the. specialized in play,styled band that,and performed prim. arily in the midwes,the Count took,music they are also learning about the important. Moten died in 1935,band and under,his leadersh ip,ular jazz bands of.
it beca me one, the era Evenmade him a recognizable figure the tertaining show. composers and performers associated with each,of the most pop nt Basi e. world over,CE SPOTLIGHT,after Basie s deat,Orch estra cont. h in 1984 The,inue d to tour, and please jazz stylistic period Styles covered Early Jazz Swing. PPIN AROUND world,audiences around,the Full Band Arr.
Era Bebop Latin and Fusion,n b b n Mike Steinel,b n 7 FULL BAND ARRANGEMENTS. 14 Solos n,Carefully paced throughout the book these full. w w w w w w n w w w arrangements provide a focal point for the material. G7 w w w nw w w b w n w w in each unit They also provide rewarding. w w w w w w nw w w D7,w w w w w w w G w w w w w n w w w D S al Coda. CODA w w w,performance pieces even in the beginning stages. div The arrangements start out very easy and then,STRATION SOL.
O FOR BOPPIN ARO,UND gradually progress in complexity as more. j b b n techniques and concepts are learned,n n b D 7 J. b b QUICK START THE RHYTHM SECTION, J n j n G7 Critical to the success of any jazz ensemble. is having a rhythm section that can play in a,stylistically correct manner In addition to. 12A FOR PIANO ONLY,learning concepts along with the other.
Jazz Chord Voicings which notes are used is called a Voicing. instruments each rhythm section book includes,ways The way a specific chord is played and. Jazz Chords can be played many different,Jazz voicings can have as few as two notes. or as many as eight or more, C7 C mi7 additional material specifically designed to. Thirds and Sevenths are Importa,These notes determine the quality major. w3 address the unique techniques of these important. 4 ww 7Root,or dominant of the basic chord Notice in.
example how simple voicings made up of,roots thirds and sevenths sound full and. complete 4 w Root w Root players This allows the rhythm section to play. Ninths Elevenths and Thirteenths Extended C Major Scale w. C Major Thirteenth Chord along with the full band in a rehearsal setting. w w C ma 13 www,To make jazz voicings sound jazzy pianists. include upper extensions ninths elevenths,thirteenths in the chord voicing These notes. but also gives each player the individualized,the same pitches as the 2nd 4th and 6th. the major scale from which the chord is built,8 9 10 11 12 13 14 15.
information they need,a seventh chord,even though the chord symbol indicates. Note Ninths and thirteenths can be added,Comping With Jazz Voicings 6A. the rest of the band In order to achieve this,must compliment and not compete with. It is important to remember that comping information with the least amount of notes. that supply the most necessary harmonic, pianists and guitarists improvise chord voicings FOR adequate. The Ride or four note combinations These provide an DRUMS ONLY. to voice chords it is best to start with two three Cymbal. When you are first learning In harmonized three different ways. thick or muddy Heresup isjazz marked,a blues progression.
picture of the harmony without sounding ply the rhyt ride cymbal. reinforces the,hmic foundati qua,on of swing rter note wal. music king bass line,provided by,thirds and sevenths the bass play. Blues in Bb using two note voicings Bb 7,er These two. b7 Eb 7 instruments,b7 F7 b ww,The BaBsic3,w3 bEww 7 Ride Cymb 73 nw 7 3. b 44 b w 7,al Pattern 3,3 ride cymbal,b faster tempos.
pattern is usu,the eighth not,ally played in,es are played. a triplet feel,however it,more evenly is not always. In this book strict At slow,tempos the,The basic Ride we will always pattern is very. Cymbal Patt notate the ride,ninths ern is and,not thirteent hs pattern in eigh triplety but. thirds sevenths ated as at,Blues in Bb using three note voicings.
These voicings are used for exercises 37 39 b 7 bal Pattern. The basic Ride,Bb 7 Eb 7 BCym F7,sounds like,b ww 97 n w 133. b 4 ww 133 b ww 97 n ww 133,The Basicb,Swing Pa n,This is the bas ttern Pla. ic swing patt ying time,ern for Jazz,with and with. out bass dru,m Practice,each until they,are automa. 59271EEJazz guts 12 2 08 4 36 PM Page 4,THE BASICS OF JAZZ STYLE.
Attacks and Releases,Traditional Jazz, In traditional music Concert In jazz it is common to use a Doo 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 with the tongue This tongue. and taper the note at the end Tah Doo it stop gives the music a rhythmic feeling. 1 ATTACKS AND RELEASES,Traditional,Tah Doo it,Accenting 2 and 4 Traditional Jazz. For most traditional music the important beats in 4 4 time are. 1 and 3 In jazz however the emphasis is usually on beats 2. and 4 Emphasizing 2 and 4 gives the music a jazz feeling 1 2 3 4 1 2 3 4. 2 ACCENTING 2 AND 4,Traditional Jazz,Playing Doo and Bah Full Value Notes. In jazz notes marked with a dash tenuto or an accent are played full value. with a soft legato articulation The scat vocal syllables Doo and Bah will Tenuto Long Accent. help you hear the sound of these articulations Remember in jazz it is full value full value accented. methods ESSENTIAL ELEMENTS FOR JAZZ ENSEMBLE offers an exciting way to introduce young players to the world of jazz Specifically designed to teach jazz basics to students with 1 or 2 years playing experience ABOUT THE AUTHOR Mike Steinel is an internationally recognized jazz artist and educator He has recorded with the Frank Mantooth Orchestra and the Chicago Jazz Quintet and performed

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