Gordon Goodwin Play-along - ALTO.pdf

• 10 1st Alto Sdkophone/Spprano Saxophone Parts

• Sob Chord Changes

• Performance Tips/Suggestions from Gordon Goodwin and Eric Marrenthal

« Transcribed Sobs

JA

GORDON GOODWIN'S

BIGSeries INTRODUCTION

As a young musician, I can remember how exciting it wasto advance to each successive level because it meant Iwas getting to play with highly skilled musicians. That'sthe secret to improving your game—play with musicians

who are better than you. Even though it can be a little intimidatingat times, or even embarrassing a few times in my case, spendingtime paying your dues with accomplished players is a great way toaccelerate your musical growth. Accordingly, I believe this bookwill provide you with a unique opportunity.

I count myself as one lucky guy, to lead a band with the caliberof musicians who make up the Big Phat Band. The players in theband are uniquely skilled and are without exception, masters atplaying big band jazz in a variety of styles. They fearlessly attackthe most difficult material I throw at them. Not only do theyroutinely achieve technical mastery of these charts but they alsoelevate the music to a new level beyond the notes on the page.

The Big Phot Band Play-Along Series gives you the opportunityto sit in with outstanding players to improve and measure yourown ability to play in a big band. Make no mistake—the music inthis book is challenging. The Phat Band has been playing thesecharts for years, and it still keeps us on our toes! But if you hangin there and keep at it, you will make huge strides toward theexhilaration and art of playing in a big band, along with becominga stronger musician.

There are some minor alterations from the original publishedcharts. For example, I added some inner trumpet lines to thetrumpet and trombone books, and solo chord changes to all thebooks, so the horn players can solo. There are also a few notesthat vary from the recorded tracks. Books are available for altosaxophone, tenor saxophone, trumpet, trombone, and drums.

The main goal of these books is to teach the art of ensembleplaying. You will learn volumes of information about style,phrasing, tone, dynamics, technique, articulation, playing in time,Latin grooves, and a variety of swing styles as you play along andlisten to the players in the Phat Band.

Participating in this series are the lead players from the BigPhat Band. These musicians are all world-class performers, andtheir guidance will be invaluable as you dig into this music.

9 Wayne Bergeron is a one-of-a-kind lead trumpet playerwhose strong chops and great musicality make him one ofthe most in-demand musicians in Los Angeles.

9 Bernie Dresel, one of the most musical and well-roundeddrummers on the scene today, can play in any style, sight-read anything, and is also an accomplished orchestralpercussionist.

« Eric Marienthal, a remarkable saxophonist, can be heardon recordings with the Chick Corea Electric Band and theRippingtons, as well as on many recordings under his ownname.

• Andy Martin, a superb improviser and one of the mostfacile trombonists in Los Angeles, sets a new standard forjazz trombone.

Since improvisation is an important facet in jazz, I have includedchord changes for the solo sections in the saxophone, trumpet,and trombone books. The play-along CD has the solos mixed outso that you can jump in and blow! Selected transcriptions of someof the solos recorded by various band members are included inthe saxophone, trumpet, and trombone books. You can use thesetranscribed solos to study, practice as etudes, or simply play inthe solo sections. On the drum book CD, the original horn soloshave been kept intact so you can play off the soloist. In addition,a Q&A session with Bernie Dresel and myself discusses aspects 01big-band drumming.

To get the most out of the play-along CD, you can of courseuse headphones as you play along with the tracks, but for methe most realistic acoustical environment is to listen to the musicthrough speakers with your ears unhindered by headphones. Thekey is to be able to hear yourself as well as everybody else in theband, and headphones can sometimes prevent you from hearingyourself well enough unless you take one ear off.

I have a policy in the Big Phat Band: on our gigs we corn*to play. The band works hard, no one makes excuses, and ever)player goes for it every night, all the while havin' a blast. I hopsyou have fun working with this book and it helps you grow as ;musician.

www.gordongoodwin.com

Gordon Goodwin's Big Phat Band CDs—Swing/n' for the Fences, XXL,and The Phot Pock—are available on

Silver-line Records (www.silverlinerecords.com)Photography by Rex Bullington (www.Rexbullington.com)

Additional photos by Tessa Viles and Linda Griffin

Editor: Pete BarenBreggeProduction Coordinator: Sharon Marlow

Art Design: Thais YanesEngraving: Rick Pansier

© 2006 WINGOOD MUSIC PRODUCTIONS, INC.All Rights Reserved including Public Performance

Exclusive Worldwide Distributor: ALFRED PUBLISHING CO, INC.

Any duplication, adaptation or arrangement of the compositions contained in thiscollection requires the written consent of the Publisher.

No part of this book may be photocopied or reproduced in any way without permissioiUnauthorized uses are an infringement of the U.S.

Copyright Act and are punishable by law.

