From the New York Times, Feb. 18, 1974, on a per srmance by Janos Starker, cellist: Perhaps the most interesting piece of music w a new cello sonata by David Baker, director of jazz st ies at Indiana University. This extremely energetic an inmedi- 2 ately appealing score combines, with considerabl: success, Jazz and art music traditions, ending with somet’ ng that ~ sounds like an unlikely cross between Bartok and oltrane. J It shouldn't work, but it does, ‘and Mr. Starker': dazzling performance was altogether extraordinary. --Pet: G. Davis ~ KOLDING ey KOMMUNEBIBLIOIEKEK Pb asset. db/MWP’ Cat. No. 9 First: Printing - May, 1974 Printed in U.S.A. ©1974 by Maher Publications, divis n of John Maher Printing Company, Chicago, Illinois; all foreign right: reserved. ALL rights reserved. No part of this book may be repr: uced or trans- mitted in any form or by any’means, electronic or mech: ical, including pe photocopying, recording, or by any information storage nd retrieval system, without permission in writing ‘from the publish .INTRODUCTION Improvisation. The art of spontaneously creating Waerore) while playing, rather then performing & tien already written. Many of the older masters Bach, Handel, and Beethoven were 80 famous for tl compositions Bach veieing ae for their written mprovising Oe of improvisation declined. 7 Gea pianists eeeapleel More common is the art of introducing impr into a written composition. The three outstar: of this are thorough-bass accompaniment, the 11 pentations of the Baroque period, and the cade Classical concerto. ‘There has been an interes improvisation technique in the development of Jam). -- The Harvard Brief Dictionary of Must Square Press), 1960-61 edition. the negative implications about jazz in the above defi by most misicians and educators 14 years ago. It seened Jeez instrumentalists did not belong in the same parasrat the "few organists and pianists who improvise..." Jazz} tee ne last sentence and pejoratively mentioned as “inte? In all fairness to the dictionary authors, Willi Apel was little written source matgrial on jazz improvisation wate several good histories of jazz (Stearns, Berendt» I Vhoughtful essays (Willians, Balliett, Feather, ct at). fot yet published his Early Jazz which provided the Fire not ioal development of jazz, The only jazz improvisatto ree etrst volumes by John Mehegan, written principally. { what about the last unwritten sources of jazz improvi Mess, Apel and Daniel could be excused for their unfan! seer gills of jazz musicians/composers. In 1960-61, tl tacween "music" educators and "jazz" educators, or betw: trot" or "cool" musicians. The professional jazz music! ‘eailier sight he is today on college and high schoo! ¢: that, in 1960-61, offered jazz courses for credit, ti’ thet, iinree colleges offering jazz improvisation. | ("A Soon beat /Music Handbook '74). The existing music biog jou jazz musicians other than Louis Armstrong, Duke fe ey nay Goodman. ‘Traditional music education just di tineous compositions of Charlie Parker, Clifford Brown, Coleman Hawkins, et al. Tt would have helped everyone then (and now) if Mr dialogue in 1953 with two students in his Music History (Bloomington), namely, Jerry Coker and David Baker Fc fe jezz history in Daniel's clase, Coker went on (0 We! tasic improvisation text) as his master’s thesis (at S: ng examples rovised orna~ as of the ng revival of wz. (see (Washington ition were considere ight ‘to musicologistt (or frame of referem provisation was relega sting". nd Ralph T. Daniel, thert wailable in 1960-61. Tht et’al) and a number jut Gunther Schuller had authoritative clues tot books then available wer » pianists. | ation; the musician, We larity with the imp. ct re was ‘virtually no diala n "serious" musician n/elinician was nt te puses. Of the 41 collest were, at the most, only | wide to College Studies! iphies rarely even refert! Lington, Paul Whiteman, ie reckon with the spon ‘zzy Gillespie, Fatha il! aniel had engaged in @ Mase at Indiana Universi despite the Lack of acad Improvising Jazz (the f iouston State U.) andsucceeded Buddy Baker as head of jazz studies at I.U. in 1960 the I.U. jazz studies post in 1966 when Coker went to the U. now at Pembroke U., N.C.) I£ Ralph Daniel -- and other musicologists -- had followed and had listened to just a part of what Baker had experienced definition of jazz improvisation would have been more respect art form as rich in heritage as Western art music. Baker's roots began in Indianapolis with the likes of the (Wes, Monk and Buddy); Slide Hampton; Freddie Hubbard (a pupi Johnson (Baker's teacher and idol) and other musicians steepe ‘amid an urban, border-state culture. Baker's academic traini High, Lincoln U. (Jefferson City, Mo.) and Indiana U. ran par sional jazz playing (and education) with Quiney Jones, Wes Mo Hampton, and his friend and mentor, George Russell. After an auto accident in 1963 threatened to end @ brillie trombonist, Baker turned to writing, arranging and teaching. over ‘the jazz post at I.U., he had mastered the essentials of in all idioms to which he added his professionally developed skills. The synthesis resulted in a dazzling flow of composi Pages 254-255), Advanced Improvisation is the third volume of what could b provisational trilogy. The first volume, Jazz Improvisation, (now in its seventh printing); the four books of the second v Improvisation, were published from 1968 to 1970. ‘The omission of the word "jazz" from the title of Advanced deliberate and is consistent with the contemporary developmen and performance. The time has come -- in 1974 -- to consider whole, the parts of which can be emphasized or interchanged 2 musician is more concerned about achieving a command of all w techniques than s-he is about stylistic labels. ‘Advanced Improvisation is by content and by concept design building blocks necessary for written and improvised composit Such an approach would not have been possible even five years the study of improvisation in high schools and colleges -~ an fessionals -- has reached @ level where advanced universal cc are needed. How about tomorrow? One thing seems certain. There will individual creativity. Future Shock foretells a society wher strongly developed personality and creative outlet to withste in a crowded world, It is safe to wager that improvisation w of life for all amateur and performing musicians. It might ¢ David Baker took over f Miami. (Coker is saker's musical career Daniel's "official" iL to a full-fledged ontgomery brothers of Baker's); J.J. in a black experience ; at Crispus Attucks l1el to his profes- gomery, Lionel career as a jazz hy the time he took Formal composition nprovisational tons and texts (see called Baker's im- ras published in 1969 lume, Techniques of Improvisation is ‘of jazz education nusic as a gestalt will, Today's aies and their 1 to supply all the mm regardless of idiom, ago. Today, however, among working pro- epts and techniques 2 no diminution of wo-man must have a 1 dehumanizing forces U1 be an accepted way on be called freedom. -Charles Suber Publisher, down beat April, 1974Le al TABLE OF CONTENTS Section Chapter Introduction PRI.. 2 Preface sseeerseres cepvasncessetisa°AY ASG Se ane ie 8 L Improvisational Concepts ---- deeeeee cette u 1. WIDELY USED JAZZ FORMULAE - 2 | 2. FORMULA CHARTS .++++e+0++ 16 3. TRANSCRIBING SOLOS FROM RECORDS «--++ eee %6 4, ADVANCED HEARING AND PLAYING EXERCISES « 28 5. SUPPLYING THE PROPER SCALE OR MODE TO AGL +, 6. ANOTHER HEARING EXERCISE ..-- da ees > 7. CHORD CHARTS ..++++ neeceeeeee ceeneneees =e 35 8. SOME NEW IMPROVISATIONAL APPROACHES «+--+ ++* loping a feel for cormon tone Improvisa- a. Exercises for dev ‘derived from modal scnles «+++ tional exercises b. Complete scales starting on a common Letter name seeeeeeseere c. Playing THROUGH changes .- : ae ew | 4. Using space s+++++ oes a e. Another chord approach «--++ 5 = a €. An approach to developing thythmic colwsion «--rereere7707°°" 4 4 | g. Additional hearing and playing exerci°s hs Broken chords (from a conmon starting tone) «+ te An approach to improvising through th understanding of scale resolutions ...- onc : Another approach to improvisation usis 2 thematic referen- tial seco UGH AN IMPROVISED L APPROACH TO COMMUNICATI(' THRO 9. -A PSYCHOLOGICAT SOLO «++ 10. SOME ADVANCED CONCEPTS IN JAZZ PLAYING «~~Section Chapter Page at: Rhythmic and Metric Concep etee eens? eguacinsle oar a fe Fy Frm aaa SS — Practice starting the cycle on eny letter of the msi- cal alphabet, providing it is in the proper assigned scale, 4, Tris teennigus moy be employed Using triode, “HME, aH, IS, 13H, oe Whenerr a pedalpoint is desifedup 30 wovebys @ m4 wo sy fa oANIIaF THE RG SSB) eae ai Sao mses SS UF Guay PUD sus yu @ wa 35 HOTU Na ‘sums yg YY WO sunahy awd sur ao} SpunIs usu fspeysz3 oTuOgETP se FTE: Se su, poop ut s04 pondanoyr boom pou S Hp bom ASS S ay UE — aeSs mee S ttettt SESE 8 swrouwog49 eh = Coot nw ‘suotsiaa Sutpusos 9p 843 UT paotgoead aq PTnoys SuyoBes0s ‘ug, Jofem v URTA spzoyD POUSTUFETP-JTBY 943 0% TEOTQUSPT axe sUIO,eI. the Understanding of Scale Resolutions This chapter section takes ¢ radically different spproach to realizing changes (at least attitudinally). Rather then stert with the premise that certain chords resolve to certain other chords which can then be con verted into scales, the premise is reve! tein scales may resolve to other scales, sane or different genre on the or ent roots. In this way of thinking, a player is taught to recog- nize and respond to the possible resolution tendencies of different genre sceles. Practice different scale resolutions (a11 keys).. 4. locriin —=—p misalysian aT Iain Actually, all of the modes contained in the major scale ay move freely from one to another, but the preceding four represent the most used modal resolutions, Column I Column IL Column Ath cbove, th abo, dorian —————> whole tone ———pmajor Dori Miya Was a" ‘oO ——> harmonic minor —————» major ai dorian <> aScenaing_—————> major melody miner a - Devon , |) transl rosie sinr yor == ——— = SS ‘yPsy 5 In column III you may inject the following: lyaian Mae the_sound of the following much-uste resolutions; —___ ascending SSE ———— Relodic minor P gypsy minor tae sel esolunns that erycy player should be camara —__ composite II fount Column I lus ee 3B dorian — > Imixolydian > yen83. Mother Approach to Improvisation Using a Themstic Referential Model: Harlem Pipes The improvisor should be familiar with Chapter XII in Jazz Improvisation, or | chapter on melodic development in any book on composition, Z. Isolate each phrase ond transpose it to all 12 keys. (Always do these exercises by eer - never write them down.) Ii. Play a single phrase through all keys but use different orgenizational Schemes, i.e., move by perfect liths, by perfect Sths, chromatically up, and chromatically down. Also use the forma charte in Chapter 2. TIT, Join isolated phrases together in rendom fashion, i.e., phrase (A) 1 to (A) & or (A) 2 to (B) 1 or (A) 3 Meas 1-2 Meas 7-8 Mees 3-4 Meas 1-2 Meas 5-6 to (B) 2 to (Cc) 1 to (D) 1 ete. Meas 3-4 Meas 1-4 Meas 1-4 IV. .Transpose isolated phrases to the same key and join together as before. This applies to all phrases and all keys...the more prominent the vertical aspects of the tune (the more changes), the more important this step becomes. V. Repeat steps I through IV using longer phrases (compound phrases) measures perhaps. four VI. Repeat steps I through IV using complete sections (in this instence, eight or nine measures). (A) (6) (0) (al) (3) VII. Concentrate on being completely at ease with the composition in its entire- ty...in any key, VIII, Next, improvise on the tune combining thematic material and pure improvise- tion in the suggested menner, Use the melody verbatim except when otherwise in dicated. 1. (A) Exact Melody (A) Improvisation (B) Melody Bannan wmemnenBeeceeine any (C) Improvisation (D) Meloay wenn enBecenne nee Bonneene 2. (A) Improvisation (A) Meloay Bennnnnn= aannnnn8on-3. (A) Improvise Melody (A) Improvise sanstha ass (8) ----- Yanna wovnchan--- ete. 4, (A) Meloay ‘Improvise (A) Melody wonelnnne woe nhn--- wreeclene-- -----! Yanna (a) Inprovise nenclenee wnn--le---- ete. 5. Melody Improvisation Melody Improvisation wecllene sence lhomnn,ceetinne adeeelanmn ete. Melody aaclene ete. T+ (A) Meioay Improvisation (A) Meloay ee ete. 8. Improvisation Melody Inprovisation w+ ---! Qann--=— non 2--- en 2annnnm ete. 9. next such groupings as Melody ‘Improvise Improvise Melody Benm= etes ais 10. (A) Melody Improvise Melody Improvise Simile Mi MM VE TALE: MUM Improvise Melody Improvise Melody Simile Wi Ut MH Mi 11. Play using combinations of melody and improvisation but without predetermining the order or proportions. ‘he goal is to pley in a manner which suggests complete spontanaeity. As a guide, the player might include such stipulations as: {3 Playing no nore then one melodic fragment per eight bars. (v) Pleying the freacent at a different place in each eight. (c) Any other that the imagination allows, 5412. As an alvanced exercise, improvise using single notes to highlight an impro- visation, (For avhile, the author suggests that the improvisor keep the theme in front of him while doing this exercise.) Perhaps, it might even be advisable to silently sing the line, dropping a note or two as desired at the proper place in the line. IX, In a modal tune such as this, try interchanging sections of composition, i.e., play the (A) theme on each change (transposed, of course). Nexty do the same with each theme. If the tune was vertical, it might prove more practical to use 8 single fragment or phrase (transposed) because of the rapidity of harmonic change. At this point, the improvisor should have acquired sufficient skills to ensble him to use any phrase or fragments (transposed to its proper key) in eny place in the composition. As skill end confidence increase, the player is encouraged to experiment by juxtaposing phrases from different parts of the composition. From this point on, it is imperative that the improvisor be absolutely secure with the techniques used to develop a given melody, i.e., inversion, retrograde, elongation, diminution, augmentation, fragmentation, mirror, etc. X. Improvise using my harmonic end melodic material desired but maintain the rhythmic configurations from the composition, first in its entirety, then by the use of fragments end phrases es suggested in VIII, Nos. 1-12. X1, Improvise using the contours of the tune but vary the genre of scales (consistent or non-consistent fashion, i.e. all diminished scales, all modal, ete. or mixed). XII, Other instrumentalists may accompany a soloist by using the techniques described in VIII but omitting the improvisation. (In other words, using only melodie fragments snd silences.) 55SUGGESTED ASSIGNMENTS 1. Search for examples of this technique on your favorite records. 2. Work diligently at internalizing the techniques described in this chapter. SUGGESTED READING ‘Improvising Jazz by Jerry Coker. Jazz Improvisation by David Baker...Chapters XII, XIII, XIV. 56IMPROVISATIONAL EXAMPIES OF SOLOIST USING A THEMATIC REFERENTLAL Baker, David, Le Roi from Eastern Man Alone, Charles Tyler (ESP 1059) Baker, David, War Gewesen from George Russell in Kansas City (Decca DL 4183) Baker, David, Thoughts from Ezzthetics, George Russell Sextet (Riverside 375) Bartz, Gary, Rise from Home!, Gary Bartz NTU Troop (Milestone MSP 9027) Davis, Miles, Freedom Jazz Dance (all soloists) from Miles Smiles, Miles Davis quintet (Golunbie CL 2601) Davis, Miles - Evans, Gil, Porgy and Bess (e11 compositions) (Columbia CL 8085) Davis, Miles, Petits Machins from Filles de Kilimanjaro (Colusbia CS 9750) Davis, Nathen, Extra Sensory Perfection from Makatuka (Segue LPS 1000) Davis, os 6th Sense in the 11th House from 6th Sense in the 11th House (Segue 1002) Gillespie, Dizzy, Sweet and Lovely, My Old Flane, and The Man I Love from Jaze from Paris (MGV 8015, Gillespie, Dizzy, Gee Baby, Ain't I Good to You and One Note Samba from New Wave (Phi11ips-PHS600-070) Johnson, J. J., Jackie-ing from A Touch of Satin, J. J.'s solo (Columbia CL 1737) Johnson, J. J., Now's the Time from J. J. in Person, J. J.'s solo (Columbia CL 1161) Johnson, J. J., Chasin' the Bird from J Is for Jazz, J. J.'s solo (Columbia CL 935) Johnson, J. J., Bimsha Swing, My Little Suede Shoes, end Stratusphunk from J. J. (RCA LSP 3350} Johnson, J. J., Mohawk from J, J. Sextet (Columbia CS 8406) Johnson, J. J., Don'tcha Hear Me Callin' to You (A & M SP 3027) Johnson, J. J., Walkin' from J, J. in Person (Columbia CL 1161) Johnson, J. J., Why Don't I from Sonny Rollins (Blue Note 1558) lewis, John, D & E from The John Lewis Piano (Atlantic 1272) McPartland, Marian, What Is This Thing Called Love? and Three Little Words from Ambiance (Hal 103) Monk, Thelonious, I Mean You from Monk, Big Band and Quartet _in Concert (Columbia ©S 8964) 5758 Monk, Thelonious, Off Minor, Rhythm-a-ning, Getting Sentimental Over You, Jackie~ing #1 and and Bimsha Swing from European Concerts by Thelonious Monk (Riverside RS_3020) Monk, Thelonious, Well, You Needn't, Rut Dear, Off Minor and Crepsecule with Nellie from Monks Music (Riverside RLP 12-2h2 Monk, Thelonious, Blue Monk, Monks Mood, and Nutty from The Best of Thelonious Monk (Riverside RS 3037 Monk ey ‘Mean You end Rhythm-a-ning from Mulligan Meets Monk (Riverside 2h) Perker, Cherlie, Night and Day (Verve MGV 8003) Rollins, Sonny, There's No Business Like Show Business and There Are Such Things from Sonny Rollins (Prestige LP 7020 Rollins, Sonny, You Do Something To Me, Without A Song, and John S. from The Bridge (RCA Victor LPM 2527) Rollins, Sonny, East Broadway Rundown end We Kiss in the Shadow from East Broadway Rundown (Impulse 49121) Rollins, Sonny, Reflections from Sonny Rollins (Blue Note 1558) Rollins, Sonny, When Your Lover Has Gone, The Most Beautiful Girl in the World, My Reverie, Alfie's Theme and Three Little Words from Tenor Madness, Sonny Rollins Quartet (Prestige 7047) Rollins, Sonny, Holdem' Joe, Blessing in Disguise and Blue Room from Reevaluation: The Impulse Years (ABC AS9236-2) Rollins, Sonny, Limehouse, Sumphin, I Follow My Secret Heart ena Doxy from Tenor ‘Titans, Sonny Rollins (VPS 32) Rollins, Sonny, Misterioso from Sonny Rollins (Blue Note 1558) Rudd, Roswell, Wherever Junebugs Go from Archie Shepp Live in San Francisco (Impulse ag118) Senders, Pharosh, Sun in Aquarius: Pt. 2 from Jewels of Thought (Impulse AS89190)Section I...Chapter 9 A PSYCHOLOGICAL APPROACH TO COMMUNICATING THROUGH AN IMPROVISED SOLO One of the most neglected areas in jazz has to do with the use of psychological Principles, such as the use of certain msical devices to elicit specific emotional responses. Such concepts are utilized on a different: level in movie and television background writing. In the course of history, certain msical qualities have become symbols of human acts and feelings. Carroll G. Pratt, in his book, The Meaning of Music, says: “Human action is a pattern of motion with velocity, direction, strength, and tempo. Smooth, powerful, regular motion is a sign of successful functioning. Whenever the human organism does function well, whether it be in mind or in body, there arises feelings of pleasure. Now the beholder of such motion through assotiation with his own experience also finds it pleasant, and should he concentrate on the appearance of the motion itself, that is, see it or hear it aesthetically, he will call it graceful or beautiful. “Violent, spasmodic fluctuating action, on the other hand, signifies imperfect functions, imperfect control of action, and it is accompanied by feelings of unpleasantness, snger, fear, frustration, end anxiety. There is some ground for suspecting a correspondence between the motion of human action and the emotion in our apprehension of such action.” Harry S, Broudy, in A Realistic Philosophy of Music Education, pursues the idea further? "If msical motion is enalagous to the movement of human action, it can express the emotion accompanying the action. In other words, we associate specific emotion with certain tonal movenents--if the listener knows the nature of the action or feeling portrayed and the artist has captured the characteristic notion of the action in tonal motion, and if no subjective psychological factors intervene, then a cereful, cultivated listening may result in the awareness of this specific significance, It is this mthor's belief that the prime purpose of all msic is to communicate, +» to project certain feelings, attitudes, etc., to a listener, Carroll Pratt seys it this way: “The expression of emotional life may not be the final object of msic, if to be final means to be decisive or single to the exclusion of all other possibilities, but it is, beyond doubt, one very important ond frequent aspect of tonal forms." What do the preceding paragraphs mean to the jazz msician? What directions do ‘they indicate? They might suggest that a certain type of msical solo or line will affect most listeners in a certain way. For example, a diatonic line with strongly eminciated rhythms and synmetrical. shape will probably elicit # response of pleasure or fulfillment; or conversely, an asymmetrical line full of angularity, sudden accents and unpredictable volume changes will elicit a response of anxiety, uneasiness, etc. The good jazz player mst learn how to manipulate the emotions of the listener. 59To indicate further how the jazz player might go about eliciting certain feelings using meicel materials void of prograsmatic intention, here again is Pratt: "A recent very excellent experimental study of the effects of msic shows, at one point, the difficulties created by not considering the possibility that the emotions ‘accompanying the msic’ or ‘suggested by' the music were in all strictness qualities inherent in the msic itself. "The Listeners were told to meke note of any emotions or words suggested by the composition. These emotional states were referred to as playful, whincical, triumphant, powerful, martial, majestic, calm, peaceful, hurrying, restless, struggling, bewildering, tumltous, uncertain, suspenseful, etc. Most of those words, when used for subjective moods, stand for psychological experiences which include among their components various forms of movenent. In so fer as similer movements may be presented tonally, the same words apply equally well to musical effects. A person says, for example, that he feels restless, A description of what it feels like to be restless might include references to such things 0s increased rate of breathing end heartbeat, unsteady organice in the region of the diaphragm, tapping of the feet or fingers, inability to keep still, etc. It requires no great knowledge of mic to appreciate the fact that much the sane kind of movement may easily be produced to msical phrases. Staccato, crescendos, shakes, wide jumps in pitch - all such devices conduce to the creation of en auditing structure which is appropriately described as restless." ‘The above represents only one of many viewpoints concerned with the way msic affects us, Many of the viewpoints overlap end all hold conething of value for the jazz meicien. Another viewpoint deals with responses that are, by and large, conditioned or are the result of the ecculturation process. This viewpoint presupposes a common fund of knowledge and certain msical norms conmon to the player and the listener. Most people in a Western culture respond in a similar manner to a rousing march or, at least, they are not likely to feel en inclination to waltz or jitterbug. Because of conditioning we also perceive Chopin's Funeral March as sad, tragic, souber, nelancholy or sone similer feeling rather then happy, gay, ebullient, etc. A concept that might be classified under the first viewpoint is one that relates tension to extrenes in volume, density, speed end complexity. The view held is that any pronounced change to the plus side of eny or all of the above factors will produce tension. This tension might be read by the listener as anxiety, anger, etc. If we view this same concept as belonging to the second viewpoint, we would per- ceive these factors not as fast, loud, ete., by abstraction but rather according to anorm (i,e., not fast but faster than...3 not loud but louder than...). In other words, if a jazz pleyer, in the midst of @ relatively placid situation, doubles the time or introduces an extended passage of notes faster than the basic unit of the time, the listener perceives this as a feeling of tension (anxiety, anger, etc.). Another notion that the jazz player mst examine is the concept of tension pro- duced by high notes. It seems that this concept may be somewhat reconciled to the first viewpoint. Although there is nothing inherent in a change of frequency to suggest tension, experience seems to indicate that tension is elicited. This phenomenon mey have evolved because of the physical strain and expenditure of energy 60which results in the production of high notes for a vocalist and our tendency to empathize. Consistent with the second viewpoint would be the concept of tension produced through the use of consonance and dissonance. (This concept presupposes sone broad area of agreenent about what is consonant and whet is dissonant.) Within our culture, the consensus is that movement from consonance to dissonance, or of dissonance to greater dissonance, creates tension. The converse is also true. This knowledge ensbles the Jazz man to work with consonance and dissonance in such a way so as to elicit feelings related to tension (anxiety, anger, etc.) or feelings related to lack of tension (contentment, euphoria, etc.) A rising line tends to create tension and the longer it rises the more tension it creates, The main reason is that the longer a line continues in the sane Girection, the more we anticipate a chenge. If the change of direction occurs, our expectations are fulfilled ond we experience a release from the tension (pleasure, happiness, ete.). If our expectations are not fulfilled, our desires are thwarted and we are frustrated, disappointed and ultimately bored. In line with viewpoint two is the concept of using resolution expectancy or resolution tendency to produce tension, In this concept, conditioning leads us to expect certain notes in particular scale eystems to react in specific ways} for instance, the tendency of the leading tone (seventh degree) to resolve up, or the dominant seventh (fourth degree) to resolve down a step in the major-minor system, When the resolution tekes plece, we experience pleasure; when it does not, we experience frustration. There is another concept consistent with the second viewpoint. Simply stated: tension results when a wide area of pitch and dynamic range is covered in a brief span of time (i.e., covering three octaves, going rom ppp to fff in two measures, whole note = 180). This tension results because of the relationship between energy and speed (i.e., it takes more energy to go 100 yards in nine seconds than it does to go 100 yards in nine minutes). While there is some disegreement awong msiciens ebout the complete validity of some of these concepts, my own feeling is that msic is the language of the emotions, It misses its main reason for being if it fails to arouse a genuine emotion end pleasurable expansion. Of course, msic (i.e., auditory perception) is no more emotion than the letters B-I-A-C-K are the visual sensation of that color, It is the language that arouses the subjective experience. Whet language could be more suitable than one whose forms are similar to the objects to be expressed? There are many other important concepts. The purpose of this chapter has been to open up new areas for the jazz player. SUGGESTED READING The Meaning of Music by Carroll C. Pratt. The Basis of Criticism in the Arts (Formistic Criticism) by Stephen C, Pepper. National Society for the Study of Education Yearbook, 1958. 6162 A Realistic Philosophy of Music Education by Harry S. Broudy. Santayana and the Sense of Beauty by Willard B. Arnett. Feeling and Form by Susanne K, Langer. Aesthetic Quality by Stephen C. Pepper. Shaping Forces in Music by Ernest Toch. A Composer's World (Chapter II) by Paul Hindemith. SUGGESTED LISTENING Coleman, Ornette, Sadness from Ornette Coleman at Town Hall (ESP 1006) Davis, Miles - Evans, Gil, Porey and Bess (Columbia Ch 127!) Davis, Miles - Evans, Gil, Sketches of Spain (Columbia CS 8271) Harris, Bill, Imagination from Bill Harris Herd (Norgran MGW 1062) Mingus, Charles, Passions of a Man from Mingus/Oh Yeah (AT 1377) Montgouery, Wes, Golden Earrings from Goin' Out of My Head (V6 86l2) (Miso see suggested listening lists for chapter on DRAMA) SUGGESTED ASSIGIMENTS 1. Restate in your own words, or explain to another person, the concepts advanced in this chapter. Find specific recorded examples of these concepts. 3. Read other books on these and applied subjects.Section I,,.Chapter 10 SOME ADVANCED CONCEPTS IN JAZZ PLAYING Because of the interest this chapter generated when it first appeared in Jazz Improvisation, and because of the exact relevance of the material to this text, SOME ADVANCED CONCEPTS are reprinted herein with minor changes. What follows is a discussion about some relatively new melodic, harmonic and rhythmic concepts that are being used with varying degrees of success by modern players, I. The concepts that deal with melody are: 1, Intervallic playing 2, Directional playing 3. Pure melody or panmodal playing ik, Color on color 5. Extreme engularity II, The concepts that are harmonic ari 1. Functional substitution 2, Chord tonic chromaticism III, The Rhythmic concepts are: 1. Regrouping within the tine 2, Free time against steble tine 3, Free time 4, Accelerendo sgainst — accelerando prevailing time slow dewn 5. Prevailing time against accelerendo prevailing time slow down 6. Slow down sgainst accelerando prevailing time slow down ‘J. Double time, one-third time end other divisions of the existing tine (stable ratio), Also see chapter on RHYTHMIC AND METRIC CONCEPTS. I, Melodic Concepts 1, Intervallic playing: In the concept of intervallic playing, the interval becomes the means as well as the end. In this concept, the player arbitrarily, or with some other consideration in mind, decides on a set of intervals and uses them consistently for the duration of a tune. I have found that I have more success when I either limit the number of intervals or stick with one type of interval to the exclusion of others, In the first instance, a player might choose a half step end a perfect fourth. He will then combine them in any manner he chooses, irrespec- tive of the underlying harmonic structure, He might use a series of half steps followed by a perfect fourth. (exemple 1) OR He might use a perfect fourth, two half steps, another perfect fourth, ete. (exemple 2) 63oR He might choose a random combination, which is usually the case (example 3). The intervals chosen might be a minor third and a tritone. (example 4) When playing in this manner the pleyer may also use the inversions of an interval (i.e., minor third inverts to Major sixth). He may also use three or four intervals, although this is more difficult (i.e., half step, minor third, perfect fourth and Major second). He may also link sets of intervals with a foreign interval. Use a Major third end a perfect fourth. (example 5) Even more practical for the jazz player is the notion of using this technique in a mich freer fashion, i.e., a half step followed by a skip, or better yet, a stepwise move, half or whole, followed by a skip. (example 6) In this technique the ultimate would be to have a set of intervals predominate a section of the tune. The player would play either in a free or a structured manner but would concentrate on the one or two intervals which are predetermined. In the second instance, the player might choose one class of intervals (i.e., a perfect fourth) ond build the whole chorus or section of a chorus around it. The inversions and alterations are also permissible, i.e., fourth, fifth, tritone and sharp five. (example 7) Again a more practical use of this technique would be to play a melody either free or structured but have a single interval (in this case a fourth) predominating. Some recorded examples of this kind of tune would bet Freedom Jazz Dence (The perfect fourth), EB. Harris Blue Monk (The third), T. Monk Misterioso (The sixth), T. Monk Stratusphunk (The sixth), G. Russell In using thie technique the player might ask: Why one set of intervals as opposed to another? First, the player might decide to use the set of intervals that predominate the written composition that he is playing. This, of course, contributes to a sense of cohesion in the improvised chorus becanse of the similarity of material between the improvisation and the melody itself, Another reason for choosing a set of intervals would be a preference on the part of a player for those particular intervals. I particularly like the combination of a skip plus a half-step, because of the built-in tension and release factor inherent in this combination. Another reason might be the desire to play in a flowing manner or en enguler manner, (i,e., diatonic movement suggests flow and skips suggest angularity) For those who wonder why this approach doesn't sound wrong since we are not consciously observing the chords, hear this: +, a When the intervals are consistent, the listener tends to hear according to his om preferences. He perceives dissonant intervals if he hears "outside hears consonant intervals as being the most important if he hears "inside", 64b, In many ways, playing a jazz chorus is like any other artistic endeavor; that is, essentially a case of problem solving. Once the use of a particular set of intervals hes been established to the ear of the listener os the problem, then the success or failure of the jazz chorus becomes dependent on how successfilly the intervals are used. In other words, the realization of vertical structures becomes @ secondary consideration to the successful manipulation of the chosen intervals. Directional Playing: This refers to a technique which involves the use of two scales of the same quality alternately. (Both Major, both whole tone. etc.) Arbitrarily impose a scale on a chord; when the chord changes. Although theoret- ically any scale quality will work, in practice, the technique works best with the symetrical scales (whole-tone, diminished or chromatic scales). For the example, the two whole-tone scales are used. (example 8) The assumption is that in many instances the listener is more aware of a quantitative then a qualitative change; he hears a change of scale rather than the type of scale to which it changes, 3. Pure melody or pannodal playing: In this concept, melody tekes precedence over all other considerations, The player concentrates on constructing endless nelody or melodies that night embrace many keys and modes simltaneously, No obeisance is made to vertical or horizontal structures that conflict with the melody as it is conceived. In general, this technique is most successful in the area of "tree" (without chenges) playing. Most of the best players in the avante garde embrace this concept or some modified form of it. Listen to Ornette Coleman, Archie Shepp, Charles Tyler, Albert Ayler and others. (See Panmodal chapter) 4. Color Relations: This concept, stated simply, means using intersecting horizontal or vertical colors in a number of different ways. For instance, it is possible to color the degrees of a Major scale with other Major scales, (example 9) This technique could be employed in static situations, For example, when the Player decides to color a Dmi7 which lasts indefinitely with a C Major scale, he might set up a color-on-color situation by maintaining the Major scale of C as @ cantus firms and coloring it with the Major scales built on the diatonic degrees of the scale. (example 10) It is also possible to color the degrees of the Major scale with any other scale triad or seventh color. The player could color Major scales with augmented triads (exemple 11) or diminished scales. (example 12) The number of combinations is astronomical: Augmented Major Diminished Ascending melodic minor Major Diminished Augmented eypey Gypsy minor 5. Extreme Angulerity: This concept refers to the idea of using octave dis- placements to destroy a diatonic line by arbitrarily putting notes in different cctaves. (example 13) 13-A is the original line. 13-B is the line made disjunct. (See exercises for developing skills with enguler lines) ‘The most commonplace line will take on new interest with this technique, b= viously, this technique is more difficult for some instruments than others, 65II. Harmonic Concepts 1. Functional Substitution: Functional substitution means substituting for spy chord any other chor of the sane quality. (i.e., for Gmi7 substitute B°mi7, Amin, Dai7, or G! for D7, ‘yy Br» ete.) This concept relies very heavily on the notion thet the ear is more apt to ‘hear function then actual quality. That is, if the chord operates from within the ‘oper place in the II V, I formla, the listener hears it es the proper chord. ‘exemple 1!) Listen to the solos on Stratusphunk, particularly on Things New and New Donna, or the album, George Russell in K. C., Tune Up and others. 2. Chord Tonic Chronaticism: This refers to the practice of using chromatic seales starting on the tonic of the chord to color every chord in a composition. (exemple 15) The notes of the chromatic scale do not have to be consecutive, and intervals larger than a half-step may be introduced as long as the general and main impression is one of chromaticism that originates from the root of the chord. iI. Rhythmic Concepts Regrouping within the Time: This concept is particularly useful when the vertical structures are clearly end strongly defined and the structure is relatively conventional. (example 16) The grouping as it stands is AB _C-. Me soloist as well as the rhythm -8-8-8- section would do musical things to point up the beginning and ending of the eight- measure seguents. The soloist would probably stert his melodies and phrases either on the first or fifth measure of one of the eight-measure segments. He would probably signal the end of an eight-measure segment by tapering off or building into the next eight-measure segment. Whatever means employed he would probably, consciously or sub-consciously because of tradition, do something to delineate the form of the composition. If the player wanted to regroup the bars, there are mony ways to regroup a 2h-measure structure - two groups of twelve, four groups of six, six groups of four or any number of odd groupings, nine plus nine plus six, or seven plus seven plus ten. To effect such a regrouping, the player mst then really think in the new grouping, i.e., starting melodies in measure thirteen’ and tepering at the end of twenty-four. 2. Free Time: This can be done in any type of tune, vertical or otherwise. In this technique, the player plays across the time but generally without being in e sub-division of the time. For instence, avoid playing in a time that is twice the ‘time, one half the time, one third of time, etc. What does the player do about the changes while all of this is taking place? One procedure would be to keep one ear glued to the prevailing time (the rhythm section) and meke the changes as they occur in the rhythm section; in other words, playing more or less tonally. 66SOLOIST » » KN D Bmi, amma “7 [ee oer 4 at Another procedure might involve using intervallic playing, pure melody or some other technique. Some of these techniques would relieve the player of the res- ponsibility of having to consciously end specifically relate to the chords. 3. The other side of this coin would have both the soloist and the rhythm section playing freely with no pre-arranged tempo or meter, Prevailing circumstances would dictate the direction of the msical procedings. SOLOIST RHYTHM a. Accelerando Aecelerando Prevailing time Slow time bd, Prevailing time Aecelerendo Prevailing time Slow down c. Slow down Aecelerando Prevailing time Slow down Numbers four, five and six represent the ways in which the horn player can relate to the rhythm section, Numbers four and six are the two in which the soloist is actively involved in initiating the change of relationship. 4, Soloist Soloist speeds up Rhythm Speeds up Soloist Speeds up Rhythm Stays constant Soloist Speeds up Rhythm Slows down 5. Soloist Stays constant Rhythm Speeds up Steys constant Slows up Soloist Slows down Rhythm Speeds up Stays constant Slows down In each case, the soloist may move toward an undetermined speed or he may move from the constant time through several choruses until he arrives at a double time, or he may start at the double time and move toverd the constent time or on past to the slow tine which might be the prevailing time, The player will, of course, examine other possibilities, 67The effect can be very exciting as the soloist begins to move away from the Prevailing time. The first impression is that the soloist is rushing the time until ‘the listener becomes aware of the purpose of the accelerendo. As the coloist approaches double time the excitement continues to build until the time is again in Juxtaposition. The same theory takes place on the trip back to the original time. 7, Both double time and other divisions of the existing time: double time -- which refers to the practice of using the sixteenth-note as the basic unit instead of the eighth-note; and half time -- which is the practice of using the quarter- note as the basic unit, are in common use by most jazzmen of today. The technique of playing with the dotted quarter, or the dotted half, as the basic unit, are rela- tively unexplored areas. (example 17) Likewise, the procedure in (exanples 18-19) . (See chapter on Rhythmi¢ and Metric Concepts.) SUGGESTED READING The lydian Chromatic Concept of Tonal Organization by George Russell. The Eddie Harris Interverlistic Concept for all Single Line Wind Instruments (CCT Press itd, Chicago, Illinois). SUGGESTED LISTENING MELODIC CONCEPTS Qut to unch, Eric Dolphy (Blue Note BLP 4163)...intervallic and directional playing The Shape of Jazz to Come, Ornette Coleman (AT 1317)...panmodal melody Eastern Man Alone, Charles Tyler (ESP 1059) intervallic, panmodal and color-on-color Charles Tyler and David Baker solos; Ghange of the Century, Ornette Coleman (Atlantic SD 1327)...Donald Cherry, angular, Pannodal. Ezzthetic, George Russell (Riverside 375)...Donald Ellis, anguler, end intervallic ‘HARMONIC CONCEPTS Stratusphunk, George Russell (Riverside 341)...Kentucky Oysters; David Baker's solo uses a division of the existing time Things New and New Donn: David Baker's solos both start out in free time against stable time. FUNCTIONAL SUBSTITUTION George Russell Sextet at K. C., (Decca 4183)...(David Baker), 121 Bank REGROUPING WITHIN THE TIME (See chapter on RHYTHM AND METER) 68Stratusphunk, George Russell (Riverside 341)...David Beker, Honesty FREE TIME, PANMODAL (See SCALE chapter for further examples) Davia Boker, Honesty Ezzthetics, George Russell (Riverside 375) ‘FREE TIME (See chapter on METER AND RHYTHM) ‘The Loud Minority, Frenk Foster (Mainstream 349)...Dick Griffith, J. P.'s Thing FREE ‘TIME ANGULAR, INTERVALLIC (See SCALE and METER and RHYTHM chapters) Sound, Roscoe Mitchell Sextet (Delmark DS 9408)...Lester Leshley, Sound Intervallic ~ Meny Eddie Harris solos. Intervallic - All soloists on Freedom Jazz Dance Any Ornette Coleman solo is panmodal (See SCAIE chapter) 69salon sesn £oq3 9300 oo saoge 243 Jo NOTYA 0} SuTpsoowe wey} drow pus eTAys epze® oquean uy quaumszeuy amok Jo szeAsTd 3STI *h *sfBh SNOTIBA UT wey} dnower Pus sammy spoz/dod ‘seu, zzef ‘spzepueys escony °f *sqdeou00 agat jo soTdmexe ute? woo qeuy sBurpaooer pue szafeTd 4sTT 03 OTqe ag *z sxegdeqo su; UF pessezd -xe sydeouos oy7 AsrTduexe pue euTzep 09 STqe og “T SINGWOISSY CaIsg|Ms awy emu ay: 01 £ fo amsosuy SSS bt atetyt ee 222s Se era “Com maesnuene ++) ‘o72 Section II.,,RHYTHMIC AND METRIC CONCEPTS Chapter 1, NON-METRIC MUSI( 2, DISPLACED ACCENTS... fee eae eseiesses eB T3) 3. POLYMETRIC MUSIC (vertical simitanseity) ... coed 4, MULTIMETRIC MUSIC , eee aT 5. PANMBTRIC MUSIC. 19 64 METRIC MODULATION .. 6... .....eeeseeeeeeeeeeeeeeeeeeeees see 81 Section II...Chapter 1 NON-MBTRIC MUSIC ...msic in which the barlines are omitted, often in the manner of a cadenza. This is a very limited technique because of its impracticality for ensemble per- formance. SUGGESTED LISTENING AND STUDY Baker, David, Honesty from Ezzthetics (Riverside 375) Baker, David, Stereophonic from The Stratus Seekers, George Russell (Riverside 9412) Baker, David, Black America, recitative section (db/MWP) Blazhevich, V., Concert Duets, #27, #30, #33 Coltrane, John, Ascension (Impulse A-95) Grey, Desayles, Wildroots, movement II Griffin, Dick, J, P.'s Thing, cadenza, from The Loud Minority (Mainstream 349) Henderson, Joe, Black Is the Color and Current Events from Milestones (MSP 900) Ives, Charles, Second Sonata for Violin and Piano Concord Sonata The Revival, third movement Lashley, Lester, Sound (throughout) from Sound, Roscoe Mitchell Sextet (Delmark 9408) Trentham, Brian, Lydia in Bags Groove from George Russell at Beethoven Hall (SABA SBL 5059) Various free Jazz compositions. (See examples at the end of Section II)length of phrase, tessitura, volume gradations, etc. 4, Complete groups of notes may be repeated before proceeding to the next notes of the series. 5. Other means for varying the note order in the chosen row exist, Search for them. (i.e. Use your imagination. SUGGESTED READING Dallin, Leon, Techniques of Twentieth Century Composition (Wm, C. Brown Co.) Krenek, Ernst, Studies in Counterpoint (G. Schirmer, Inc.) Perle, George, Serial Compositions and Atonality (Univ. of Calif., Pres.) Smith-Brindle, Reginald, Serial Composition (Oxford University Press) SUGESIED LISTENING AND STUDY ‘TWELVE-TONE AND ATONALETY PIECES Anderson, T. J., Chamber Symphony, Composers Recording Boker, David, Sonata for Pisno and String Quartet, 2nd movement theme and variations (a@/wr) Beker, David, I Who Would Encompass Millions (lyrics by Mari Evans), soprano and piano (db/MHP) Baker, David, Parades to Hell (lyrics by Solomon Edwards), soprano and piano Baker, David, Songs of the Night ("Freguents" - lyrics by Langston Hughes), soprano and string quartet Baker, David, Concerto for Bass and Jazz Band, slow movement (db/MWP) Bartok, Bela, Violin Concerto (Hawkes and Son) Berg, Alban, Violin Concerto (Universal Edition) Berg, Alben, lyric Suite (Turnebout Mono TU 4021) ~ 132Milhaud, Darius, Symphony #1 Rollins, Sonny, It's Alright with Me from Sonny Rollins Quartet (Prestige ‘1P7020) Rollins, Sony, The Bridge, You Do Something to Me, and Without a Song from The Bridge (RCA Victor LPM 2527) Rollins, Sonny, Green Dolphin Street from Reevaluation? ‘The Impulse Years (Impulse ‘ABC 9236-2) Routng, Sonny, Suuphin, I Follow My Secret Heart, and Doxy from Tenor Titans (USPS 32 Rollins, Sonny, Alfie's Thexe and Three Little Words from Tenor Mariness, Sonny Rollins (Prestige 70%7 Rudd, Roswell, Wherever unebugs Go, (throughout), from Archie Shepp Live tn Sen Francisco (Impulse 49118) Strause, Richard, Till Bulenspiegel's Merry Pranks, Op. 28 Stravinsky, Igor, The Firebird Stravinsky, Igor, The Rite of Spring Walton, William, Symphony Wilson, Est My Favorite Things from My Kind of Broadway, Woody Hernan (Columbia C8 9157, (See examples at the end of Section II) 74ssetsos Jo Aqoqzva agyuTguy ue gonz3eu0o A pues oy3 ‘spaoyoeayeg SuTuyqmoo Jo pouem ou3 Sursq Pate gts 7A a =) een See) SESS e. acum rt perth eh ttt Q = SBoulton, Laura C., African Music (Folkways Records FW8852) Carter, Ron, Nalkin' from Miles Davis Greatest Hits (Columbia CS 9808) Carter, Elliot, String Quartet #1, p. 5 (Associated). Coleman, Ornette, Lonely Woman from The Shape of Jazz to Come (Atlantic 1317) Davis, Miles, Saeta from Sketches of Spain (Columbia 1480) Dixon, Bill, Metamorphosis from Intents and Purposes (Stereo LSP 38!) Hindemith, Pani, Mathis der Maler, p. 20-22, (Schott). Ives, Charles, Second Sonata for Violin and Piano; The Revival, third movement James, Bob, My Love from Bold Conceptions, The Bob James Trio (Mercury 620768) McPartland, Marien, Three Little Words from Ambiance (Halcyon 103) Ravel, Maurice, Sonata for Violin and Cello, p. 5 (Durand). Roberts, Howard, Sometimes I Feel Like a Motherless Child from Let My People Go, chorale (Col MS7184) Russell, George, Living Time (Columbia KC31490) Russell, George, War Gewesen from The George Russell Sextet_in Kansas City, all soloists (Decca 1183) Steel Drums, The National Steel Drum Band (‘Tradition 2064) Stravinsky, Igor, Petrushka, p. 10 (Kalmus). Vitous, Miroslav, Indefinite Search (SD324 Embryo) Wiebel - Fetzer, Viodo from Wiebel - Fetzer Live (Bazillus 2i11 111) (See examples at the end of Section II) 767. Mennin, Peter, String Quartet, #2, p. 24 (C, Fischer). Powell, Mel, Filligree Setting for String Quartet Revueltas, Silvestre, Sensemaya, p. 27 - 37 (G. Schirmer). Russell, George, Blues in Orbit from The Stratus Seekers, George Russell Sextet (Riverside 912 Sessions, Roger, Symphony, #1, p. 7 (Arrow). Stravinsky, Igor, Canticum Sacrum; Petrouchkas The Rite of Springs L'Histoire du Soldat Webern, Anton, Cantata, Opus 29. (See examples at the end of Section II)80 Mariano, Charlie, Shout from Mirror (Atlantic SDL608) Russell, George, lunacy, all soloists, from George Russel] Sextet in K. C. (ch183) Shepp, Archie, In_a Sentimental Mood, introduction, from Live in San Francisco (Impulse 49118) Stadler, Heiner, Brains on Fire (Labor Records LPS 7001) Taylor, Cecil, Densities from Unit Structures (Blue Note 4237) Tehicai, Joon, Funeral from Archie Shepp in Europe (Delmark DL 409) ‘Thelin, Eje, Acoustic Space (E062 - 34180) Tyler, Charles, Ensemble (ESP 1029) Tyler, Charles, Eastern Man Alone (ESP 1059) Vitous, Miroslav, Indefinite Search (Bmbryo SD 52lt)if g al HH 3 . | F Ras | fo sed oF ole L $§ 3 » 2 Llane Joe 8 L 8 Me hl a i 4 = = eS = > a 7 —1— 640 fee Tob as Fe : a8 8a y a= = J = = ith SSS aS oe cre a + a> a oy b _ Jee) fT == Se * Fae FR. = id oe F82 Black Man, Black Woman (db/MWP) Calypso Nova #1 (db/MWP) Catalyst, (ab/MNP) Te Chat qui Peche (ab/MWP) Cinguatre (ab/MWP) Concerto for Flute and Jazz Band (db/MWP) Concerto for Violin end Jazz Band (db/MWP) Concerto for Trombone and Jazz Band (db/MWP) Concerto for Bass and Jazz Band (db/MWP) The Professor (db/MNP) Brubeck, Dave, It's a Raggy Waltz (3/l), using hemiola Bluette (3/1!) Far More Blue (5/4) Fer More Drums (5/11) Maiori Blues (6/!) Unsquare Dance (7/4) Bru's Boogie Woogie (8/8) Blue Shadows in the Street (9/8) trom Time Further Out (CL1690) Toeria (3/4) Unisphere (10/4) Shim Wah (3/4) World Fair (13/l) from Time Changes (Columbia ¢88927) Davis, Nathan, Meketuke (7/9) from Mekatuka (Segue LPS 1000) Ellis, Don, Open Beauty, Alone, end Indian Lady from Elect! Harris, Eddie, Smoke Signals (16/l), recorded Eddie Harris, Shelly Manne ¢ Bath (Columbia C59585) Spanish Bull (6/4), recorded Eddie Harris ‘Incoherent Durations (5/4), recorded Shelly Manne 1974 Bives (7/4), recorded Eddie HarrisThe preceding exercises should be practiced using other genre scales, i.e., minor, diminished, whole-tone, etc. All other instructions maintain. Next practice all bitonal scales as triplets, broken 3ras, ths, end in every other imaginsble manner. Next practice coubining different genre scales, i.e., C Major + G minor OR C Major + A diminished, ete. Your imagination should be the only factor circumscrib- ing the exercises that you devise on these scales. 122ae es _ ¥ er. atte Sa 4 " SSS} a n pene he ste e be se ee =. £ SS. = = x # 2 =e ° Fi = ~ Some Uses of Metric Modulation x Be q A soloist sets up a basic unit of time and uses it for 7 8 complete chorus effecting a metric modulation in the nt oan final or final measures of the preceding chorus. 1 ee = i2e = OF eee Ze ee % ee oo = SSS SSS oso Te Ce Te Si ze te be a ‘= me atoll Gees eae | “i rir ary if 1 = = oz a, be 4 Le 2 = se ee eee a = x Be = = 1 =sarvos TWNOLIE 2 xeqéeqg** ‘IIT wor399g= = se ee a reguler and ordered ritard. or try thle: & =a ome oq , eee | Bais each member of the triplet as a unit of the new se TT 0 triplets = 8 new § ana so on. The ef- scale ies gradual end ordered sccele- er : " ce , == ainda paint This technique can produce same of the mast eshilorating effect : rPOIXTONALITY (POLYMODALITY) Polytonality is simply the term used for the practice of writing or playing in two or more keys simltaneously. In its most obvious form the two keys mst be relatively pure and separated in both timbre and register. Composition in which true two or more keys maintain equality throughout are extremely rare. ‘The scales that make up the different tonal areas may be intervallically identical or contrasting, traditional or synthetic. The chords forming different tonal areas may be intervallically identical or contrasting. ‘he exercises in this chapter explore some of the mltiplicity of possibilities for combining scales and chords. Some composers who have worked successfully in the area are Milhaud, Honegger, Bartok, Casella, Britten, Hindemith, Wallingford Riegger and Stravinsky. It goes without saying that in most instances polytonality takes place between two or more instruments. BETONAL Johnson, J. J., Mack the Knife from The Three Penny Opera (Columbia CL 1741) Johnson, J. J., Spring Swing from J. J. (RCH LSP 3350) Kloss, Eric, Waves, piano solo, from Doors (Cobblestone 9006) Longo, Micheel, Soul Searching from Heritage Hum, James Moody (Perception PLp22) Perker, Charlie, What Is This Thing Called Love from Night and Dey (Verve MGV8003) Prokofiev, Classical Symphony (Victor 9020) SUIGESTED LISTENING AND STUDY FOR POLYTONALLTY (POLYMODALITY) Adderley, Cennonball, Something Else Beker, David N., Black Anerica, first and third sections Bartok, Bela, Str: artet p. 87 (Boosey) Bartok, Bele, Sonate #2 for Violin end Piano, p. 29 (Universal) Berg, Alben, Wozzeck (rea), p. 71 (Universal) Britten, Benjemin, The Turn of the Screw, p. 158 (Boosey) Coplend, Aaron, Pisno Fantasy, p. 5 - 6 (Boosey) Fischer, Clare, Last Night When We Were Young from Cal Tjader Plays Harold Arlen (Fantasy 3330) Honegger, Arthur, Symphony #5, p. 1 (Salebert) 11690 chapter 1. 2. 3. 4, 5 6. Tr 8. 2 10. nu. 1. 13. 1s. 15. 16. ut. Section IIl...Pitch Materials A METHOD FOR GAINING FACILITY WITH VARIOUS SCALES . INVERTED SCALES AND MODES .. SCALES AND MODES (REALIZED) . SOME OTHER SCALE POSSIBILITIES FOR DEVELOPING .. FENTATONIC SCALES .. COMPOSITE SCALES . BITONAL SCALES ... POLYTONAL SCALES . BITONAL AND POLYTONAL EXERCISES .. BITONAL MELODY FOR SIX INSTRUMENTS .. BITONAL DUET .. BITONAL EXERCISES ......... OTHER CONTEMPORARY SCALES ...... SOME CONTEMPORARY SCALE PATTERNS ‘THE TWELVE-TONE TECHNIQUE . a, Twelve-tone playing (exercises based on rows).... b. Rows, sets and melodies for improvisation ...s.+e++ee+ c. Some symmetrical patterns . d. Twelve-tone melodies .....+ e. Duet for trombone and tuba using the twelve-tone technique . MICROTONES .....+. ‘FOURTHS a, Exercises based on and/or derived from fourths b. Fourths and minor sevenths ..... c. Fourths with intervening tones . d. Melodies based on fourths . e. More fourth exercises .. f. Fourths based on the augmented triad .. g. Fourths based on the diminished seventh chord h. Fourths based on the whole-tone scale «+++ il Melodies .. J. More fourths ic! Melodies .. Page a2 as us 118 123 12h 12h 125 125 129 129 131 134 135 137 138 138 140 143, 15 146 7 148 149 150 153 155, 155 156 156Section III...Chapter 5 PENTATONIC SCALES The above exercise should be practiced in ell keys end using ell of the former instructions. é bp 2 ee So ee ee G = === SS toe - es aa + ese = —, ro = a St af 6 Fe SSS Oe a a The sbove exercise should be practiced in all keys —— a a starting on the lovest note on the horn contained in the by Ss SS scale. Observe all former instructions, = eee ee 5 eS = = ais Pe ass toy 2 EEE SS og co SS 4s $ The sbove exercise should be practiced in all keys, starting on the lowest note contained in the scele. Observe ell former instructions. z - é iii gee 7 = SS aa loses eee gt tage The above exercise should be practiced in all keys, sterting on the lowest note contained in the scale. serve all former instructions. au] =e eee = [SS The ebove exercise should be practiced in ell keys starting on the lowest note on the horn contained in the sesle, Observe all forner instructions. 1432 ‘The player should choose a single chord on which to improvise, then choose a scale to color it, Now he must examine the scale charts for all of the possible chords and trieds contained in the scale. Next he should examine the book, Developing Improvisational Technique, for exercises to use on the scale. Here is ‘a sample chord end the approach to it. (example 1) the player might decide to concentrate on two chords from the scale. (exemple 2) oR He might choose one chord and use dramatic devices, tessiture, dynamics and surprise to meke music. (example 3) OR He might decide to use all of the triads in the key plus all of the devices he can mster, (example '4) oR He might take the major snd minor tried on C, (example 5) on He might choose a pattern from the scale book. (example 6) oR It might be a single note. (example 7) the whole point is to have the player draw on all his experiences to make msic with the material at hend. The only limits are hie own creativity. If the rhythm section (bass and piano) accompanies him, they may play the C7 chord in this case or any of the other chords in the scale. They may play single-Line counter-melodies or clusters (piano) or double-stops (bass). If the bass player and piano player Gecide to move outside the pure scale colors, they might play the minor seventh chords and dominant sevenths derived from the scale. (example 8) The rhythm section might play completely free meter, compqund meter, in a single meter, free tine, or in strict time, (Anything goes!) ‘The next step would be to start structuring the solo by? 1, Setting a time length on each chord (i,e., five mimutes, ete.) 2, Deciding on a set number of bars (eight, sixteen, thirty-two, etc.) 3. Deciding on a particular tempo and meter. ‘the technique of total saturation should be applied to all of the scales in all keys. The player should then combine changes and scales at random. (example 9) After avery short time, the player should find his technique growing and his facility with Scales and chords greatly increased. The next step for the player is to apply this facility and technique to playing on tunes, This grasp of scales should enable = — him to play "inside" and "outside" on the chord with ease. (example 10)96 Lloyd, Cherles, Bizarre from Discovery!, The Charles Lloyd Quartet (Cot 2267) Sibelius, Jean, Violin Concerto, p. 3 Wilson, Jack, Soft Sumer Rain from Song for My Daughter (Blue Note 84328) PHRYGLAN MODE 34567823 Beker, David, The Silver Chalice, CBDA 1969 Convention Silver Crest Coltrane, John, Chim Chim Cheree from The John Coltrene Quartet Plays (imp 485) Coltrane, John, Ole from Ole, John Coltrane (Atlantic 137) Davis, Miles, Flamenco Sketches, lth scale section, from Kind of Blue (coi ¢58163) Davis, Miles, Saete and Solea from Sketches of Spain (Columbia CL 1480) Davis, Nethen, Maketuke from Makatuke (Segue LPS 1000) Debussy, Claude, String Quartet, p. 3 (Keums) Haden, Charlie, War Orphens and of the United Front from Charlie Haden Tiberation Music Orchestre (Impulse AS89153) Johnson, J. J, Neo, (B) section, from Proof Positive (Impulse A568) Ravel, Meurice, String Quartet, p. 5 Shostekovich, Dimitri, Symphonie #5, p. (Musicus) ‘Thompson, Rendall, Str: artet #1, p. 2 Vaughan Williems, Ralph, Fantasia on a Thene by Thomas Tallis, p. 6 Waldron, Mal, Warm Canto from The Quest (New Jazz NJLP 8269) Woods, Big Willie, Dembelle from Awakening, volume I (A Greathouse Prod. 001) IXDLAN MODE 45678234 Beker, David, Lydian April (ab/MWP) Henson, Howard, Symphony #2, p. 32tyler, Charles, Charles Tyler Ensemble (gsP 1029) Eastern Man Alont (ESP 1059) Waldron, Mal, Thirteen from The Quest (New Jazz NILP 6269) ieben-Feteer, sorikoaspe from Wishel-Fetzer Live (Bez{tiue 2121 11) EXOTIC SCALES Bartok Bulgarian Rhythm, Volume Duets Mikrokosmos, Volume 111, #99 II, #41 111, #86 I, #11 ‘MISCELLANEOUS Bartok, Bela, Sonata for 2 Pianos and Percussion, P- 65 (Boosey) Britten, Benjamin, Turn of the Screw, red, p. 180 (Boosey) Finney, Ross Lee, Piano Quintet, p. 33 (University of Michigan) Griffes, Charles, The Pleasure Doue of Kubla Khan, P- as (Schirmer) Ravel, Maurice, Concerto for Left Hand, red, Py 20 (Durand) stravinsky, Igor, Firebird Suite, p- 25 (Kalms) the compositions of George Russell and other avant garde composers. 10898 Henderson, Joe, Terra Firma from Black Is the Color (Milestone MSP 9040) Soe J., Walkin' from Walkin', Miles Davis Sextet end Quintet (Prestige P70 Iewis, John, The Golden Striker from The Golden Striker (Atlantic 133!) ‘TUNES: Killer Joe Sweet Georgia Bright Straight life ‘L.Got Rhythm (bridge) Sweet Georgia Brown Crisis (Freddie Hubbard) le Winder (Lee Morgan) NATURAL MINOR MODE 67823456 Coltrane, John, The Drum Thing from Crescent (Impulse 4-66) Davis, Miles, Milestones, bridge, from Milestones (Columbia cs9l26) Debussey - Satie, Gymopedie, p. 2 Johnson, J. J., Neo, section E, from Proof Positive (Impulse AS68) Johnson, J. J., Minor Mist, all soloists, from J. J. Incorporated (Columbia 8486) Shostekovich, Dimitri, Symphony #5, p. 109 Wiebel-Fetzer, Viodo from Wiebel-Fetzer Live (Bazillus 211111) HARMONIC MINOR MODE Coltrane, John, Liberia, (A) section, from Coltrane's Sound (Atlantic sp19) Davis, Nathen, A5 from Rules of Freedom (Polydor 623275)Evans, Bill, Oleo from Everybody Digs Bill Evans (Riverside RIP 12-20l11) Fortune, Sonny, The Night Has a Thousand Eyes from Song for My Lady, MeCoy Tyner (Milestones 9OULY 7 Gillespie, Dizzy, One Bass Hit and Con Alma from The Dizzy Gillespie Reunion Big Band 20th and 30th Anniversary (MPS 15207) Gittespie, Dizzy, One Note Samba, Ina Shanty in Old Shanty Town, and Careless Love from New Wave’ (Phillips PHS 600-070) Gillespie, Dizzy, Con Alma from Double Six of Paris (Phillips PHM 200-106) Henson, Howard, Symphonie #2, p. 2 (Carl Fischer) Parker, Charlie, What Is This Thing Called Love from Night and Day (Verve 8003) Rollins, Sonny, Three Little Words and Alfie's Theme from Tenor Madness, Sonny Rollins Quartet (Prestige 7047) es ~ Ruggles, Carl, Men and Mountains, p. 15 (New Music) Schoenberg, Arnold, Violin Concerto (red), p. 33 (G. Schirmer) Seriebine, Alexander, Pieno Sonsta #9, p. 1 (Leeds) Sessions, Roger, Piano Concerto (rea), p. 34 (Marks) POLYMODAL Bartok, Bela, String Quartet #3, p. 10 (Boosey) Chavez, Carlos, Sonatine for Violin and Piano, p. 4 (New Music) