Jazz Improvisation 2

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Jazz · · 2 ImprOVisation Jazz Rhythm and . the Improvised Line By John Mehegan Preface by Harold Arlen AMSCO t'uBLISHING COMPANY

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Transcript of Jazz Improvisation 2

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Jazz · · 2 ~ ImprOVisation

Jazz Rhythm and . the Improvised Line

By John Mehegan

Preface by Harold Arlen AMSCO '~" - t'uBLISHING COMPANY

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JAZZ RHYTHM AND THE

IMPROVISED LINE

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JAZZ RHYTHM AND THE

IMPROVISED LINE Jazz Improvisation II

John Mehegan

Watson-Guptill Publications/New York

. ~ Amsco Publications

New York/London/Sydney

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To Doris" Carey, and GretclLen

Copyright @ 1962 by Watson-Guptill Publications

First published 1962 in New York by Watson-Guptill Publications, a division of Billboard Publications, Inc., 1515 Broadway, New York, N.Y. 10036

Exclusive distributors to the Music Trade

Music Sales Corporation 24 E. 22 Street New York, N.V. 10010

Music Sales Limited 8/9 Frith Street London W1V 5TZ

Music Sales Pty Limited 27 Clarendon Street Artarmon Sydney NSW 2064

Library of Congress Catalog Card Number: 58-13525 ISBN 0-8230-2572-1

All rights reserved. No part of this publication may be reproduced or used In any form or by any means-graphic; electronic, or mechanical, including photocopying, recording, taping, or information storage and retrieval systems-without written permission of the publisher.

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CONTENTS

PREFACE by Harold Arlen INTRODUCTION

SECTION I - JAZZ RHYTHM

Lesson 1 - General Lesson 2 - Tempo Lesson 3 - Melodic Time Values Lesson 4 - Harmonic Time Values

NEW ORLEANS

"Dippermouth Blues" "Mandy Lee Blues" "High Society"

CHICAGO "Singin' the Blues Till My Daddy Comes Home" "Sweet Sue-Just You" "Dixieland One Step" "I Wish I Could Shimmy Like My Sister Kate" "Jazz Me Blues"

SWING "Oh Lady Be Good" "Just You, Just Me" "Tea for Two" "Whispering"

PROGRESSIVE "I Can't Get Started" "Night in Tunisia" "Lady Bird" ("Half Nelson") "Bernie's Tune"

Lesson 5 - Syncopation

SECTION n - TIlE IMPROVISED LINE (1923-1958)

PART I-NEW ORLEANS

""Gin House Blues" - Bessie Smith "High SOCiety" - Johnny Dodds ""Dippermouth Blues" - Joe Oliver "West End Blues" - Louis Armstrong

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"M uggles" - Louis Armstrong 66 "Basin Street Blues" - Louis Armstrong 68

PART 2 - CHICAGO

"Sweet Sue - Just You" - Bix Beiderbecke 69 "Singin' the Blues Till My Daddy Comes Home" -

Bix Beiderbecke 70 "Original Dixieland One-Step" - Miff Mole 71 "There'll Be Some Changes Made" - Frank Teschemacher 72 "I'm Coming Virginia" - Bix Beiderbecke 74 "Jazz Me Blues" - Bix Beiderbecke 76

PART 3 - SWING

"Mter You've Gone" - Roy Eldridge 77 "Sweet Sue - Just You" - Teddy Wilson 80 "Aunt Hagar's Blues" - Art Tatum 83 "Soft Winds" - Benny Goodman 90 "Crazy Rhythm" - Coleman Hawkins and Bennyearter 91

PART 4-EARLY PROGRESSIVE

"Just You, Just Me" - Lester Young 94 "I Can't Get Started" - Dizzy Gillespie 96 "Lady Bird" ("Half Nelson") - Miles Davis 98 "Nice Work 1£ You Can Get It" - Bud Powell 100 "Cherokee" ("Ko Ko") - Charlie Parker 103 "Just Friends" - Charlie Parker 109

PART 5-LATE PROGRESSIVE

"Lover Man" - Lee Konitz 111 "All the Things You Are" - Chet Baker 115 "Wrap Your Troubles in Dreams" - Stan Getz 116 "I Don't Stand a Ghost of a Chance With You"-Cli£ford Brown 119 "Opus De Funk" - Horace Silver 122 "I've Got the World on a String" - Oscar Peterson 129

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PREFACE The reader's first thought upon scanning this might well be: "Why was a song writer asked to write this preface?" Well now, if I may quote John Mehegan's inscription to me in his brilliant first volume of JAZZ

IMPROVISATION - "To Harold Arlen, whose tunes are a source of inspira­tion to all jazz men" - it would seem that there is some contingent area where song writers and jazz musicians meet to draw from a common source. Perhaps this wellspring is the blues, which, I am told, finds its home in some of my music. I am pleased to discover that at times my music may act as an emissary in the fascinating conversation which occurs be­tween the jazz musician and his audience.

Yes, I'm human enough to take pride in his inscription, but more than that it reveals the absolute truth about the collaboration of composers and im­provisors. One may improvise to his heart's content, but the listener cannot fully appreciate the magic of the stylists and their improvisations unless they take flight around a theme or melody with which the listener is already familiar. Only then is their work understood, and all their flights take on a new meaning when they have a base, or perhaps I should say "bass," to depart from and come home to.

It was an improvisation of a traditional vamp that was responsible for my first hit, "Get Happy." That melody has been the base for many original inventions, and I bow to the superb talents of the men in this volume who have collaborated (although they may not know it) with many a song writer in keeping their songs interestingly alive. Let no one who thinks he knoW~-«1lything about jazz improvisation or the various piano styles that have evolved through the years slough off this volume as something to rest in a dusty archive. Jazz is distinguished by its urgent vitality, and it seems to me that the author has captured this special quality of jazz by chOOSing the individualists - the innovators; for in every generation there are those who follow and the blessed few who lead.

It is quite unusual to find one so devoted, knowledgeable, and unstinting as John Mehegan in his efforts to bring musical order to this most driving, unique, and universal art form so lovingly shared by so many.

Harold Arlen New York City 1962

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INTRODUCTION Volume II of Jazz Improvisation deals with the schematic history of

two important facets of jazz: 1. Rhythm 2. The improvised line

It is in the areas of rhythm that the jazzman has achieved his most magnificent expression; it is in the improvised line that he has given this rhythm vitality and mea:ping. As the jazz musician calls forth his resources of imagination, technique, and taste to generate that elusive quality called swing, he also learns that the sum total of the resources he deals with eventually are transformed into the common denominator of all jazz -rhythm. Volume I of Jazz Improvisation explored the tonal aspects of this problem. The present volume deals first with the rhythmic genesis of improvisation, and second with reproductions of outstanding recordings created by jazz musicians over the past thirty-five years. Various sche­matic outlines trace the evolution of jazz rhythm, harmony, and the im­provised line.

The subject of jazz rhythm has been of major concern to all jazzmen throughout the history of the art form. Jazzmen usually refer to jazz rhythm in all its manifestations as time. Time encompasses all of the aspects of tempo, beat, pulse, and, above all, the elusive element called swing. For one jazzman to acknowledge that another jazzman swings is to confer the highest accolade. What is swing? Tempo may be metro­nomically determined; pulse and meter rest within the notation of a com­position; but the swing or lack of swing of a performance is very. difficult to evaluate objectively.

The performance of a Bach Fugue, a Strauss waltz, a Sousa march, or a rhythm and blues recording - each can be said to swing within its own context. The problem of evaluating the swing of a jazz performance lies in recognizing the multiple levels of pulsation which must converge in the performance to create swing.

MELODIC SWING: The presence or absence of swing in an improvised line is determined

by the following factors: 1. Relationship of improvisi~g units (eighth, sixteenth, thirty-second

notes) to the basic beat. 2. Punctuation in relation to stresses within the bar. 3. Punctuation in relation to the bar-line.

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4. Constant transitions from unit to unit (eighth, sixteenth, eighth­note triplet to thirty-second, etc.) to sustain melodic interest.

S. Direction changes within a phrase in order to avoid one-directional (( " runs.

6. Accent placements capable of falling at any point of opposition to the basic pulse.

7. Interesting interval textures employing all units of the interval span from the minor second t-o the major ninth.

8. . Constant tonal transitions from release (modal) to tension (non­modal) or the opposite transition (tension to release). The result­ing line, by constantly alternating between these two factors, will avoid the oppressive monotony of total release (modal) or total tension (non-modal). It is well to remember that the ear (like all sensory organs) functions on a premise of Opposition, i.e. release is non-tension, tension is non-release. One can only exist effectively by the presence of the other.

9. Constant transitions between · tile basic quallty 'tones of a chord (root, third, fifth, and seventh) and the ornamental tones (ninth, eleventh, and thirteenth).

10. Use of sequence, retrograde motion, diminution, and augmentation to enhance musical order.

11. Use of dynamiCS in order to clearly establish the rise and fall of musical sentences.

12. Contrasting touch or tonal timbres in order to achieve an emo­tional palette.

HARMONIC SWING:

The swing of a harmonic progression or chord chart can hardly be underestimated, since it is the transmission belt of any jazz performance. Harmonic swing is essentially based upon the procession of patterns ap­pearing in a tune. (See Volume I, Lesson 62, 63, 64). These circles of fifths, diatonic and chromatic patterns have all evolved from the Baroque, Classical, and Romantic traditions and represent a distillation of the harmonic deSigns most conducive to a propelling beat. A badly organ­ized chord chart may quite easily dispel the effectiveness of a jazz per­formance that might otherwise (melodically and rhythmically) possess the necessary qualifications of swing. The circle of fifllis, of course, takes precedence over either diatonic or chromatic deSigns in creating harmonic swing. The reason for this lies in a fundamental fact of all tonality -namely that the basic cadence design of the circle of fifths (II - V - I) is the most effective means of establishing harmonic tension, which demands

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an inevitable resolution. Orderly diatonic and chromatic patterns act pri­marily as connective material joining the circle of fifths.

Chromatic harmonic designs usually possess the tension of inevitable resolution more than diatonic patterns and are often employed as "substi­tute" structures for the circle of fifths: For instance:

Circle pattern: III - VIx - II - V - I Chromatic substitute: III - bIIIx - II - bIIx - I

The subject of "substitute" chords is one that consumes the interest of many immature jazz musicians, who seem to feel that the acquisition of a few "substitute" chords will automatically transform them into devel­oped performers. The term "substitute" as used by these people actually means the correct chords for a jazz chart, as opposed to the incorrect chords often appearing in sheet music or numerous "fake" books. This whole . idea is, of course, an illusory one that only at best can "patch up" an otherwise faltering array of resources. The only authentic "substitute" chord is the chromatic substitute for the circle of fifths (bIIIx for VIx), the so-called "augmented fourth substitute." A correct chord cannot under any circumstances be considered a "substitute" for an incorrect chord.

RHYTHMIC SWING:

Music theorists have usually centered their interest upon the rhythmic aspects of jazz, since they have quite correctly established that the jazzman has not been an innovator in the areas of harmony and melody. In the realm of · voicing existing harmonic materials, jazz pianists have been singularly inventive (i.e. Tatum, Wilson, Powell, and Shearing). But for the most part jazzmen have been content to borrow their tonal resources from such diverse areas as Lutheran hymns and Stravinsky's Sacre du Printemps

As indicated in the introductory notes to Volume I, the rhythmic engine found in all jazz, regardless of period or style, is a form of florid counterpoint involving three levels of time. Each level represents one of the three basic elements of all music:

j - melodic time

J - harmonic time

J - rhythmiC time

As indicated in Volume I and further explored in the present volume, the melodic and harmonic units both employ a number of variables rang­ing on the melodic level from J to} ... .d on the harmonic level

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from J to j, 0-0--00 It is in the creative use of these variables that the ordinary harmonic and rhythmic resoltrces of jazz are transformed into the sensuality, the lyricism, the pathos, and the savagery of the art form.

Probably the most representative point of view of the serious musician toward the question of jazz rhythm has been expressed by Igor Stravinsky· • Responding to an inquiry by Robert Craft concerning his attitude toward jazz, Stravinsky expressed an admiration tinged with affection for the vir­tuosity 9f jazz musicians. He also pOinted out that jazz is by far the finest form of popular musical culture in America today. One curious comment of Stravinsky's which seemed to reveal his attitude toward jazz rhythm, was his statement that jazz rhythm did not "really exist" since it possessed neither "proportion" nor "relaxation:'

Actually, jazz rhythm falls into two basic segments:

SUPERSTRUCTURE (melodic and harmonic units and their variables)

SUBSTRATUM (basic pulse or beat)

Tnte, the basic pulse or beat, by definition, is without "proportion" or "relaxation;" however, the superstructure of melodic and harmonic vari­ables is, by definition, constantly subject to the identical concepts of "pro­portion" and "relaxation" that prevail in serious music. The fact that these levels of "proportion" and "relaxation" are not always maintained · is part of the relentless diScipline of the art form, which, as in all art forms, takes its toll of faltering heros. This can never in any way repudiate the abso­lutes (relative to style and period) established by such master figures as Armstrong, Beiderbecke, Hawkins, Goodman, Tatum, Parker and Powell.

This brings us to the second section of this present volume dealing with a schematic history of the improvised line.

, The final and most severe commitment of the jazz musician is to "blow a line" on the changes of a tune. This line should represent an im­aginative design built upon the rhythmic, harmonic, and melodic inflec­tions implicit in the composition. Volume II will document some of the greatest lines played in the thirty-five years from 1923 to 1958.

Each period produces its own monumental achievements of the im­provised line, which in time become a pOint of departure for succeeding generations. For convenience, it is well to use the following period break­down.

-Igor StraVinsky and Robert Craft, Conversations with Igor Stravill.sky (Garden City, New York: Doubleday & Co., 1959).

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ARCHAIC: 1875-1915 gospel songs work songs hollers medicine shows minstrels ragtime blues

NE\V ORLEANS: 1915-1925 Louis Armstrong King Oliver Nick LaRocca Jelly Roll Morton Kid Ory Honore Dutrey Leon Rapallo Johnny Dodds Jimmie Noone Bessie Smith

Bunny Berigan Vic Dickenson Benny Goodman Benny Carter Johnny Hodges Coleman Hawkins Chu Berry Ben Webster Harry Carney Charlie Christian Django Reinhardt Red Norvo Hershel Evans

EARLY PROGRESSIVES: 1940-1948 Bud Powell Dizzy Gillespie Miles Davis Bill Harris Charlie Parker J. J. Johnson

CHICAGO: NEW YORK: 1925-1935 Stan Hasselgard Earl Hines Lester Young James P. Johnson Serge Chaloff Fats Waller LATER PROGRESSIVES: 1948-1958 Bix Beiderbecke Miff Mole Jack Teagarden Frank Teschemacher Pee M'tRussell Bud Freeman Eddie Lang Jimmy Harrison Tommy Ladnier

SWING: 1935-1940 Art Tatum Teddy Wilson Roy Eldridge

Horace Silver Oscar Peterson Hampton Hawes Chet Baker Clifford Brown Bob Brookmeyer Lee Konitz John Coltrane Gerry Mulligan Tal Farlow George Shearing _ Stan Getz Milt Jackson

Instruments represented in the above outline include trumpet; piano; trombone; alto, tenor, and baritone saxophones; clarinet; xylophone; Vibraphone; and the human voice. Instruments auxiliary to the improvised line (bass, drums, etc.) and those upon which no major developments have occurred (Bute, organ, etc.) have been omitted.

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That this list of the melodic giants of jazz is incomplete is immedi­ately obvious to even the casual reader. Most people naturally feel that anyone they like is very good and a candidate for the jazz Valhalla, but the exigencies of history are fortunately a little more demanding, primarily because in retrospect the contribution is distilled from the performance.

The average listener is rightfully concerned with the immediate per­formance and has little patience or interest in the eventual, dry summing­up. The author is solely responsible for the arbitrary selections herein, and he feels that the reader rightfully deserves some explanation of the pitfalls, whimSies, and, above all, prejudices of the author.

First, it is believed in this quarter that the lyrical line abounding in sensitive melodies and harmonic inflection, in addition to that elusive element swing, is the most demanding, most rare, and most important ele­ment in jazz. Respectfully excluded are all types of styles based upon slurs, growls, wa-waing, honking, or slap-tongue. Furthermore, styles employing in an essential way the use of plungers,haU-valve, mutes, or hats expressing some degree of bathos, onomatopoea, or some such figures of musical speech, have been omitted on the grounds of being either too specifiC or too topical.

Many melodic instruments upon which jazz can be played have been ignored on the basic grounds that no major achievement has been initially presented on such instruments and also on the further basis that just as there are major and minor figures in jazz, so there are major and minor instruments, and major figures tend to play major instruments probably because they offer a wider spectrum of sound and emotion.

In the labyrinthian maze of the jazz discography, which had its in­ception in 1921 and has flourished into a multi-million dollar industry, the historian faces a tremendous task of ferreting out some continuity of de­velopment in the art form. Who are the major figures, the minor figures, the innovators, the consolidators, the creators, the contributors, the popu­larizers, the recreators? What is the mainstream; which are the tributaries? Where are the lines of influence? For one thing, the lines of influence crisscross from one instrument to another: Louis Armstrong to Earl Hines; Benny Carter to Teddy Wilson; Art Tatum to Charlie Parker; Charlie Parker to Bud Powell; Horace Silver to Chet Baker.

Actually, new, fresh, completely original ideas in any art form are extremely rare. In a sense, the entire history of jazz could probably be summed up with three names: Armstrong, Hawkins, and Parker. But this would telescope the entire history of jazz to a dusty litany of unrelated «g' ts" Ian •

With the spate of reissues in recent years, precious 78's and even cyl­inders and piano rolls have been faithfully re-recorded on LP's which re-

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moves living moments of jazz history from archives and collections, making them available for the general public. Many apocryphal figures come to mind who could never be recorded and whose art remains a legend -Buddy Bolden, Porter King, Emmet Hardy, and Tony Jackson. Others like Freddie Keppard, Bunk Johnson, Alphonse Picou, and Larry Shields, who were recorded long after their prime, remain shadowy figures of a dim past. Still other tragic figures like Leon Rappalo, Joe Smith, Bix Beiderbecke, Hershal Evans, Fats Navarro, Clifford Brown, and Wardell Gray were stilled by permanent illness or untimely death.

Important contributors or consolidators like Henry "Red" Allen, Sidney Bechet, Charlie Shavers, Buck Clay ton, Harry Edison, Lucky Thompson, Orner Simeon, Zoot Sims, Sonny Stitt, Jess Stacy, Bobby Hackett, Shorty Rogers, John Lewis, Frankie Newton, Joe Sullivan, and Mary Lou Williams have been excluded due to the exigencies of space. Although it is a truism that a creator is seldom if ever excelled by one of his diSciples, the very term "creator" is open to question.

By definition a creator must transcend (Parker, Mole, Armstrong), consolidate (Peterson, Wilson, Noone), alter (Silver, Davis, Konitz), or even demolish (Powell, Young, Eldridge) previous levels of expression.

Each creator does not arbitrarily choose the role to be followed; rather this role is assigned by history. At the same time no creator alone can make his achievement; he is constantly aided by figures of probably less stature who often pOint the way toward a new imaginative level. From this point of view, the sum total of these minor figures is extremely im­portant and refutes the myth of the solitary "cultural hero."

To assume that the best of jazz has been captured on records is, of course, ridiculous; and the painful remembrance which we all have felt of past, lost. moments only pOints up the inescapable silence of history. Like any art form, jazz displays an inevitable dialectic toward more com­prehenSive modes of expression - but it is also well to keep in mind that any invidious comparisons in which one period (either the earliest or the latest) is chosen as an absolute of expression in distinction to another period, or all other periods, is to miss completely the intrinsic worth of every period. It must be remembered that each line chosen is a fair representation of the finest conception for that particular period, and in no way is to be deemed a series of progreSSive steps from bad to good or inept to skilled.

The obvious extension and refinement of skills and techniques must be thought of as representative of a comparable progressive extension of feeling and thinking on the part of the successive generation of people who listened to this music.

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H a King Oliver chorus seems archaic and limited to a modem lis­tener, it is well to remember that Charlie Parker would have appeared as incomprehensible emotionally and intellectually to the audiences atChle­ago's Lincoln Gardens in 1928.

This is the natural evolution of any art form, and if the art form possesses an intrinsic worth, eac~ period should retain some permanent value relative to all periods besides its absolute value to its own particular space-time. In other words, Armstrong's "Potato Head Blues" should and does possess a universality for all periods. This universality will probably never completely recapture the excitement of the moment of creation, but some permanent verity must always reside in Louis' achievement.

Here, then, is a book which permanently records the evolution of the improvised line and the history of jazz rhythm with the hope that future generations may find here knowledge to aid them in their efforts toward continuing and deepening the jazz art. .

JOHN-MEHEGAN

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SECTION I

Jazz Rhythm

LESSON 1.

General

All jazz involves three levels of time (rhythmic pulsation) played simultaneously against each other. It is the constant conflict of these three time levels and their superimpositions which results in the endless tension present in jazz.

The idea of rhythmic "counterpoint" is, of course, present in all music (Western and Eastern), so that this fact alone would not account for the unique qualities associated with jazz. However, jazz deals almost exclu­sively with a specific relationship of time values which immediately dis­tinguishes it from a large segment of other musical forms. This specific relationship of time values can best be expressed through their application to melody, harmony, and rhythm.

As a general statement, it can be said that all jazz from 1900 to the present day has employed the following ratio of time values:

1. A quarter-note pulse. the rhythmic unit, representing the rhythmic center of gravity of any jazz performance.

2. A slower set of time values representing the harmonic unit (half­note) . ...

3. A-tftticker set of time values representing the melodic unit (eighth­note).

In Lesson 34 of Volume I, we learned that the melodic unit employs variables ranging from eighth-note to thirty-second-note. This range was incomplete and was established for study purposes. The following outline illustrates the variables for the three basic units which have been employed through the years from New Orleans polyphony to modem jazz.

ELEMENT UNIT VARIABLES

'3'

Melodic eighth-note 0, J, J, ~, ~ ~,

Harmonic. half-note J, 0, OQ, 00-0-0

Rhythmic quarter-note none 17

'3' ), j

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In the above outline, dotted values are assumed to be included; synco­pation will be discussed in a later lesson.

As we trace the history of jazz, we find that the rhythmic unit has seldom if ever varied through the course of some sixty years. We will also discover in. this and succeeding lessons that the harmonic and melodic variables have gradually expanded through the years from the complex to the more complex.

It is also apparent that the rhythmic «assignments" for certain jazz instruments· have drastically changed -- some -to the point of altering the role of the instrument from one level of time to another;

INSTRUMENT BEFORE NOW

Piano rhythmic harmonic

Bass harmonic rhythmic

Guitar rhythmic melodic ana/.,9r rhythmic

Drums rhythmic melodic and/or rhythmic

RHYTHMIC SUPERIMPOSITION

As the range of variables has increased on the melodic and harmonic levels, so also has the superimposition of these units and their variables, one level over another. The idea of rhythmic superimposition has always existed in jazz and can even be found in examples of archaic folk idioms.

For instance:

Fig. 1.

Melodic Superimposition J J J J J J J J BarmoD1c UD1t II V

Rhythmlc UD1t

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Fig. 2.

Melodic Superimposition

3 3 3 3

J J J J J J J J J J J J Harmonic Unit n v

Rhythmic Unit

These functional superimpositions have existed in jazz and pre-jazz for probably 75 years. The first example is common to nearly all boogie­woogie; the second is common to archaic folk guitar and remains the rhythmic staple of rock and roll.

Sometimes the superimposed factor is the rhythmic unit (quarter­note), which may appear on either the melodic level (especially Armstrong and Beiderbecke) Fig. 3; or on the harmonic level (especially Tatum­Wilson swing bass) Fig. 4.

Fig. 3.

Rhythmic Superimposition

Melodic Unit_ J. Harmonic Unit n v

- Rhythmic Unit

In Fig. 3 the rhythmic superimposition over the melodic unit was em­ployed by Armstrong and Beiderb~cke to build the rhythmiC tension later to be released into the eighth-note melodic unit.

It is of course apparent that the major superimpositions in rhythmic units have been melodic over · harmonic (Fig. 1 and 2) and in relation to

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the piano the gradual transition from a rhythmic to a harmonic and finally, a melodic instrument. Melodic over rhythmic has played a major role in the emergence of modem drumming (e.g. the drum solo). The necessary "static" value of the harmonic unit has resulted in few displacements to the other levels. Fig. 5 is a broad outline of the essential displacements of each level.

Fig. 4.

Melodic UDlt J J J J J J J J

Rhythmic Superimposition J J J (Swing Bas.) t

BarmoDlc UDlt n

Rbythm1c UDlt

Fig. 5. Superimposition Chart

Melodic over harmonic: Boogie-woogie (Fig. 1) 12/8 time (rock and roll) (Fig. 2) Modem solo piano Locked hands New Orleans clarinet obligato Left hand arpeggiation Banjo

Melodic over rhythmic: Wood block or cymbal Drum solo

Rhythmic over melodic: New Orleans - Chicago "ride out" (Fig. 3)

Rhythmic over harmonic: Guitar Ragtime Swing bass "Walking" bass lines

V

ErroIl Gamer (left hand "strumming" in quarter-note units)

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The device of superimposition of one level over another raises the question as to what is a melodic, harmonic, or rhythmic instrument. Al­though each instrument in a jazz group (except the drum) is concerned with harmonic materials, there actually is no such thing as a harmonic instrument in jazz (the exception might be the New Orleans trombone). In each case the harmonic materials are transformed into melodic or rhythmic elements. In essence, all factors ultimately emerge as rhythmic.

The follOWing designations indicate the roles of the basic jazz instru­ments in the history of jazz:

N elD Orleans: Melodic: cornet (1) Melodic-Harmonic: clarinet

comet (2) banjo·

Harmonic: trombone Rhythmic-Harmonic: piano

tuba-bass Rhythmic: drums

-The banjo represents a curious anomaly of factors: It is essentially a "harmonic" instrument d' it utilizes "melodic" units)J, yet it is tradi­tiona��y considered a component of the "rhythmic" section ~

Chicagot: M~lodic: trumpet Melo<lic-Harmonic: clarinet ..

saxophone trombone piano (R. H.)

Rhythmic-Harmonic: piano (L. H.) banjo-guitar bass

RhythmiC: drums

tThe term "Chicago" refers to the small polyphonic ensembles existing from 1924 to 1932. The New York scene of the "'20's" is generally one of experimentation with resources destined to become the large ensemble structure of the "'30's." The unique development of the Ellington band is beyond the scope of this book.

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Swing: Melodic: brass or reeds Melodic-Harmonic: brass or reeds Rhythmic-Harmonic: piano

Rhythmic: drums

guitar bass

Progressive: Melodic: saxophone-trumpet unison Melodic-Harmonic: piano Rhythmic-Harmonic: bass Rhythmic: drums

At no time should this material be interpreted as indicating a general progress from "bad" to "good" (as some believe) or "good" to "bad" (as others believe). Each style portrays emotions and feelings in context to its particular space-time. Armstrong's "West End -Mues" is as valid as Parker's "Koko," and Beiderbecke's "Singin' the Blues'~~is comparable to either of the previously mentioned performances. Each represents a mile­stone of achievement in context to a particular period, style, and point of view.

SUMMARY: Jazz is an improvised indigenous American folk music employing eighth-, half-, and quarter-note rhythmic units moving through a diatonic system of harmony in 4/4 time.

LESSON 2.

Tempo

Tempo in jazz has always been a primary consideration for the per­former in choosing the pulsation best suited for "swing" and urgency. How­ever, tempo has often been affected by factors not directly connected with rhythm, such as individual virtuosity. A performer naturally chooses a tempo which will allow him to achieve his ideas with clarity and precision. In this case, a tempo might be considered "too slow" if the performer felt unable to create the necessary "ideas" to fill the large spatial areas created by a "slow" tempo. On the other hand, a tempo would probably be con­sidered "too fast" if the performer's ability with the eighth-note unit, the sine qua non, were over-taxed.

Two other factors extraneous to the performer come into play in de­termining tempo:

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1. Social function

2. Prevailing harmonic materials

Social functions such as the New Orleans funerals and weddings, also prevailing dance styles (Charleston, Lindy, etc.), may determine to a large extent the permissible tempo range.

Prevailing harmonic materials (the chord chart) also affect tempo. If a chord chart employs long sustained harmonic units (c:>ooo ), a cer­tain pulsation rate must be maintained in order to achieve any urgency. On the other hand, the use of quick harmonic units ( J J. I tJ tJ ~ ~ ) would neceslSarily mean some moderation in tempo in oraer for the perfo~er to ·'realize"· each chord.

The following outline illustrates the history of tempo in jazz from the early Twenties to the present day. In each case the metronome marking (mm) refers to the rhythmiC unit (quarter-note).

These estimates are based on arbitrary samplings and indicate only the general trends.

New Orleans Groups

Average- rom - J Tempo span

Chicago Groups

Aver:rge mm - J Tempo span - J

New York Swing Bands

Average rom - J Tempo span - J

Progressive Groups

Average mm - J Tempo span - J

(1920-1928 )

-.-:. 166.7

= 104 - J = 248

(1924-1930)

= 179

= 108 --'- J = 264

(1924-1940 )

= 213

- 80-J =324

(1942-1960 )

= 184.5

= 44- J =360

Many conclusions can be drawn from the above outline: 23

Page 23: Jazz Improvisation 2

Tempo averages gradually increased until the Progressive period when a noticeable decline occurred. There were many reasons for this decline in the Forties.

a) More complex harmonic materials b) Growing emphasis on mood and formal structure c) A probing of the "slow sound barrier" (below mm; -= 1(0) to

hitherto unheard areas (rom ~ - 44) d) General abandonment of the eighth-note as the sole improvising

unit with an accompanying exploration of the sixteenth-note triplet and thirty-second-note at slower tempi; trend toward introspection

e) The "fast sound barrier" ( ~ -= 3(0) has maintained to some ex­tent, but the average drops because of the slow tempi. (Note: the fastest recorded solo known to the author is "Indiana" by Oscar Peterson (~- 360 )

Contrary to popular opinion, Chicago jazz was not much faster than New Orleans jazz; the tradition from Chicago to Swiftg is much more accelerated. The tempo spans of the New Orleans and:-Ghicago groups are fairly similar. The explanation of the "fast" Chicago myth may lie in the fact that the levels of mUSiCianship in the Chicago groups were uneven and the slower efforts have not withstood the ravages of time, whereas the "enthusiastic" quicker tempi have survived. · This dictum would of course exclude Beiderbecke, Trumbauer, Lang, and "Miff' Mole.

It is doubtful if the modem tempo span of ;.., 44-360 can be broadened. Below mm~ -44, "swing" becomes questionable; above mm ~ -360 would seem to tax human limitation and probably also the pos­

sibilities of "swing."

Page 24: Jazz Improvisation 2

LESSON 3.

Melodic Time Values

As previously indicated, the melodic instruments (trumpet, clarinet, saxophone) have from the beginning enjoyed the most freedom in terms of rhythmic units (eighth-note - thirty-second-note).

The following outline illustrates the over-all development of the melo­dic time unit in the improvised line:

UNIT RANGE

Bessie Smith 0 to j "King" Oliver 0 to rh Louis Armstrong J to ~ Roy Eldridge } Be~~y Goodman J to ~

... Cha.r:u.--'Parker } J to ~ Dizzy Gillespie

This outline reveals the gradual abandonment of the "vocal" line im­provisation in favor of the "instrumental" line. The quarter-note unit ap­pearing in each unit range represents the superimposition of the rhythmiC over the melodic (see Fig. 3, Lesson 1).

Fig. 1 illustrates a schematic outline of the improvised line from Bessie Smith to Hampton Hawes, employing the ~ternal 12-bar blues. It will be noted that several of the soloists (especially · Young and Davis) indicate a reaction against the generally expanding 1evels of virtuosity. These solos represent an interpretive attempt to explore new levels of harmonic and melodic inSight, areas of equal importance. The varying signatures are all applicable to the figured bass appearing at the bottom.

25

Page 25: Jazz Improvisation 2

Pick-up bar Bessie Smith

fl I

! "King" OUver

fJ I

!

fl Ki~ Ory

~

! Louis Armstrong

fl I .!l

!. .. - .,. fl Ja~k Teagarden

~ Benny Goodman

fJ I

~ -fJ Lester Young

!. Dizzy Gillespie

fJ I

~ CharUe Parker

fl

I! fl Miles Davis

I! fl Horace Silver

I! .. ... fl Hampton Hawes

! n

26

l

-

2

.... ~

- , 1

= - bi'*lj1t ~ :j qi n

..... :;J. .. v

v

Bartl I ~

'*--'* -II .

r

-I ~11 .. -~ I

I --b. ___ I.

- - _I - - _I - -3

---: ~

... ~J .. "*

.,; .. 3_ ::::--

...... -1+6

Page 26: Jazz Improvisation 2

Barf2 Bessie Smith

~I ~

LL r1 ~V_

@ ''KIng'' OUver

~ I ~

-XIL I@ I

Kid Ory ~ I

.I. [U ~ l':: [T

Ie Louis Armstrong

~ , .I.

-x .1L @ I ~ Jacrk Teagarden

-"- ....1:1 Lt, r\.~ ~ @ V

Benny Goodman fI I ~

'I"'l

!J

~ Lester Youug

IL [l I

Dizzy Gillespie

I

l'

-1

~~

1

-fli , ..-]I

I!J

'I

I

~

~ CbarUe Parker ....... ,

Ie Miles Davis

~

rU Horace Silver

~ ,

~

Ie • 1J • Hampton Hawes ~ fl - >- I

-"- . @ - -

IVx

Barla

- .. ~

- "

- r

3 -#~ ~ = = --"J

'1,,-? - .. 3

-.t ____ V"""" ~ .. .3.. ?

.. - '1- '1-~ if" •

- ,

- III 1 ~ -i

--- --.1 ,I

3 ........ I

- -- --J -

I 3 -,

- .- .. .. .-...-t I

- ,- >~ if"· qv. D~_

::- ::- ::-

3 - • .. 1+6

27

Page 27: Jazz Improvisation 2

lIarH Bessie Smith

fl· L ~ ..h

It "King" OUver ~I

~IL

!t! I KidOry

fI I

-"" , -Louis Armstrong

fI I ~

LL !'!>~

It! v~ 1'\ .Ta~k.. -....

-"-LL "

It! """-,,,"" Benny Goodman ~ I

LlJ !'!> ~ lL

It! I

a Lester Young

13. IL ') -

Dizzy Gillespie fI I

~ !'!>.

It! I , I

fl CharUe Parker

!'!>.

I' Mlles Davl.

~

'!'!>.

I@~

Horace Sliver a I fL

13. IL

1) ~~ a Hampton ~e. fL

IL

• v;_/-

28

lar • 1

-

-t --

~.

It ........ ,./It .. ~

- .......

~

-- ,- ..........

-I

J

d~ ...... it· -:> . - __

3

q.' 3

it ... •

Page 28: Jazz Improvisation 2

Barts Be.ale Smith

hi

''King'' Ollver

11 I -

KidOry 11 I

IL e; -

f} ~. Armatroq

I@! Lester Young

'" @!. T ~ Dizzy GUleaple n I I

'" Hampton ~we.

IVx

-

-

= ..

I

.,-

..

= _ ..

I

--gilA. -

~-

3

-,-",,- .. /-;

- -L.... I I

Jot_ -

-

- ..

29

Page 29: Jazz Improvisation 2

Barf6 Bessie Smith

fl I ---. ~

"King" Oliver fl I

r~ L

fl Ki~ Ory

I~

.-

Louis Armstrong f) I

I

I

I~ ~

f} Ja~k Teagarden

I~ - v. 11

Benny Goodman

fJ I"" l

I~ I ;>

Lester Ywng f} n.

I ~

Dizzy Gillesple fl I

.!) CharUe Parker

f) I

I~ -~ -., &::I..

fi Miles Davls

!) r fl Ho~ace Sllver

@ V" Y = = :j Hampton Hawes

fl _

~ IVx

30

"':

3

-

---- - .,

-

-

-,...,.

--.

--

= ~ _"1

-I

Barf7

v • ~

-I

... !:-* #~ = ~. ~ ?;

r-r~ ,.. '-' ~ , r - 1 -~

-~

.,; -- ....... .. .~ i~ lJ:"",,- iJ. •

.". b~ Ifl ~ I,r--

.. ft ... - -

-~. ~~ -~ -,

.-- -----D"'~I.~ii I - - --.--,,-- *_'1

- I

I I

iJ. 11. Ji .. - it· • .. = = ;;;:. :j "1

1 I~ I !>

~ -~

1+6

Page 30: Jazz Improvisation 2

Barts Bessie Smlth r. ,

I~ "King" OUver

r. I

r~

fI Ki,d Dry

I~ __ 4

Louis Armstrong r. I

i~ ... r. J~k Teagard~n

I~ tf* ..

--3

-~

r. I .....-.. Benny Goodman I • _ -i ~

~

I - I

~ = = 11 ii __

1

-... ..........

I

-

r. Lester Young ......-..

I~ I

Dizzy I.;~_. __ ~ff. -fI I ~t • --

~~ =- ~ CharUe Parker ...... r. -

~ ......iiI 111 -v--,: -r. Miles Davia

~

fI Ho~ace Silver

@ = TV· fI ntawes

@ .. '10

Bart9

. --,..; - •

.....

-~ I

3 -r q ..... -

- i 11" ..

I

-.-

_. "'::-.-1...-_. ,.. ,.. ,...,,..._. LL .. II -

~ - -= -:~ '1""·

.....-II!

=>

.... .......-t I

n v

31

Page 31: Jazz Improvisation 2

Bar flO Benie Smith

LlJI

!J ''King'' OUver

~ 1 ...L

~

I'} K1~ Dry

@!. V Louis Armstrong

"l l -@.

Jack Teagarden I"l I

@.

Benny Goodman

~ L L

@!.

~. Lester Young

@!.

Dizzy Gillespie I'} I

I!

CharUe Parker II'}

@!.

I"l Miles Davia

\! Horace Silver

~ I

@!.

f\ Hampton Hawes

@.

II

32

..

*~ • !l

~ r-

3

3 -_~_ • _ L.._

:>

- .. .. *' ---

-,J ~ ~ = ~

;f* ..... _...-.. -,j -,j---..

!: qll. ~ - -

I I

3 -.. -.,-~

v- l:'* ~.G*b*

- v-r - ..

- V" .. -,j ~ .. ~ .. -v

Page 32: Jazz Improvisation 2

Bar III Bess1e Smlth

~. J I

~ --~ Oliver fI J

I~

~ K1~ Dry

~ ~V._

fI Lo:us ".:. - •• '-e

~ - -Jack Teagarden f) I

I~ -Y Benny Goodman

~ i ".

~ -fI Lester Young

I~ I

Dizzy Glllesp1e f) I .

II!

~. .. 3

1 -3 -

,

t --tt· -

fI Charlie Park ~ . ,

~ , .. tt .. *Lo\" "..,J''' ~ -.

fI Miles Davis -I~ I -~ Horace Silver

I -

I~ Y V. i V. i V. fI Hampton Hawes

~ .. 1+6 VI

D*

3

v Jf* .. .-

I

-

-------

I ~ IIiiiiiiQIII .

... t- -.. -----

33

Page 33: Jazz Improvisation 2

Bar'12 Be88ie Smith

fl I

~ ''Klng'' OUver

,., I

!. I

Kid Ory •

Louis Armstrong fli

14I! 3

Jack Teaprden {t 1

~

!. i BeDDy GoodmaD

,.. , ft-

=" 41!

fl Lester Young

LI:

~ I

Dizzy Gillespie ~ I

!. CbarUe Parker

~

~

--- ~

• •

- ~

• • P.

-~ -• -. .. .,.

~~.""F:iEi I ~ v~.'I-ui-tit - ff-'l 1I~ -, -.'- ... ~ ..

fl Miles ~v1a ~

x I!. -

Horace Sliver fl t

I! ...J - = ~ ~ ~ #i i fl Hampton Hawes .?

~ - D v

34

Barfl

--- -"- .,;;-

--.. I ..

~ C -~.

- .-. r

!.

-. r

~ -

- --

I- ~ =t ~ .. !3

--i:"

-v-&8

Page 34: Jazz Improvisation 2

POLYPHONY

In jazz, the ternl polyphony usually refers to the superimposing (see Lesson 1) of the melodic unit over the harmonic unit to form a counter­melody, obligato, or ornamentation to the melodic voices or melody. The classic prototype of this device is, of course, the clarinet obligato found in the New Orleans ensembles:

________________________________ Cornet 1

--------------__________________ Cornet 2 (obligato)

--_--------------_______________ Clarinet obligato

In general, the superimposed melodic unit in New Orleans polyphony is of a quicker value than the prevailing melodic unit. This would be true of both the comet 2 obligato and the clarinet obligato.

CHICAGO POLYPHONY

Chicago polyphony is more florid than its New Orleans antecedent and is usually held up to question for its disorderly ebullience. This is a judgment beyond the scope of this text, although it should be noted that the rampant individualism of the Chicago ensembles was an inevitable re~ult of the expanding concepts . of melody, harmony, and rhythm. Also, it should be remembered that the art form had to move toward more person.iI ar~as of expression and eventually escape from the prison of New Orleans' rOf~alism. Armstrong himself, in the "Hot Five" and "Hot Seven" recordings, was a leading figure in this movement.

35

Page 35: Jazz Improvisation 2

NEW ORLEANS

Rbythmic-Melodic Cornet I

Melodic-EburD1onlc Cornet n J

J.

nJ n n_J J. j)

Clarinet mnmn J J J J nm Banjo

EburD10nlc Trombone

Rhytbmlc-Barmonlo PlanO

Tuba

J

J

J

nnn

J J J

t J t

S mnJ J

o

J J J J

J t J t 3

Melodic-Rhytbmlc J n J J J J J ., ))mn Wood Block

Snare Drum nJ nJ nJ J

Rhytbmlc Ba88 Drum

Snare Drum

The appearance of the snare drum in both categories is to account for the qUicker values (press-rolls, etc.) and the rhythmic pulse of quarter­notes. The accented quarter-notes on beats 2 and 4 will be treated in the section dealing with syncopation.

36

t

Page 36: Jazz Improvisation 2

CHICAGO

Melodio Trumpet

Jlelodio-BarmODio ClarlDet

Saxophone

Trombone

P1aDo (R. B. )

llh1thm1c-Barmoll1o P1aDo (L. B. )

BuJo, QIltar

Baa., Tuba

Bhythmio SDareDram

Baa. Dram

Low-Boy

~ ~ J J:;J J 3 3 3 mnmm

J J J J ~ n J J,-~ J J J J J J J J J J J:;J J

J ~ J J

J ~ J ~

~ J

~ n~ ~

~~)), , )) rn~ ., j, m. ~ ,j,JJJJ

n~J n J ~ J ~

J J ~ ~

J J

37

Page 37: Jazz Improvisation 2

SWING

.,j,n~ JVJn_J Melodic J Brus. Reeda -Ilelodic-~oD1c J ' -t ~ J ., ~ J .,.;,nJ Brus. Reeda

(rlffa) -~c-BarmoDlc

J J J J Piano

Oultar J J J J ~ ~ J J

Baas J J J J J ~ J ~

3 3 3 3 Melodic-~c J ::;-:JJ ::;-:J J m~ m Cymbal

J ~ nJ - nJ J ~

Tom-Tom J J J J J J J J J nJJJJ ,

Hi-Hat J mJ m J mJ m llhythmic

~ J ~ J ~ ~ ~ ~ Cymbal

Baas Drum J J J J J ~ ~ J

B1-Bat ~ J ~ J ~ J ~ J

SaareDrum ~ J ~ J ~ J ~ J The appearance of the Hi-Hat cymbal in both categories refers to the

similarly dual role of the snare drum.

38

Page 38: Jazz Improvisation 2

PROGRESSIVE

j" , j,~"" m ~ ~ . ,j) Melodic

Saxophone, Trumpet

UnisOD J n..J jj,JJ_JJ~J_JJ

Melodic-Harmonic Piano

Rhythmlo-Harmonio Bass

3 3

mJ Melodic-Rhythmio J m J mJ Cymbal

SDIU'e n_J ~ -J j) nJ J

Bass Drum J ~ ~ n J , .b...J Bi-Hat J mJ m J mJ

The major developments indicated by this outline are as follows:

NEW ORLEANS TO CHICAGO:

1. The abandonment by the trombone of the only pure harmonic role in jazz and its emergence as a melodic-harmonic instrument.

2. The introduction of the saxophone as a major jazz instrument.

3. The emergence of the piano as a major melodic-harmonic instru­ment.

39

3

r-;: ~

~

it

Page 39: Jazz Improvisation 2

4. Abandonment of the wood-block; introduction of both the "ride" cymbal and the Low-Boy cymbal.

S. Partial abandonment of group polyphony and emergence of the hero-improvisor.

CHICAGO TO SWING

1. Development of brass and reed sections playing in ensemble.

2. Quarter-note unit adopted by bass (Wellman Braud).

3. Introduction of the Hi-Hat cymbal.

4. Introduction of the melodic-rhythmic figure on the "ride" cymbal and the Hi-Hat cymbal.

S. Abandonment of the banjo; introduction of the guitar.

6. Introduction of accented 2 and 4 beats on Hi-Hat cymbal and "ride" cymbal.

SWING TO PROGRESSIVE

1. Return to small-group polyphony with homophonic ( unison) innovations.

2. Development of melodic-harmonic role of the piano.

3. Emergence of the bass as the sole rhythmiC instrument. Appearance of the bass as an important solo instrument.

4. Melodic-rhythmic innovations of drums which ceased to be the primary rhythmic instrument.

LESSON 4.

Harmonic Time Values

The history of jazz hannony concerns the dynamiC changes effected on three levels:

40

1. The rhythmic procession of the chord qualities.

2. The expanding quality system joined with an equivalent expand­ing chromaticism.

3. The gradual abandonment of an inversion system based on the biad in favor of a root-position seventh-chord concept.

Page 40: Jazz Improvisation 2

The following bass lines are representative charts of the New Orleans. Chicago. Swing. and Progressive periods. T indicates a triad (root, third, fifth. )

NEW ORLEANS

"Dippermouth Blues"

I T I IVx I I T I Ix I IVx I IVx I I T I I T I V I V I I T I I T I I

DIPPERMOUTH BLUES-Used by permission of the copyright owner INTERNATIONAL MUSIC, INC., 745 Fifth Avenue, New York City.

"Milenburg Joys" • • 4 • •

IT I IT I IT I IT I IT I IT I va I va I va I va I va I • 4 4

va I va I va I IT I IT I IT I IT / IT I IT I Ix I Ix I

IV T I IV T I IV T I #IVo I VI 2 I VIx I I1x I V I I T I I T I I

MILENBERG JOYS - by Walter Melrose, Leon Roppolo, Paul Mares, "Jelly Roll" Morton Melrose Music Corp. Used by permission.

"Mandy Lee Blues"

VIx I VIx I IIx I I1x I V I V I I T I I T I Vlx I VIx / I1x /

IIx I b Vlx I VI 2 Vlx I I1x V / I VIx I I1x V / I T 1/ .... ,

MANDY ~iUES - by Walter Melrose & Morty Bloom Melrose Music Corp. Used by permission.

"High Society" /I /. I 4

I T I I T I I T I I T I I T I I T I I T I I 'I' VI a bIllo I V 8 /

V I IT I IT I lIlt I I1x I V I V I IT / IT I IT I IT / IT /

I T I I Til T I IV T I IVx I IT / Vlx I IIx / V I I T I I T I

IT I IT II

HIGH SOCIETY-Used by permission of the copyright owner INTERNATIONAL MUSIC, INC., 745 Fifth Avenue, New York Ciry.

41

Page 41: Jazz Improvisation 2

CHICAGO

"Singing The Blues" pick-up

#10 I I II I V I 1+ e V I I + e #10 I II I V I I +e I I + II I IIIx I IIIx I VIx I VIx I IIx I VI IIx I V I V I II I V I I+e I 1+ 8 I

• #10 VIx I III VIx I II VIxlS I II I IV+8 I #IVo I III I VIx I IIx I V I I+e I I+e II

SINGIN' THE BLUES TILL MY DADDY COMES HOME­Copyright 1920 by Mills Music. Inc. Used by permission.

"Sweet Sue"

pick-up

, , 8 e m blIIo I I II lIef> II I V IS V I II lIef>. I V IS VII I I I + e I I + e I

1/ I I · e 8

I + 8 I I + 8 III bill I II lIef> I I V IS V I II II ef> I I V IS V I I + e I • I + II I I + 8 I I + 8 I I + 8 I III I 11Ief> 8 I VIx I II I II I lIef> I

'" f 8 8 V III bl I I II lIef> II I V IS V I II lIef> II I V IS V I 1 + 8 I IVx I 1+ 8 I 1+ 8 II

SWEET SUE - JUST YOU -,- Words by Will J. Harris).. Music by Victor YOUDg COPYRIGH1' MCMXXVIlI by Shapiro. Bernstein & u>. Inc. Copyright Renewed MCMLV and Assigned to Shapiro, Bernstein & Co. Inc. Used by permission of Shapiro. Bernstein & Co. Inc .• 666 Fifth Avenue. New York 19, N. Y.

"I Wish I Could Shimmy Like My Sister Kate"

• • • • VI V I VI V I 1+ 8 VI. I 1+ 8 #10 I VI V I VI V I I+e I • • 1 + e #10 I V I V I V I V I 1 +. I Ix I IV + e #IVo I VI I VIx I

IIx V I 1+ 8 VIx IIIx V I 1+ 8 II

I WISH I COULD SHIMMY LIKE MY SISTER KATE-Armand J. Piron Used by special permission of copyright owner Jerry Vogel Music Company, Inc., New York 86, N. Y.

42

Page 42: Jazz Improvisation 2

"Jazz Me Blues"

(Verse) I + 6 VI a I I + 6 VIa I I VIx I I1x V I I + 6 I 2 I VI VI 2 I

bVo I V I +8 I 1+ 8 VI 2 I 1+ 8 VI a I I VI I I1x V I 1+ 8 12 I

VI VI 2 I b Vo I V I + 6 II (Break) V I Vo I V I V II ( Chorus) Vlx I Vlx I I1x I IIx I V I V I I + 6 I I + 6 I Vlx I

4.

Vlx I IIx I IIx 11+ 6 I IIIxS I VI I Vlx I IIx I V I 1+ 8 I 1+ 8 II

JAZZ ME BLUES-Copyright 1921 by Edward B. Marks Music Corporation Renewed and assigned to Edward B. Marks Music Corporation Used by permission.

SWING

"Oh, Lady Be Good"

4. 4.

I Ix 3 I IVx I 1 I #10 I II I V I I + 8 VI/II V / 1 Ix 3 I IVx I

I / #10 I II I V I I + 8 I Ix I IV + 8 / #IV 0 I VI a / I I VI I 4.

I1x I II I V I I Ix S I IVx I I I #10 I II I V I I + 8 I I + 8 I I

OH, LADY BE GOOD-Copyright 1924 by New World Music Corporation Used by permission.

"Just You, Just Me"

4.

I + 8 1111/> S / VIx I II I V / Ix I IV + 6 IVm + 6 I VI 2 V I 4.

I + 8 I I + 8 1111/> S I Vlx I II I V I Ix I IV + 8 IVm + 8 I VI 2 V I 4.

1+ 8 I Ix I Ix I IV+8 I bVlIx I 1+ 6 I IIIxs VI / IIx I V / 4-

I 1111/> 8 l VIx I II I V I Ix / IV + 8 IVm + 8 I VI 2 V I I + 8 II

JUST YOU, JUST ME - Lyric by Raymond Klages - Music by Jesse Greer © Copyright 1929-Copyright Renewal 1957 Metro-Goldwyn-Mayer Inc., New York, N. Y. All rights controlled by Robbins Music Corporation, New York. Used by permission.

43

Page 43: Jazz Improvisation 2

"Tea For Two" II

(Ab) II V I II V I I VI 2 I I II bIllo I II V I II V I I I I II 6

(C) II V I II V I I VI:I I I 15 blllo I II V I II V I 1 + II II II

( Ab ) V I II V I II V I 1 VII I I 15 bIllo I II V I II V I nlef> I , (Ab) VIx I II bllo I II Vlx I #10 II I b Vef> IVm + II I VI a blllo I

(Ab) II V I 1+ 11 I 1+ 11 II TEA FOR TWO-

Copyright 1924 by Harms. Inc. Used by permission.

"Whispering'"

1+ 8 I 1+ 8 I bVm I VlIx I 1+ II I 1+ 11 I bVllx · 1 VIx I IIx I IIx I V I V I I + II I III bIllo I II I V I I + II I L ~ I b Vm I VlIx I 1+ 11 I 1+ 11 I bVIIx I VIx I IIx I IIx I V ( ·V I II I

v,a I 1+ 11 I 1+ 11 II WHISPERING - Words and Music by John Schonberger, Richard Coburn. Vincent Rose

@ Copyright 1920-Copyright Renewal 1948 Miller Music Corporation, New York, N. ~. Used by permission.

PROGRESSNE

"I Can't Get Started"

( C) I VI I II V I VIIm I1Ix b VIIm bIlIx I VI IIx b VI blIx I ( C) I VI I II V I a I IIIx b II Vlx b II I IIxb II V b I I I VI I II V I

(C) VIIm IIIx bVIIm bIlIx I VI IIx bVI blIx I I VI I II VIa I (C) 1+ 8 #1 I 1+ 8 I II (D) II V I bVef> IVo I III II I I 1+ 11 II (C) II V I bVef> IVo I III bIIIx I Ih blh I I VI I n V I (C) VlIm I1h bVIIm bIlh I VI Ih bVI blix I I VI I II v,a II

( C) ( Coda) 1I1ef> I VIx b 15 I lief> I V b 15 lIb I I I b I I I I CANT GET STARTED-

44

Copyright @ 1935 by Chappell & Co. Inc. Used by permission.

Page 44: Jazz Improvisation 2

"Night In Tunisia" ( c ) bIIx I 1 I blIx I I I bIIx I I VI I II blIx I 1 + e I blIx I (c) I I blIx I I I bIIx I 1 VI I II blIx I 1+ ell (f) II I V I

(f) I+e blIx I I+e II (Eb) II I V I 1 IV II (c) II V I

(c) blIx I 1 I blIx I I I blIx I 1 VI I II blIx I 1+ ell ( c ) (interlude) II I II I blIx I blix I I I 1m I IVx b I I IVx b II I I (Eb) VIx b II I Vlx b II I IIIx I IlIx I I (break) I I I I I / 1 I I -note

-note - break may ·be optional two or four bars. NIGHT IN TUNISIA - by Frank Paparelli, John "Dizzy" Gillespie

Copyright MCMXLIV by LEEDS MUSIC CORPORATION, 322 West 48th Street, New York 36, N. Y. Used by permission. All rights reserved.

"Lady Bird"

( C) I I VI I IVm I b VIIx I 1 I VI I I (.Ab) II I V I I I I II

(C) VI I Ih I II I IVo I III bllIx I II blix I I I VI I IVm /

(C) b VIIx I I I VI I I (Ab) II I V I I I I II (C) VI I IIx I ( C) II I b1Ix I I +. I 1 +. I I

LADY BIRD (HALF NELSON) -Used by permission of Savoy Music Company, Newark, New Jersey.

"Bernie's Tune"

(d) l..f 1 I 111m I bVIx I II I V I 1+ e I 1+ e I I I I I 111m I

(d) ' bvtt-I II I V I I+ e I 1+ 6 II (Bb) 1+ 1 VI I II blIx I

(Bb) I +. VI I II blIx I 1+ e VI I II bIIx I I + 6 VI II ( d) II blIx I

(d) I I I I 111m I bVix I II I V I 1+ 8 / 1+ 8 II

BERNIE'S TUNE-Copyright 1953·1954-1955 by ATLANTIC MUSIC CORP., by arrangement with SKY VIEW MUSIC CORP. Sole Selling Agent: CRITERION MUSIC CORP., R.K.O. Bldg., Radio City, New York 20, N, Y. International Copyright Secured. Used by permission.

45

Page 45: Jazz Improvisation 2

THE NEW ORLEANS-CHICAGO TRANSITION

1. Abandonment of the triadic system in favor of seventh chord con­cepts. This meant a transition from a harmonic system composed of the follOwing factors: to one composed of:

maior triad maior added sixth chord minor triad dominant seventh diminished triad minor seventh dominant seventh diminished seventh

The hill-diminished chord appeared for the first time in this transition but was sparingly employed only in the second inversion.

2. A strong development toward the use of inversions can be explained by an emerging modal scale and arpeggio · concept increasingly employed by tuba and bass players.

3. A general abandonment of the basic 0-0 New Orleans harmonic unit in favor of the basic 0 Chicago himnonic unit in addi-tion to the occasional use of the emerging J harmonic unit. .

4. Abandonment of the IIx (the New Orleans preparation for V) in favor of the natural diatonic U (minor).

S. Chicago use of III and IIIx usually not present in New Orleans style.

6. Some expanding use of keys. The C, G, F, Bb, Eb spectrum of New Orleans jazz was extended to Ab, Db, and D in the Chicago period.

THE CHICAGO-SWING TRANSITION

1. The emergence of chromatic harmony in the extended use of such non-diatonic factors . as b VIIx, b Vm, b V 4>, bUIx.

2. Partial disappearance of the x : inversion. All root pOSition domin­ants prepared by the minor or half-diminished chord a perfect fifth above. Initial use of the ~ inversion.

3. Initial appearance of the major seventh chord and the root-position half-diminished chord - the final emergence of the sixty chord system.

4. Appearance of modulation in the jazz bass line.

S. Elementary twelve key facili~.

6. Consolidation of the 0, J harmonic unit.

46

Page 46: Jazz Improvisation 2

7. Appearance of the professional songwriter, a specialized craftsman challenging the performing cliches of the jazz musician.

THE SWING-PROGRESSIVE TRANSITION

1. Appearance of advanced twelve key facility.

2. Further exploration of the J unit at tempos exceeding mm-200.

3. Initial exploration of the minor scale-tone seventh chords (see Lesson 65, Volume I).

4. Full development of the half-diminished (the sensual seventh) chord (see Lesson 4).

5. Total disappearance of the triadic inversion accompanied by a gen­eral adoption of the circle of fifths.

6. Appearance of bIIx (modem variant of the Neapolitan Sixth) as a substitute chord for V.

7. Expanding vertical concepts of harmony utilizing poly tonal struc-tures.

8. Exploration of the J harmonic unit.

Post-bop explorations of non-diatonic and asymmetrical resources have not in general been consolidated into any permanent achievement justify­ing inclusion here. This is not to dismiss these endeavors, but simply to state a general position of this text to deal only with enduring diatonic development~ conceived in 4/4 time.

LESSON 5.

Syncopation

Jazz syncopation may be sub-divided into the following categories:

1. Simple syncopation involving accent only.

2. Compound syncopation involving notation (tied notes and rest values) and accent.

47

Page 47: Jazz Improvisation 2

fl

14!

.

.J foot beat

3. Multiple syncopation involving two or more levels of syncopation played simultaneously.

Applied to our three units of time (J J 1') we derive the fol­lowing:

SIMPLE RHYTHMIC SYNCOPATION

The quarter-note is the basic rhythmic unit. A bar of quarter-notes may be sub-divided into the following sub-units:

down beat

up beat

down beat

up beat

The syncopated unit here is the UP BEAT ACCENT (Fig. 1), the hallmark of all jazz; the universal catalyst identifying this music in all its rhythmic, sensual, ethnic, and psychological implications. This syncopa­tion has at times been implied (New Orleans), explicit (Chicago, Swing), or concealed (Progressive), but its presence has never and probably, as long as there is jazz, will never decline. Its essence is quite simple - the constant interruption of the eternal symmetry of one, the beginning of melody, harmony, and rhythm.

Fig. 1.

:> >

bqI :> :> >- > .. ~ ttt :t bb:t ..

r ! t Pf' t Dr ~ :> :> ~ IVm m ~mx n ~nx

J J J J .J .J J J J J J J J

48

:>

..

f I

J J

Page 48: Jazz Improvisation 2

~ ~

~

~

~

..L

SIMPLE HARMONIC SYNCOPATION:

Syncopation of this unit occurs only in cases of melodic or rhythmic superimposition (see Lesson 1). Without superimposition, the harmonic unit cannot be syncopated.

SIMPLE MELODIC SYNCOPATION:

The eighth-note is the basic melodic unit. A bar of eighth-notes may be sub-divided into the following sub-units:

on off on off on off on off beat beat beat beat beat beat beat beat

J J J J J J J J The syncopated unit here is the off-beat accent (Fig. 2) (see Lesson

58, Vol. I). The off-beat accents represent the syncopation of the melodic unit as the up-beat represent the syncopation of the rhythmic unit. The off-beat accent in a sense interrupts the up-beat accent which in itself is an interruption of the basic pulse (Fig. 3). The joining of these t~o levels of syncopation creates a pleasurable tension often referred to as the swing of a jazz perfonnance.

Fig. 2.

::> ::> .... ~- • ~

::> ::> - -f? ~~ a 6~B

I IVm · m ~IIIx

.J .J .J .I .I .J .I foot beat

~ =:: 6=: =::- ~ :> ==-

I - - -~ IJ~ 0

n ~nx I

1 .J .J .I .J .J .J foot beat

49

~- • - --

.J

=:.

.I

Page 49: Jazz Improvisation 2

offbeat .

up beat I

.I foot beat

~ ~ .-

i@ -:>

(7 .

~J foot beat

foot beat

Fig. 3.

>

I 1 J I I I

::> ::> :>

.J .1 .I .J .1 .I

COMPOUND SYNCOPATION:

Simple syncopation occurs either on the rhythmic ( J ) or the melodic ( j) levels; compound syncopation occurs only on the melodic level and involves either the use of the tie, or the rest, or both. !llWlY involve the ~ unit or any of its variables. . Fig. 4 illustrates examples. of compound

syncopation common to any jazz performance (see schematic outline, Lesson 3).

Fig. 4.

I> _ .H_ -- J'I-.i

::> - 5 -

t?~ 5 6 -

:3 "~B

.J I~r .J ~ J ~~

50

I

:>

j

3_

J

Page 50: Jazz Improvisation 2

~

I!. 0

I

.J foot beat

'I 5 3

J

MULTIPLE SYNCOPATION:

On the actual performing level, only the drummer or the pianist in a jazz group is able to execute multiple syncopation. Skill in this area is essential to any jazz instrumentalist; first, in order to execute one syncopa­tion level while one or more levels are being simultaneously played by other members of the group; and secondly, in order to pre-hear one synco­pation (to be played in the succeeding bar) while actually playing another. The basic device in this area (aside from pre-hearing rhythmic shifts, e.g., eighth to sixteenth to thirty-second, etc.) is one of maintaining the pre­vailing rhythmic unit while alternating . between duple and triple accents.

1. Duple (division of 2)

2. . Triple (division of 3) ... How~~ by the use of syncopation, it is possible to create a series of hybrid rhythms, which result in the following combinations:

EXTERNAL PULSE

duple triple

INTERNAL ACCENT

division of 3 division of2

This is a familiar device employed by all jazz musicians. The accented sub-divisions of the eighth-note and the sixteenth-note are the usual areas of this technique. The thirty-second-note is usually treated . as an uninter­ruptedflorid design to effect a contrast with the interrupted eighth- and sixteenth-note.

51

t:'I

l'

.J

Page 51: Jazz Improvisation 2

~

~

~

It!.

.. J

TRIPLE 8/8 TIME

Fig. 5 illustrates a normal duple procession of eighth-notes. Fig. 6 illustrates these tones played with an internal accent of three. This design is most effective when the accented tone appears above the two unaccented tones (Fig. 7).

Fig. 5.

--- -J .J J .J .J J

foot beat

Fig. 6.

- :> -

.J J 1 .J J .J foot beat

Fig. 7.

;::> »- . .. :> .. >- - >- :> I I I J ...... J .J .J .J .J .J .J J J J

foot bat

~ ::: ;> ::>

I I ::> >- - :>

J J .J .J J J .J .J J J foot beat

52

J

.J

J .J

J J

Page 52: Jazz Improvisation 2

DUPLE 12/8 TIME

Fig. 8 illustrates the normal appearance of a bar of 12/8 time. Fig. 9 illustrates the same bar when played with an internal accent of two.

Fig. 8. Fig. 9.

1'\ 3 3_ 3_

I~ ~- :> W "> > :> ">-

J .J I

foot beat foot beat

TRIPLE 6/16 TIME

Fig. 10 illustrates the normal appearance of a group of six-sixteenth-notes in a 4/4 pulse. This unit may be played in a number of ways:

1. With an internal accent on tones 1 and 4 (Fig. 11).

2. With an internal accent on tones 1, 3, and 5 (Fig. 12).

3. With an internal accent on tones 2, 4, and 6 (Fig. 13).

4. With an internal accent on tones 1 and 5 (Fig. 14).

5. With an internal accent on tones 3 and 6 (Fig. 15).

Fig. 10

6

~ jJ]JUJI :>

Fig. 13.

r- 6 ---,

~ n~t1J

Fig. 11.

Fig. 14.

"> 3

Fig. 12.

Fig. 15.

53

3_

:>

J

Page 53: Jazz Improvisation 2

DRILL: The following rhythm series is to be practiced on any flat surface for developing facility in superimposing internal accents over external pulses:

1. RoB. J J J J J J J J :> :> :> ::>

L.B. ~ ~ ~ ~

J J J J J J J J 2. R.B. :> :> :> :>

L.B. ~ ~ J ~ :> :>

J J J J J J J J 3. R.B. :> :> :> ::>

:> :>

L.B. J ~ ~ ~ :> :>

J J J J J J J J •• RoB. :> :> :> :>

L.B. J J J J

3 3 3 3

6. RoB. mmmm :> :> :> :>

L.B. J J J J :> :>

3 3 3 3

I. R.B. mmmm ::> :> :> ::>

L.B. J J J J :> :>

54

Page 54: Jazz Improvisation 2

7. R.B.

333 3 mmmm L.B.

8. R.B.

3333> mmmm :> :> :> :::»

L.B.

8. R.B. JJJJJJJJJmJm :> :> :> :>

L.B.

10. R.B. JJJJJJJJJJJJJJJJ :> :> :::» :::»

L.B.

11. lLB. JJJJJJJJJJJJJJJJ :> :> :> :>

L.B. ~ ~ ~ ~

12. R.B. JJJJJJJJJJJJJJJJ :> :> :> :>

L.B. ~ ~ ~ ~ 6 6 6 6

13. lLB. JJJJJJJJJ~JJJJJJJJJJJJJJ :> :> :> :>

L.B. J ~ ~ ~

55

Page 55: Jazz Improvisation 2

14. ILB.

L.IL

15. ILB.

L.B.

US. ILB. ~ ~ ~ ~

L.IL J J J J J J J J > ::> ::> ::>

17. R.IL ~ ~ ~ J ::> >

L.B. J J J J J J J J ::> ::> ::> >

18. R.B. ~ ~ ~ ~ ::> ::>

J J J J J J J J L.B. ::> ::> ::> :>

It. ILB. ~ ~ ~ ~

J J J J J J J J L.B. > ::> :> ;::.

JJJJJJJJ JJJJ ao. ILIL ::> ::> :> ::>

L.IL ~ ~ ~ ~ J ~

56

Page 56: Jazz Improvisation 2

3 3 3 3

21. L B. mmmm :> ;> :> ;> >- :>

L.B.

22. LB. J J J J J J J J >- >- >- ;>

L.B. J J J J

Foot J J J J

23. R.B. J J J J J J J J :> >- >- >-

L.B. J J J J

Foot J J J J

J J JJ J J J J 2 •• LB. > >- :> ;>

L.B. d d

Foot J J J J

25. LB. J J J J J J J J ;> :> > ;>

L.B. d d

Foot J J

57

Page 57: Jazz Improvisation 2

28. 1\.B.

L.B.

Foot

17. 1\.B.

L.B.

J8. 1\.B.

L.B.

29. 1\.B.

L.B.

Foot

80. 1\.8.

L.B.

Foot

58

J J. ~J n J J

J J J

r-JJ r-Ji ~ ~ J ~

n n n n mmmm I 3----, r-- 3---,

J J ~ J ~ ~

J J J J J J J J ~ J J J

:t ~=! Jm :t~1 1m 1m:t:t ):t 1m:t:t ):t

J ~ J J

Page 58: Jazz Improvisation 2

SECTION II

The improvised line (1923-1958)

NEW ORLEANS

"Gin House Blues": Bessie Smith Columbia CL 1036 Troy-Henderson

"High Society": Johnny Dodds Folkways FP 57 Joe Oliver

"Dippermouth Blues": Joe Oliver Riverside RLP 12-122 Armstrong-Oliver

CHICAGO

"Sweet Sue": Bix Beiderbecke Columbia CL 509 Victor Young

"Singin' The Blues": Bix.. .Beiderbecke Col~ia CL 845 Robinson-Conrad

"Original Dixieland One Step": Miff Mole Folkways FP 67 Nick LaRocca

SWING

"Mter You've Gone": Roy Eldridge Okeh 6278 Klenner

"West End Blues": Louis Armstrong Columbia CL 853 Joe Oliver

"Muggles" : Louis Armstrong Columbia CL 853 Armstrong-Hines

"Basin Street Blues": Louis Armstrong Columbia CL 852 Spencer Williams

"There'll Be Some Changes Made": Frank Teschemacher Folkways FP 65 Overstreet

<'I'm Comin' Virginia": Bix Beiderbecke Columbia CL 845 Heywood-Cook

"Jazz Me Blues": Bix Beiderbecke Folkways FP 65 T. Delaney

"Soft Winds" (blues in Ab):

Benny Goodman Columbia CL 1036 Benny Goodman

59

Page 59: Jazz Improvisation 2

SWING (coni'd)

"Sweet Sue": Teddy Wilson Victor LPM 1226 Victor Young

"Aunt Hager's Blues~: Art Tatum . Capitol T 216 W. C. Handy

EARLY PROGRESSIVE

""Just You, Just Me": Lester Young Keynote 603B J. Greer

eel Can't Get Started": Dizzy Gillespie Columbia CL 1036 Ira Gershwin, Vernon Duke

"Half-Nelson" ("Lady Bird"):

Miles Davis Savoy MG 12009 "Tadd" Dameron

LATE PROGRESSIVE

60

"Lover Man": Lee Konitz Pacific Jazz LP-2 Davis-Ramirez-Sherman

"All The Things You Are": Chet Baker Pacific Jazz PJ 1206 Jerome Kern

"Wrap Your Troubles In Dreams": Stan Getz New Jazz 8214 Barris-Koehler-Moll

"Crazy Rhythm": Benny Carter-Coleman Hawkins Victor EP 447-0167 Meyer and Kahn

"Nice Work IT You Can Get It": Bud Powell Roost RLP 401 Geot8e Gershwin

"Koko'l ("Cherokee"): Charlie Parker Savoy 12079 Ray Noble

"Just Friends": Charlie Parker Clet 675 Lewis-Klenner

"Ghost Of A Chance": Clifford Brown Emarcy MG 36008 Crosby-Washington-Young

"Opus De Funk": Horace Silver Blue Note 1520 Horace Silver

"I've Got The World On A String": Oscar Peterson Verve 8268 Harold Arlen

Page 60: Jazz Improvisation 2

aIN HOUSE BLUES

@

PART I New Orleans

,& ,J J J II Lt.;: r pick-up

.r J :J ~ ~ 1J ----1+8 v's 1+8

BESSIE SMITH

~ b)!$r £3 J Old t ~ ;jlIJ u AJ I ~,;W9" rr r 1 1+8 1+8 Ix IVx IVx

~~ J - 1- ~ "I j IltJ J J J J~S 11u,.

"I ;,b "Js r ~I 1+8 1+8 V v

®

~b ;J - I- I 'I gUU'~

J't!j EJ r I,J IJ I "I j)1~J EJ r "J I 1+8 1+8 1+8 1+8 }+O6

- 1-v v 1+6

o ,& 1,J?j U F §J I j ,j 1,3 J I §dti u F J I d t '/ ~I }+O6 1+6 1+8

IVx 1+6

3

,~ , - ¥ 1JJ'J1-tJ\@ ~ J I)J 1'/ 1.;8J$§tnJjl - 1- '/I~I -1+6 v v

GIN HOUSE BLUES - Words by Henry Troy - Music by Fletcher Henderson Copyright 1926 by Tune-House. Inc. -Copyright renewed 1953 by Mrs. Fletcher Henderson and assigned to Alamo Music. Inc. Used by permission of Alamo Music. Inc.

1+6 1+8

Page 61: Jazz Improvisation 2

HIGH SOCIETY JOHNNY OODDS

'Rk tVa EfEt! Ie r llEF U I Ef1!8ftprtJ I 1+6 1+6 1+6

'~11 a j E1 CE 0 I ~ J gJ J CO gm I ~ J g3 J W §m I M ' M M

'~11 , aU j E U I Cr cJ [k r r I ijOEltr U I cr a [ k r P I 1+6 1+6 ~ ~mo vt v

'~1. F t:pEff EE IDbfr u [Hllqr t q:r~Ei II! r (J tail 1+6 1+6 ID2 nx

,w,. r ~ - 1- I rlttUI:EiltraEEUltterFCfI v V 1+6 1+8 1+6

'~1, a r [j EE Qtf I, J qJ U canwl I ~ J gJ U W §In I 1+8 1+6 1+6

, ~1. , au rE r; lEe rf r j rf If E (er F It EJ Er c; I 1+6 1+6 IV+6 IVx

'~lz a af EC*r I~Ebu~rtrlzr; IqJ I [ret I (cr r [j ~ I 1+6 VIx nx v

,Wlz ertlHWlr~jU¥ I Irrrfer\FIE~rEr¥ II 1+6 1+6 1+, 1+6

HIGH SOCIETY-Used by permission of the copyright owner INTERNATIONAL MUSIC, INC., 74' Fifth Avenue, New York Ciry.

Page 62: Jazz Improvisation 2

DIPPERMOUTH BLUES JOE OLIVER

1+6 1+6 1+6

IVx IVx 1+6 1+6

®

~ ~'~Ef1 t -uTEJq Fir [ €r dr F I ~ur t ~F I 1+6 1+6 1+6 Ix

~W' ~LE r [Uil&[ crt trfrroj n J IF t &[ A IVx IVx 1+6 1+6

~w'1 a clJ1 IF &F [n rtE° It (1 P II II v V 1+6 1+6

o ~~' r r lfr IE err FE fr rltn~ 11 rE r-t- I I

1+6 1+6 1+6 Ix

IVx IVx 1+6 1+6

II v v 1+6 1+6

DIPPERMOUTH BLUES-Used by permission of 'the copyright owner INTERNATIONAL MUSIC, INC., 745 Fifth Avenue, New York City.

63

Page 63: Jazz Improvisation 2

WEST END BLUES LOUIS ARMSTRONG

Ad Ub. Intro

r...

,Wl,rrr f

'~1' 3

j E &f r J J gO ~ IJ S I,J ~a J J i ~;]

v+ 1+6 1+6

3

'V" 'fO J#>«Ha IbJ,-,n J J J Ir.e-lQ tJ ---1+6 U W+6

W+8 Wm+8 ~8

WEST END BLUES - by Oarence Wiliams, Joe Oliver @ Copyright MCMXXVIII by PICKWICK MUSIC CORPORATION 22 West 48th Street, New York 36, N. Y. 322 West 48th Street, New York 36, N. Y.

Page 64: Jazz Improvisation 2

3 -l J j J I~·

1+6 v

v 1+6 3

cIr- Trombone Vocal Piano Rlde-out .....-.....-... --:i I ~ ~~ 12 12 11 0 0 0:'"

~ ~l, WEEP I I I I I I II I 1- I tr I I I I 3 3

1+6 V 1+6 1+6 1+6

Ix IV+6

, 5 IV+6

GU"·

~ ~Il, ~ r F ,9) !l J~ J ;/ g I rr f E cpa F II 1+6 1+6

Ad lib.

It ;8 J JU)I J J Itnu· II IVm+6 ho6 IVm ho6

65

Page 65: Jazz Improvisation 2

MUGGLES LOUIS ARMSTRONG

'~' r I &6

IV+6

&6

'-'" Break (Double time)

W r I

IV+6

&6

MUGGLES - by Louis Armstrong

I &6

1+8 1+8

.-

@- I !J ~ r r ...,J &6

IVm+6

&6

Copyright MCMXXX, MCMLVII by LEEDS MUSIC CORPORATION, 322 West 48th Street, New York 36, N. Y. Used by permission. All rights reserved.

I W r

IVm+6

Page 66: Jazz Improvisation 2

$V'I tiJ J 9 J II ., ~p

~mo v:

,biz

. (

V' 3

T 1+6

IVx

V+

® ., hf't~ :J 111 V 1+6

~ .. ~ J ., Pit Ix

IVm+6 1+6

I ~z ,P'P ~r L r r 3 V

'~z ~ ............. ~

iP ¢ r t Cd' 1+6 Ix 10

3

r

..-r r

J U.2

3

F r F J J-- &Jij) 3

bno

'-" 1+6 Ix 10 n.2

II >,..-,.

r ., p C:~ r ., ~. I :J

fix V

r-r ~r m' ~ ) r ., ~ I

IVx

1+6

:;t . 'VIo V6 V

5

3 3

j ~~ ~i r j J j II 1+6 V 1+6

67

Page 67: Jazz Improvisation 2

BASIN STREET BLUES LOUIS ARMSTRONG

CD

'~' .tJ j j J r~ l+f mx' s 8

,W tftt rrruilEft i i YEYIQ1CJrrI[y I mx: 3 3 VIE VIE

'~' F ~ 3--, . 3

, J.J tJ I p. J.u J en l ~ I r r r; J ~ ~ I .

D V 1+f ~ VIE

$~' i ;SJjDplm - l~pJJJJjJJ 1"'-1 ! I ritard.

V lV+f lIVo VU V I+f

BASIN STREET BLUES - Words &: Music - Spencer Williams Mayfair Music Corp. Used by permission.

Page 68: Jazz Improvisation 2

SWEET SUE - JUST YOU

Pick-up u

'~jf J i ',FUfi1f v8

5 VIII 1+6

I m ~m u

v 1+8

..-.. r fj IV

1+6 1+6

PART 2

Chicago

J. p I

1+8

III

'~lg - I ~ § ~ I n II

v m ~m u

-

J 1+8

BIX BEIDERBECKE

/1£4 f) I;. I

v

ml' 3

1+8

- I

u

I >~ r F ezrr V II

,Pl' ro ~ rr I J 4 J I I'I!E! r ~ I r n tr I ~ - II v: v 1+6 lVx

SWEET SUE - JUST YOU- Words by Will J. Harris, Music by Victor Young COPYRIGHT MCMXXVIII by Shapiro, Bernstein & Co. Inc.

1+6

Copyright Renewed MCML V and Assigned to Shapiro. Bernstein & Co. Inc. Used by permission of Shapiro, Bernstein & Co. Inc., 666 Fifth Avenue, New York , 19, N. Y.

1+6

Page 69: Jazz Improvisation 2

SINGIN' THE BLUES TILL MY DADDY COMES HOME BIX BEIDERBECKE

110 n v'a 1+6 V

1+6 110 n v 1+6

~W1' r 'iiOIF t6r l$l J. tJ 'tQflc~rcr¥ 431 1+6 nIx nIx VIx VIx

~~j, J PJ I 1 J fJ J t lf~iljjJ J d] 1 ~h }, J I 1 IIx VI !Ix V V

n V

n n 'no

VIx

SINGIN' THE BLUES TILL MY DADDY COMES HOME­Copyright 1920 by Mills Music, Inc. Used by permission.

1+6

m

V 1+6

V

1+6

Page 70: Jazz Improvisation 2

ORIGINAL DIXIELAND ONE-STEP

Break 1+6 1+6

1+6 nIx

v 1+6 1+6

m ~mo II v

nIx nIx

IV+6

IIx v

, ORIGINAL DIXIELAND ONE-STEP-Copyrisht 1917 by Edward B. Marks Music Corporation Copyright renewed and assi,gned to Edward B. Marks Music Corporation Used by permission.

MIFF MOLE

1+6

v

VUx

1+6 1+6

IV+6 1+6

1+6 1+6

71

Page 71: Jazz Improvisation 2

THERE'LL BE SOME CHANGES MADE FRANK TESCHEMACHER

,~, J = ] J : ] : If r r fl:t r VIx VIx

,...-....

'b F r r F r r If r r r ( r r f Iqr , € r VIs VIx IIx

.....-... .....-...

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Page 72: Jazz Improvisation 2

VIx VIx VIx

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Page 73: Jazz Improvisation 2

I'M COMING VIRGINIA BIX BEIDERBECKE

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I'M COMING VIRGINIA - Words by Will Marion Cook - Music by Donald Heywood @ Copyright 1927 -Copyright Renewal 1955 Robbins Music Corporation, New York, N. Y. @ Copyright 1961 Robbins Music Corporation, New York, N. Y. Used by permission.

Page 74: Jazz Improvisation 2

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Page 75: Jazz Improvisation 2

JAZZ ME BLUES

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Page 76: Jazz Improvisation 2

PART 3 Swing

AFfER YOU'VE GONE ROY ELDRIDGE

pick-up Break Break

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Page 77: Jazz Improvisation 2

f~' r r J • at r E fi r I fJ J ] i7V n IVm+8

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Page 78: Jazz Improvisation 2

IVm+8 1+8 1+6 VIx

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Page 79: Jazz Improvisation 2

SWEET SUE - JUST YOU

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Page 80: Jazz Improvisation 2

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Page 81: Jazz Improvisation 2

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Page 82: Jazz Improvisation 2

AUNT HAGAR'S BLUES ART TATUM

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AUNT HAGAR'S BLUES - "Based on 'Aunt Hagar's Children' by W. C. Handy, copyright 1920 by Pace & Handy Music Co., copyright renewed by W. C. Handy (also known as 'Aunt Hagar's Blues' and as 'Aunt Hagar's Children Blues'); published by joint arrangement for the United States by Handy Brothers Music Co., Inc., 1650 Broadway, New York 19, N. Y. and Robbins Music Corporation, 1540 Broadway, New York 36, N. Y., and outside the United States by Robbins Music Corporarion; any matter from which is used here by permission of the proprietors."

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Page 83: Jazz Improvisation 2

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Page 84: Jazz Improvisation 2

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Page 85: Jazz Improvisation 2

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Page 87: Jazz Improvisation 2

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Page 88: Jazz Improvisation 2

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Page 89: Jazz Improvisation 2

SOFT WINDS

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Page 90: Jazz Improvisation 2

CRAZY RHYTHM COLEMAN HAWKINS AND BENNY CARTER

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Page 91: Jazz Improvisation 2

Carter

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Page 92: Jazz Improvisation 2

~ BawldDa

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93

Page 93: Jazz Improvisation 2

PART 4 Early Progressive

JUST YOU, JUST ME

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JUST YOU, JUST ME - Lyric by Raymond Klages - Music by Jesse Greer © CopyrigJJt 1929 - Copyright Renewal 1957 Metro-Goldwyn-Mayer Inc., New York N. Y. All rights controlled by Robbins Music Corporation, New York. Used by permission.

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Page 94: Jazz Improvisation 2

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95

Page 95: Jazz Improvisation 2

I CAN'T GET STARTED DIZZY GILLESPIE

Intro

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I CAN'T GET STARTED-Copyright © 1935 by Chappell & Co. Inc. Used by permission.

Page 96: Jazz Improvisation 2

3 3

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97

Page 97: Jazz Improvisation 2

LADY BIRD (HALF NELSON) MILES DAVIS

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Page 98: Jazz Improvisation 2

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Page 99: Jazz Improvisation 2

NICE WORK IF YOU CAN GET IT BUD POWELL

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Page 100: Jazz Improvisation 2

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Page 101: Jazz Improvisation 2

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Page 102: Jazz Improvisation 2

CHEROKEE (KO KO) CHARLIE PARKER

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CHEROKEE - Words and Music by Ray Noble Copyright MCMXXXVIII by The Peter Maurice Music Co., Ltd., London, England Assigned to Skidmore Music Co. Inc., for U.S.A. and Canada Used by permission of Skidmore Music Co. Inc., 666 Fifth Avenue, New York 19, N. Y.

Page 103: Jazz Improvisation 2

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Page 104: Jazz Improvisation 2

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Page 105: Jazz Improvisation 2

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Page 106: Jazz Improvisation 2

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Page 107: Jazz Improvisation 2

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Page 108: Jazz Improvisation 2

JUST FRIENDS CHARLIE PARKER

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Page 109: Jazz Improvisation 2

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Page 110: Jazz Improvisation 2

LOVER MAN

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· ALL THE THINGS YOU ARE CHET BAKER

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WRAP YOUR TROUBLES IN DREAMS STAN GETZ

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The Jazz Improvisation Series By John .Mehegan

1. Tonal and Rhythmic Principles Preface by Leonard Bernstein

The fundamental musical concepts used by every great jazz musician from Buddy Bolden to Dizzy Gillespie. Here for students, professional and amateur musicians, and serious jazz enthusiasts are more than 70 lessons that define and clearly systematize the basic principles of jazz-using more than 60 jazz standards as examples: "Laura," "Body and Soul," "Spring is Here," "Stella by St?lrlight," "Autumn in New York," "Round Midnight," and others by such leading composers as Gershwin, Rodgers, Porter, Ellington and Kern. "A highly important and valuable publication,"-Leonard Bernstein in the preface. "A great book."-Dave Brubeck. "Fulfills a desperate need."-Oscar Peterson. "A most valuable volume."-Andre Previn. "The finest organization of jazz material that I have seen." -Bill Evans.

2. Jazz Rhythm and the Improvised Line Preface by Harold Arlen

A brilliant analysis and schematic history of these two supremely important facets of jazz. Many figured bass lines and solos are given for dozens of well·known tunes of all periods-"High Society," "Oh, Daddy Be Good," "Just You, Just Me," "I Can't Get Started," "Night in Tunisia," "Bernie's Tune" and others-as well as 29 transcriptions of performances recorded from 1923 to 1958 by such artists as Bessie Smith , Louis Armstrong, Bix Beiderbecke, Roy Eldridge, Art Tatum, Bud Powell , Charlie Parker, Dizzy Gilles . , Miles Davis, Stan Getz, Horace Silver. "John Mehegan in this book continues the high standards of jazz teaching he has set previously in a field that needs these standards so badly."-Nat Hentoff .

3. Swing and Early Progressive Piano Styles Preface by Horace Silver

An analysis of the great piano styles of 1936 to 1950, a period of creative ferment which saw the culmination of the rag·time tradition and its destruction and replacement by the innovations of the "bop" era . This volume examines the stylistic structure of over fifty major performances by the five greatest jazz pianists of the period­Teddy Wilson, Art Tatum , Bud Powell, George Shearing, Horace Silver~giving in unprecedented detail their extraordinary improvisations on the basic songs of the jazz repertoire. "Brings to the aspiring jazz musician a helping hand that will put him on the right track. " -Horace Silver in the preface.

4. Contemporary Piano Styles A rich, instructive survey of the history of jazz piano from 1950 to the present with clear and systematic analyses of the styles of such leading figures as Oscar Peterson, Bill Evans, George Shearing, Ahmad Jamal, Horace Silver, Red Garland, Cecil Taylor and many others. Abundant illustrations of left hand voicings, right hand modes, solo piano, comping, turn arounds, modern funky piano, harmonic distortions, modal fourths , minor blues, and modal fragments enable the student to apply modern devices to his personal style .

John Meheaan, jazz pianist, teacher and critic, was born in Hartford, Connecticut, and first played the piano at tne age of five. His distinguished career as a jazz educator began in 1945, when he became Teddy Wilson's assistant at the Metropolitan Music School in New York. The following year, he was appointed head of the school's jazz department. In 1947, Mr. Mehegan was named jazz instructor at the Juilliard School of Music. He taught privately for over 25 years. He also taught at the Yale School of Music.

Mr. Mehegan's unmatched contribution to the literature of jazz includes not only his major series on jazz improvisation, but a unique series of jazz instruction books for elementary and secondary school students, entitled The Jazz Pianist. From 1957 to 1960, he was jazz critic for The New York Herald Tribune. He was a contributor to such magazines as Downbeat, Metronome, and The Saturday Review, and a reviewer for Jazz magazine.

>ISBN 0-8230-2572-1 I