CONTENTS

Gordon Goodwin Biography 3Eric Marienthal Biography 4Transcribed Saxophone Solos 63Alternate Soprano Saxophone Parts 69

Page # Demo track Play-Along track

SWINGIN' FOR THE FENCES 7 Track 1(Swingin* for the Fences, Silverline - 85002-2) Track 2

LA ALMEJA PEQUENA 12 Track 3(The Phat Pack, Silverline - 284404-2) Track 4

HUNTING WABBITS 18 Track 5(XXL, Silverline - 281206-2) Track 6

WHODUNNIT? 23 Track 7(The Phot Pack, Silverline - 284404-2) ...Track 8

COUNT BUBBA'S REVENGE 29 Track 9(The Phot Pock, Silverline ~ 284404-2) Track 10

GET IN LINE 34 Track 11(The Phat Pack, Silverline - 284404-2) Track 12

HORN OF PUENTE 39 Track 13(XXL, Silverline - 281206-2) '. Track 14

THE JAZZ POLICE 46 Track 15(XXL, Silverline - 281206-2) , Track 16

HIGH MAINTENANCE 51 Track 17(XXL, Silverline - 281206-2) Track 18

CUT'N RUN 57 Track 19(The Phot Pack, Silverline - 284404-2) Track 20

Full-version CD and DVD dual disc of all of these titles areavailable from your favorite music store.

Visit: www.silverlinerecords.com

GORDON GOODWIN - As a three-timeEmmy winner and a multi-Grammy nominee,Gordon Goodwin could say he has fulfilled hisdreams and achieved all of his goals. But that

isn't the case—not by a long shot. The composer/arrangerreleased his second album, XXL, in September 2003,

Good Times Roll," and Take 6 takes the lead on Goodwin'sarrangement of "It's All Right With Me." Jazz greats EddieDaniels, Michael Brecker, and Peter Erskine are also guestsoloists on the record. The bold arrangements coupled withmemory-evoking yet modern music are heart-stopping.

Sold-out L.A.-area performances by Gordon Goodwin'sreceiving three Grammy nominations for Best Large Jazz Bjg phat Band are testimony to the genius of Goodwin'sEnsemble Album, Best Instrumental Composition ("Hunting musjc and have eamed the group hign crjtica| acdaim and

Wabbits"), and Best Instrumental Arrangement with Vocals praise. .The Bjg phat Band has established itself as one ofthe Southland's most craftsman-like hard-swinging large jazzensembles, galvanized by Goodwin's witty and insightful

("Comes Love" with Brian McKnight and Take 6).It all began at the tender age of five, when Gordon

Goodwin began composing from the music he heard inhis head. Not just snippets or melody lines, but wholecompositions from beginning to end. He wrote his first bigband chart, "Hang Loose," at the age of 13. This almostpreternatural talent made him stand out in the jazz worldand brought Goodwin to the attention of music supervisorsand producers.

Within the television and film industry,Goodwin's writing has garnered him three Emmyawards and six Grammy nominations. His cinematicscoring and orchestration can be heard on suchfilms as National Treasure, The Incredibles, Bad BoysII, The Majestic, Con Air, Gone in 60 Seconds, Enemyof the State, Remember the Titans, Star Trek Nemesis,Armageddon, and the classic cult film Attack of theK/7/er Tomatoes.

Throughout his career, Goodwin has built a larger-than-life reputation for his composing, arranging, and musicalinstrumentation skills. Christina Aguilera, Quincy Jones,Mel Torme, David Foster, Toni Braxton, Ray Charles, SarahVaughan, Brian McKnight, and Johnny Mathis are just afew of the artists for whom he has written, recorded,and performed. In addition, he has conducted with world-renowned symphony orchestras in Atlanta, Dallas, Utah,Seattle, Toronto, and London.

Goodwin combines all of these talents as leader of L.A.'smost exciting big band jazz ensemble, Gordon Goodwin'sBig Phat Band. Established in 2000, the band released itsdebut record, Swingin' for the Fences (Silverline Records),which made history as the first commercially available DVDaudio title ever released and the first DVD audio title toreceive two Grammy nominations.

Building on the tremendous success of their first album,Gordon and the boys returned to the studio and raisedthe ante, along with the roof. XXL is an exciting blend ofjazz styles that stretches the boundaries of the big bandgenre. Along with his usual stable of L.A.'s finest musicians,including Eric Marienthal, Wayne Bergeron, Andy Martin,Bob Summers, Brian Scanlon, Luis Conte, and Bernie Dresel,this album features both legendary and contemporary guestartists. R&B great Brian McKnight teams up with vocal groupTake 6 on the '30s classic "Comes Love," legendary croonerJohnny Mathis provides a knockout performance of "Let the

arrangements and compositions." —Don Heckman, LosAngeles Times.

The Big Phat Band's third CD, The Phot Pock, isscheduled for release in the spring of 2006, on SilverlineRecords.

GORDON GOODWIN'S

Acknowledgments

Keeping a big band operating is a huge endeavor, andI am indebted to the many people who contribute to

the band and to th/s series of books.

• The guys in the Big Phat Band—they are an amazinggift to any composer.

• To my friend and co-producer Dan Savant, who is amaster at solving either business or creative issues,sometimes at the same time.

« To Pete BarenBregge, my editor at Alfred, whosevision and unwavering support really made this bookhappen.

• To my wife Lisa, who has made my passion herpassion and knows firsthand the demands of runningan organization like this one!

» To my multitalented assistant Linda, who hits everyassignment out of the park—without exception.

» To Silverline Records, who believed in big band jazzwhen nobody else in the industry did.

• To our recording engineers and mixers Tommy Vicari,Mike Aarvold, and Gary Lux, who are responsible forthe sparkling and punchy sound of our records. It'smore than just pushing buttons; you have to get it,and they do.

ERICMARIENTHALWorld-class saxophone artist, composer, arranger, and

educator, Eric Marienthal has played on literally hundreds ofrecords, TV shows, and films, such as "Frasier," "Cheers,""Sisters," "Charlie Brown Specials," "Entertainment Tonight,""General Hospital," "Santa Barbara," "ABC Sports," Payback,Bird on a Wire, and Gone in 60 Seconds. Eric has been recordingjingles in Los Angeles for the past 20 years for companies suchas Nike, McDonald's, Coca-Cola, Cadillac, Ford Motors, andmany others. He has recorded ten solo CDs for GRP records, two for Polygram, and three on Peak Records. His morecent CD is entitled Got You Covered

Eric has performed concerts and presented master classes in more than 60 countries throughout the world. In additicto performing with the Chick Corea Elektric Band, Eric has an extensive discography. He has recorded and performed wiiDave Grusin, Lee Ritenour, Elton John, Barbra Streisand, Billy Joel, Johnny Mathis, Liza Minelli, David Benoit, Patti AustiJonathan Butler, the Rippingtons, and many more.

Awards honors:1988 - Grammy with the Chick Corea Elektric Band1988 - Grammy nomination for Best Instrumental Jazz Performance for the album Light Years1989 - Grammy nomination for Best Instrumental Jazz Performance for the album Eye of the Beholder

1990 - Grammy with the Chick Corea Elektric Band1995 - Distinguished Alumnus Award for outstanding achievements in contemporary music from Berklee College

Music1997 _ Among the top alto saxophonists in Jazziz magazine's readers' poll

Books and instructional videos with Alfred Publishing:Comprehensive Jazz Studies and Exercises, written by Eric Marienthal (book)

Modern Sax, written and produced by Eric Marienthal (video)Play Sax From Day One, written and produced by Eric Marienthal (video)

Tricks of the Trade, written and produced by Eric Marienthal (video)Ultimate Jazz Play-Along, written by Eric Marienthal (video)The Music of Eric Marienthal: Solo Transcriptions and Master Class CD (book/CD)

SWINGIN' FOR THE FENCESPERFORMANCE NOTES

By GORDON GOODWIN

This chart is based on the chord changes to "SweetGeorgia Brown" and is meant to be an acrobatic displayof your technique on a complex bebop line. Therefore, Irecommend practicing the section in measures 65-96 untilit is second nature. It is not necessary to play this line veryloudly in fact, it's meant to be a lighter color in contrast tothe trombone/tenor line that opened the chart. So, blowlightly and float nicely over the time.

The chords to this song are really fun to improvise on,and there are countless jazz recordings you can check outto hear how great players have soloed on these changes.It does help to have knowledge of the bebop vocabulary,but when you're improvising, melody is king and it is oftenmore effective than a bunch of random notes. The first steptoward improvisation is to learn and memorize the melodyand the sound of the chord progression. Know this tuneinside and out. Listen to how the chords move in a dominantpattern—live it, learn it, love it. Check out Eric Marienthal'stranscribed solo on page 63.

By ERIC MARIENTHALPlaying the lead alto chair in the Big Phat Band requires

concentration on many things simultaneously, such as blend,intonation, articulation, phrasing, establishing the groove,listening to the lead trumpet and matching that style, pitch,sound, and feel.

Playing in this sax section alongside of Sal Lozano, BrianScanlon, Jeff Driskill, and Jay Mason is amazing. This saxsection doesn't let anything slip through the cracks, so asyou play along, pay attention to every detail. Try recordingyourself while you play along with the band and see howclose you can get to the Phat Band. I hope you have funbeing the "virtual" lead alto player.

On "Swingin' for the Fences, "it's all about the tirBefore you even pick up your horn, listen to the band fand internalize the tempo so-that when you begin playiyour time feels good from the first note. When y<entrance comes along at measure 65, make sure to listenthe bass and the drummer's hi-hat so you can lock righon the time and the feel. Also, make sure you are listerfor the flute, piano, and muted trumpet so you can bl<and not overpower those instruments.

If you play the improv solo, the first thing you v\to do is make sure you know the melody. Next, learrthe notes of each chord in the chord progression. Ithrough each arpeggio—root, 3rd, 5th, and 7th and tthe corresponding chord scale. Make sure you can hearrecording well enough so you can lock-in your solo time \the rhythm section. Listen for the bass and hi-hat fortempo, the ride cymbal and the rest of the drum kit forfeel, and the piano and guitar for the harmony. Whenimprovise, think of melodies, motifs, and phrases whenimprovise instead of individual notes. One improv technis to begin and end each of your phrases on a chord 1such as a 3rd or 5th—try it!

At measure 130 keep your playing confident but IIf you play with too much embouchure pressure, it wimore difficult to play evenly. Part of your attention nee<stay focused on the instruments that are defining the twhich are again, the bass and hi-hat. At the same timeimportant to listen to how the lead trumpet is playingpart and try to match it. Think about leading the saxesdon't allow your volume to rise too far above the secti<you play too hard, your pitch and accuracy will fly ouwindow! Check out the alternate soprano part.

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11LA ALMEJA PEQUENAPERFORMANCE NOTES

By GORDON GOODWINI like the sound of a soprano sax leading the sax section.

In certain settings, it sounds a bit more contemporary than atraditional alto sax lead and it gives me an additional color touse in my orchestration. If you don't yet own a soprano, tryto get your hands on one someday—it's a lot of fun to play!In this chart, the soprano spends a little time in its lowerregister in measures 25, 26, and 48. Beware of pitch andmake sure you don't play flat on those low notes. The pitchon the soprano can be a little squirrelly, to say the least. Thealternate soprano sax part is found on page 72.

Latin music requires precise rhythmic interpretation.The time must be locked and secure. Once in a while theensemble may lay back on a figure for effect, but thatkind of thing works only in contrast to the more strictinterpretations that precede it. For example, look atmeasures 97 and 238, where the triplets in those measuresare an attempt to loosen things up a little bit in the midst ofall the straight eighth notes going on throughout the chart.

When soloing on this tune, you should remember theinherent passion behind all Latin music. In other words,go for it! You can check out Wayne Bergeron's and AndyMartin's solos on the Phat Band's CD The Phat Pack. Bothof them do a great job of playing exciting yet musicallyintriguing solos.

After the solo section, you begin a long vamp startingin measure 153 that needs to begin softly and build as eachindependent horn part is layered on. Be aware of how theindividual part fits into the whole, not only here but alsoat measure 195 where the melody jumps from section tosection. Maintaining the proper balance in a passage like thistakes teamwork and an awareness of not only your specificpart but also of what's going on around you. I hope youhave fun with this tune and that you avoid all clams, largeand small!

By ERIC MARIENTHALThis chart has an alto part and an alternate soprano

part. My comments are directed more toward the soprano,but they apply to the alto as well.

As you may have noticed, Gordon likes to write alot for the soprano sax. I love playing soprano, but it's atricky instrument to sound good on and play in tune. Makesure you have a mouthpiece-and-reed combination thatfeels comfortable to play. If the reed is too hard or themouthpiece is too open, it will be almost impossible to playit easily and in tune. If the reed is old or too soft or themouthpiece too closed at the tip, your sound will probablybe weak and thin.

Throughout this chart pay very close attention to thearticulation and dynamic markings that Gordon has written,To me dynamics are where the life of the music comes from,Before you begin playing, give a listen to how the saxes areplaying the articulations and how great it sounds when theentire band plays them together. Try to bring that sameattention to detail into the bands you play with.

At measure 69, don't let the time signatures trip youup. Try to continue to tap your foot and count your wa>through the meter shift. No matter whether it's 4/4, 6/4or 7/4, the tempo, note values, and pulse are constant. Irother words, a quarter note is still a quarter note, an eighthis still an eighth and so on. Simply count each beat and thi:mixed meter section will play itself.

As you get to about measure 225 and beyond, if you'relike me, your mouth is going to begin feeling a little tiredPace yourself, don't play too hard, use your air to supporyour sound. You always want to use a relatively relaxecembouchure so the reed can vibrate. Not so relaxedhowever, that your pitch and tone begin to suffer. Like althe woodwinds, the more long tones you practice the moncontrol you'll have over your sound and intonation.

If you solo, start easy and pace yourself, buildin]gradually. Listen to the sound of the chord roots, know th<notes of the chord, and listen carefully to the rhythm sectionWhen you're soloing between band kicks at measure 93, it'especially important to play with good time!

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saxophone. I love to drop the rhythm section out once in Band charts. From measures 1 to 29 the responsibilitya while; it gives the horn sections an opportunity to play keeping the tempo falls on your shoulders! There's no bea little softer, and the audience can hear subtleties that or hi-hat to listen for. Therefore, the only way to keepare normally covered up by the drums. On this chart the steady and even time feel on a soli like this is to have a go<opening soli should be approached with a legit concept. If strong internal clock, and the only way to develop thatyou have had instruction in playing classical saxophone and to practice with a metronome. Whether you're practiciproducing a round, classical sound, then you know what to scales, exercises, etudes or any music with a beat, kedo here. If you have not had any experience in that area, the metronome going and don't allow a single note toI suggest simply playing it straight-not swung, no vibrato, P'ayed out of time. Keep your playing on this soli lightand with a light tongue. And pay careful attention to the /our time and phrasing feel like they're bouncing alodynamics, for example, the crescendos in measures 7, 15, instead of getting bogged down. The run of sixteenth notand 25. Above all, lock-in that intonation! Do not put in any in measure 73 has to be played just as evenly and in timescoops or any other typical jazzy inflections. Save those for all the eighth-note lines. The rhythmically difficult measurmeasure 87, where, after several minutes of legit, straight 'ike 84 must be right in time as well,eighth-note staccato passages, the band bursts out into aswing feel. Make sure vou pay attention to the other instrumei

you're playing with, such as the trombone at measiIn a typical legit sax quartet, the players will play with a 127, and work to blend your sound. Gordon orchestral

much lighter sound than most jazz players use, and chances different combinations of instruments together to jare your mouthpiece might be more geared toward a more different sounds and colors out of the band, so be careaggressive style of playing. So you might have to make a not to stick out in the texture,concerted effort to play light and to blend. Of course, whenyou get to the improvised solo in measure 87, go ahead and At the solo section there is a huge change of feel as tcut loose! chart moves to a relaxed swing. Play in the style, learn t

changes, and take it easy—enjoy yourself!

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WHODUNNIT?PERFORMANCE NOTES

By GORDON GOODWINIf you've ever seen an old private-eye movie, then you

understand the right feel for this chart—sneaky, bluesy,and too cool for the room. When you state the melody atmeasure 10, the dynamic is mp\ on second thought, maybeI should have marked it p. Really whisper that line andespecially those low Bs in measures 13 and 21. Do you havea mouthpiece that will allow you to play low notes quietly? Iknow I didn't when I was playing in my earlier days. We allstrive to find a mouthpiece and reed set-up that will allow usto cover the entire spectrum, to play loud and screamin' andthen turn around and play quiet and sensitive—and always intune. But I digress.

This tune should stay fairly calm until measure 60, wherethings begin to build. Don't miss the dynamic change in beat3 of measure 72—that's a hole you don't want to fall into!Then keep building up to those five huge chords that leadinto the solo section. The whole band's gotta pound thosechords out—really cream 'em!

If you are soloing on this tune, you might want to checkout the legendary tenor player Plas Johnson's classic soloon Henry Mancini's "Pink Panther" theme. Even thoughJohnson is a tenor player, that mellow, low-register, breathysound is a pretty cool vibe for this kind of tune. Always soloin the style of the chart.

After the solo section, there's a sax soli that shouldstart out nice and easy. Save the volume for measure 145,and when you hit those nasty triplets, blow straight throughthem so each note sounds. Same for the sixteenth notesin measures 147-148 then blow through to the end of thephrase. Which reminds me, a strong air stream is importantwhether you are playing loud or soft. Soft passages still needto sound intense, like at the beginning of this chart, andproper diaphragm support is key to accomplishing that. ButI digress, again.

After the soli we hit the shout chorus at measure 175,and now it's time to blow full out! It's the upper four saxesagainst all the brass and the baritone sax, so go for it. Andjust when you think you've reached the climax of this chart,you get to measure 191, which requires the band to stepthings up yet another notch. Hey, I'm not worried—you'reup for it, right?

By ERIC MARIENTHALCheck out the sax unisons in this tune. In your firs

entrance at measure 10, don't think quite as much aboiplaying lead alto; instead, think about the fact that it's fivplayers creating one sound. It's all about the pitch! Listen tthe whole section and blend your sound and pitch exactlwith everyone else. In your own band, always listen aero;the section. Don't allow yourself or anyone else to stick 01or play too soft. As the lead player, you need to establishow the section should play the lines but make sure the enresult is one tight and in-tune section sound.

At measure 44, where your part goes up an octavmake sure you're still blending with your section and th;the octaves are in tune. Listen for those out-of-tune puls<or warbles. If there's no warble, you're in there!

The lead trumpet player always determines the length •the fall-off in measures 89 and 90, so it is important to list*for and match the lead trumpet.

The sax soli from measures 131 to 175 is a seriochallenge, especially the triplets at measure 145. Like adifficult lick, work on it slowly and with control and masure every note speaks. Another tip is to realize that t'time doesn't change whether you're playing something eaor hard. Once you have the notes under your fingers, relstap your foot, and think one beat at a time.

Solo-wise, begin mellow and build to a fairly aggressiapproach. Learn the melody; learn the notes in the chcchanges and scales. Then go for it. Always keep in mind iokay to play snippets and ideas from the melody. Check cthe solos in the full-length version on The Phot Pack CD.

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COUNT BUBBA'S REVENGEPERFORMANCE NOTES

By GORDON GOODWINThe shuffle feel is one of my favorites, and to make

it happen all you have to do is swing the eighth notes alittle harder and it gives the music the essential forwardmovement. You will want to get the shuffle feel into yourmind and body so that when the rhythm section drops outat measure 74, the a cappella sax section keeps the timemoving. The challenge is actually more difficult when youare not playing than it is when you are. For example, inmeasure 75, the 1 1/2 beat rest can bog down the wholesoli if you let it—don't come in late! Be sure to observe thedynamics in measures 74 and 76 and the phrasing accentsat measures 86 and 87. After the solo section, take is easyon the volume, because with the rhythm section tacet, theaudience can really hear the nuances in your phrasing, soplay all the dynamics and accents. When the rhythm sectioncomes in again, you can ride with them and build to yoursoli at measure 226. This time go for it—play full out with abig sound because the band is headed to the shout chorus atmeasure 244. From this point on out, just romp and stompyour way to the end, remembering to keep those rhythmsnice and tight!

For the improv solo, I suggest getting used to hearing theroots of the chord progression and then, depending on yourknowledge of chords, learn the notes of each chord and anycommon tones. Then you can begin to weave through thesechanges and create some music of your own.

By ERIC MARIENTHALBesides playing in time, playing with good intonat

leading the section, making all the articulations and dynarand not making any mistakes, playing this chart is a pieccake! Your section leadership really comes into play onone. My advice is to take a few moments to listen to thethe saxes are playing before you dive in. Then take chof the section. Match the rhythm section concept andoverall swing feel that drummer Bernie Dresel is ere;on the drums when you play your eighth notes. The li<measure 47 is begging to go sharp, so keep the air methrough your instrument to hold the pitch down. Matdphrasing of the trumpets at measure 57.

At measure 74 the time is all you! Keep that metronitime and good swing feel going throughout this soli and 1on leading the section. If the lead alto plays consistentlyconfidently, the section will respond by playing with rconfidence and ease about their parts as well.

At measure 126 and similar situations where youthe choice of which B-flat fingering to use, my advinever slide to the bis key from the B key or vise vers;in this measure I used the side B-flat in beat 3 to avoi<slide up to the B-natural. There are plenty of great pi;who think about the B-flat fingerings differently, butdo they know? Just'kidding!

At measure 213 listen for the way the lead trumpeback at the end of the measure. If you play this chartyour own band, it's important for the band (or the direto make a decision as to how far to lay it back. Theimportant thing is to agree on how it should be playe<then play it together.

The articulations throughout this whole tune aretight, exaggerated, and definite. Again, the important thto listen to how the band plays them and really try to rthe band as you play along with the CD.

For the improv solo, check out the chord progres:it's not that difficult, but it goes where you might not eto hear it. Get comfortable with the sound of the <root progression and then learn the chord tones and sAlways play in the style of the chart.

COUNT BUBBA'S REVENGE

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By GORDON GOODWINWhen playing a contemporary chart like this one, you

must commit to the stylistic parameters. That means playingthese licks with soul, tightness, and precision. Listen tolead alto Eric Marienthal and all the other saxes and all th«=shorns, for that matter on the Phat Band's CD recording ofthis chart and you can hear how every horn player supportseach phrase with a strong air stream. The sixteenth notesin measure 8 should not be tossed off casually but playeddeliberately and with intent. Many of the licks in this chartemulate a solo instrument or vocal, so as a group the bandmust phrase together as one, perhaps even more so than ona traditional swing chart. Listen closely to the other sectionsto make sure all the articulations are the same, including thenote lengths, the scoops, falls, pace of crescendos, type ofvibrato, and so on. There is a difference in the manner ofvibrato and tone production for each musical style. Listento how the saxes in the Phat Band change their approachdepending on the genre of the chart.

There is not typically a wide range of dynamics in funkmusic, but the section after the solos beginning in measure91 provides a chance to bring the volume down a bit,allowing the groove some room to build again.

If you are soloing on this tune, you will find that theusual bluesy pentatonic licks work really well, but don't beafraid to try some new stuff. Listen to the sound of the rootchord progression and become familiar with the notes in thechords. Whatever you play, it should have energy and feelgood and funky! Check out Eric Marienthal's transcribedsolo on page 65.

By ERIC MARIENTHALJust listening to Grant Geismann's guitar comping at

the very beginning of this tune, you know it's going to besuperfunky, tight, and precise. Before you begin playing,listen to the time, the feel, and the intensity of the band.Every note has to be in the pocket or it won't groove. Forthe very first four notes you play in measure 16, make surethose sixteenths subdivide beat 1 exactly. If those notes lagbehind the time, then beat 2 will be late and you'll be playingcatch-up—and that is a problem!

Check out the section beginning at measure 50. Makesure you hit those accents harder than the staccatos. Doingso really creates a cool effect. Pay close attention to howthe rhythm section is grooving with even eighth notes all theway. If you let any of these phrases get ahead, fall behind,or not groove with the rhythm section, the feel of the saxeswill not be locked in.

Articulation is especially important in this chart. Makesure you really engage your tongue. The short notes have tohave a good punch to them, especially the accented notes.At the same time, make sure that the short notes have afull tone. Don't choke off the note so much you can hardlyhear what pitch you're playing. The goal is to play the notesshort but full.

For the improv solo section, funky is good! Keep itmoving and try some blues notes—flatted 3rds, 7ths, andthe occasional flat 5th.

GET IN LINE

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HORN OF PUENTEPERFORMANCE NOTES

By GORDON GOODWINI decided to give you the 2nd alto part on this chart so

you can have an opportunity to play an inner part in a fairlycomplex soli. Playing inner parts is often more difficult thanplaying the lead line because sometimes the voice leadingcan be tricky and you need to concentrate on phrasing andblend even more so than the lead player, who can dictatethose things according to his or her whim. The melodicgroup begins at measure 9 and consists of trumpet, alto,and two tenors. I add a flute for color at measure 42, solisten and blend. Listen to trumpeter Wayne Bergeron andthe guys and catch all the accents, the back phrasing, and allthe nuance of this soli.

The solo section on this tune is hot, hot, hot. You'regoing to have to go for it, but remember there is a ways togo, so pace yourself. Your solo should have a good arc toit. You can hear Wayne doing his solo thing on this tune onthe CD XXL, and as you can imagine, the high notes on thetrumpet are tailor-made for this groove. Solo-wise, energy isthe key ingredient in this type of chart. Build, phrase, listen tothe rhythm section and the groove, play off any backgroundsyou may hear and always feel free to incorporate motivesfrom the melody in a solo. Keep in mind that in a tune likethis, the rule of showbiz dictates that you'll need to findyour own way to bring the crowd to its feet.

The sax licks get fancier after the solos beginning atmeasure 153. You know the drill; practice them slowly andwork them up to speed. Salsa music is the best!

By ERIC MARIENTHAL

Beginning at measure 9, where you play along with ttrumpet, make sure to really listen so you can blend. Ieven more crucial starting at measure 19, where the tenoWayne, and you are playing irrunison. Note that Sal Lozais the 2nd alto player in the band. I highly recommend ycheck out how perfectly his playing is on every tune. Isound, phrasing, and pitch are spot-on—always.

Make sure your part is played in context to the voiciiso it sounds even, balanced, and blended. Keep y<attention focused on Wayne's playing so that when you ptogether, everything is lining up. That means pitch, tirdynamics, articulation—everything!

Throughout the rest of the chart, some of the rhythin Gordon's lines are tricky. If you subdivide every beat isixteenth notes, it'll be much less confusing to read,looking at each lick a beat at a time.

The Latin cha-cha feel of this tune is relaxed and alnrfeels like it's pulling back, but it's not—it's the groove. Lislisten, listen! Make sure to match the groove in all of >phrases. Don't allow yourself to play too hard or witfmuch pressure that you have a difficult time matching wrbeing played around you. In other words, don't be a bia china shop. Playing the 2nd alto chair in a big band m<you're always blending with other instruments. Use !playing as an example as you play along with the band.

For the solo section, keep in mind this chart was wrias a trumpet feature with high-energy brass licks. Therelto make it work for the saxophone, consider playirbright, edgy, and full of energy. Don't over-blow, butstrong. You can use snippets of the melody, some licks 1the chart, and other simple devices to get yourself gon this one. Another approach is to begin the solo sosparse and build in intensity, using some higher notes 01horn at the peak. If you have altissimo chops, this woua nice opportunity to use them.

My comments on this chart refer to the approach to the2nd alto part.

This is a great feature for one of the most amazingtrumpet players you'll ever hear. If you have the Big PhatBand CD XXL, check out the way Wayne Bergeron plays themelodies smooth and melodic at the beginning. You knowwhat's coming later in the song; some wailin' soloing andkiller high notes!

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HORN OF PUENTE

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THE JAZZPERFORMANCE NOTES

By GORDON GOODWIN By ERIC MARIENTHAL

This chart features one of my favorite color sounds: the Play this tune with intensity, but be careful not to blowtrumpets and saxes playing the same material in the same so hard that you push yourself out of tune or distort yourregister as in measures 9-21. For this sound, the trumpets sound. Remember that when you want to play loud, theprovide the power, but the saxes provide the hipness. Bends difference between playing at 90 percent of your availableand vibrato are not as easy for trumpets as they are for you pressure and 100 percent isn't really going to change yoursax players, and you'll have to work with the trumpets to actual volume. In other words, don't push as hard as youagree on a concept. This chart requires constant energy, can when you want to play loud. Always keep a little inbut just because it's rockin' hard throughout doesn't mean reserve. That way you'll be able to control your technique,you throw all subtlety out the window. There are plenty of articulation, intonation and everything else much moreopportunities for (1) dynamics, like measures 20, 36,40, and easily and still have plenty of intensity.58, to name a few; (2) phrasing, for example, the accentsand scoops in measures 9, 10, and 36; and (3) articulation When you play a scoop like in measure 9, make surethroughout. These musical issues all are important in a not to overdo it. As with any kind of inflection, make surenuanced performance. Listen carefully during the unison it's part of the written note and not a different note. Keepsections: articulate, phrase, blend, and tune with the rest the support going with your air and create the scoop withof the band. In this style groove it's very important to play y°ur embouchure,all the eighth notes on top of the beat, never laid-back butalways pushing forward. And toward the end of the chart Take a big breath at measure 120 to make it through thataround measure 113, is where the whole band will have to whole phrase. You never want to get into a situation wheredig down and pitch in to push this chart to the finish line. • you're struggling for air at the end of a lick.

For the solo section: It's rock, it's got energy, it's straighteighth notes, it's sort of bluesy, so try some flatted 3rds and5ths. Let the horn scream for you!

THE JAZZ POLICE


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By GORDON GOODWINYour musical decisions as lead alto player determine

how your section sounds. You have to be willing, along withthe band director, to compel your section mates to followyour musical cues. Look at measure 8. When do you beginthat upward gliss? Look at the crescendos in measures 17,19, and 21. If you don't do those, neither will the rest ofthe section. Look at the bend in measure 31. When do youget completely up to pitch? Look at the sustained notesthat begin at measure 191. Are you going to use vibrato?How much? All of these decisions and more are yourresponsibility. Make sure you have a definite game plan soyou can convey these instructions to your section mates. Aslead alto, this is your job.

An accurate and tight rhythmic concept is important forthis chart. If you place the figures right with the beat, themusic will keep pressing forward. This is especially importantin measures 125-140, where the rhythm section is tacet.The sax soli at measure 143 is all about the rhythm—keepit moving! Eric Marienthal plays with an extremely strongrhythmic feel, and you can really hear that when listening tohis performance of this soli. Be sure to catch all the accentsin measures 146,166, and 167 and the dynamics in measures147-148, 175-176, and 188. When it comes to phrasing,each style has it's own conventions that are consistent. Forinstance, in a swing feel, an eighth note on the "and" of beat2, as in measures 159 and 163, is always going to be accentedeven if it's not written. An eighth note on the "and" of beat4, for example measures 163 and 164, is always going to beshort. The more you listen to and play a particular style,you will absorb those stylistic attributes so that they becomeautomatic.

If you improvise on this chart, you will find that playingblues licks (the blues scale) over the passing chords workspretty well. But I hope you will take the next step and workon creating lines and melodies that fit over the changes.Trust your ears! As I've said before, the first step towardimprovisation is to learn/memorize the melody and thesound of the chord progression. Check out Eric Marienthal'stranscribed solo on page 67.

By ERIC MARIENTHALHere's a hard-drivin" shuffle tune that the band real

sinks its teeth into every time we play it. Take a minute tlisten to the rhythm section, particularly how they're layirdown the groove. When you play the soli starting at measui17, really sit on those accents on the Gs. Even though it'sdriving groove, don't be in a hurry to get to the downbeatIt's a fat (or Phat) kind of feel, so literally put a lot of weig!on each beat and put each figure right in the pocket.

The soli at 143 is a fun one. Being a sax player himseGordon knows how to write these solis so they lay niceon the horn; although they're not always easy, but sin'Gordon can play all of this stuff himself, I just practice attry not embarrass myself! In measure 156 tongue the firnote of each triplet and it will lay better. Play measure 1"nice and even and make sure the time lines up with tlrhythm section and the band. If your time isn't precise, tlsection doesn't stand a chance of playing together. Also,measure 239 make sure you have a good firm grip on ttempo when you begin playing that unison sax line. Tsupporting lines played in the trombone section are liniup with you, so I'll say it again—lay that time down nice asolid.

During the solo section, learn the chord progressicchords, and scales. You can begin easy and build in this soTry playing off the backgrounds for some ideas.

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By GORDON GOODWINThink of this chart as a high-wire act. In a performance,

you want your audience to be awed by the speed and agilityof your performance, so you better do your homework.Eric Marienthal mentioned how much he practiced his part,and that's going be true for any of us who try to play thischart. Stuff like this is definitely "use it or lose it," becauseI notice that when the Phat Band hasn't played this chartin a while, the licks sort of start to slip away on us a little.Muscle memory is an important thing for a musician, andwhen music is flying by this quickly, you don't really havetime to think about it. You need to rely on your instincts andyour preparation. Have you ever heard an athlete talk aboutbeing in the zone? This happens when you have properlytrained yourself and time actually seems to slow down,giving you an opportunity to make decisions efficiently andspontaneously. If you put in the practice time, all of a suddenthat fast tempo doesn't seem quite so break-neck.

If you choose to solo on this track, you will find thechord changes actually allow a fair amount of freedom. Forinstance, the first 12 measures are essentially over an Apedal. You can play a blues scale if you want, but you canalso float over that A pedal and play pretty much anythingyou want. Just go for it and keep that energy going!

By ERIC MARIENTHALThis is one of my favorite tunes in the book. I'm not

embarrassed to tell you I've spent many hours in thewoodshed getting these lines under my fingers. I reallywanted to know the lines well so I could be solid for the restof the sax section. You want to be able to think more aboutthe feel of the lines instead of the individual notes.

At measure 17 make sure every note speaks in eachof those lines. It's okay to ghost a note inside of a lineintentionally, because that's part of phrasing. But if notesare ghosted because a line is jusTtoo difficult to play, it'sobviously not going to sound good. Like any other difficultline, slow it down when you practice and really play withcontrol. It doesn't matter how slow; just get it down towhere you can master the line. Don't speed up until youreally own it.

Gordon is great about writing in the articulations hewants to hear, so while you're practicing the notes, playthe articulations too. When you see a fast eighth-note linewhere the articulations aren't marked, tongue the notesthat are on the upbeats. So if you have eight eighth notesin a row, for example, tongue the 2nd, 4th, 6th, and 8thnotes. This is a typical jazz approach. I'm probably tellingyou something you already know, but it is important tohave independence with your tonguing. When you practicescales or other steady eighth-note exercises or motifs,practice using different tonguing patterns to gain control anddexterity, and accuracy with your articulation.

If you have the full version of "Cut 'n Run" from ThePhat Pack CD, check out Bob Summer's trumpet solo,Brian Scanlon's tenor solo, and Gordon's piano solo. Eachguy is totally burning! One of my favorite things about eachof their solos is that no matter what they play, there's ncdoubt about where they are harmonically, melodically, ancrhythmically. If you solo on this tune, be sure you know thecomponents of each chord in the progression. Play throughthe chord scales and arpeggios—the root, 3rd, 5th, and 7thof each chord. One practice idea for creating good melodie;in your soloing is to play a chord tone on the first and las'note of each phrase. To make it easier for you, try startingwith 3rd and 5th of the chord. For example, if you wereplaying a C7 chord, try starting and ending your licks on Ior G. Also, make sure you can hear the rhythm section welso you can lock in with them. The feel and time in your sol<are just as important as the notes.

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GORDON GOODWIN'SINTRODUCTION TO SOLO TRANSCRIPTIONS

All of the discussion about the principles of ensemble playing is important, to be sure. But if youmaster all the techniques mentioned in this series, and even if you can play every one of thesecharts note-perfect and flawlessly, you aren't quite done. Because jazz requires an element ofspontaneity, and it is that final element, the sense of freedom and exploration that we see in the

great jazz innovators, that will make you and your ensemble come alive. This is rather intangible and is acquiredonly by listening and studying great improvisers—and there are plenty of examples both past and present. Thereare also many masterful technicians on various instruments, players who can dazzle you with their sound andmechanics. But what is rare is a musician who can do both. That is what I would ask you to aspire to. Whenplaying in the section, you are a team member and submit to the will of the group, but when it is your turn tosolo, you step up.

It is exactly this kind of musician we look for in the Big Phat Band. In this section of the book you will findtranscriptions of solos played by various Phat Band members. You can listen to them (if you have our CDs),study them, and/or perform them yourself along with the track.

The selected transcribed solos are from these talented jazz musicians:

• Wayne Bergeron (trumpet)

• Gordon Goodwin (tenor sax)

• Eric Marienthal (alto sax and soprano sax)

• Andy Martin (trombone)

• Brian Scanlon (tenor sax)

• Bob Summers (trumpet)

SWINGIN1 FOR THE FENCESEric Marienthal's Alto Saxophone Solo

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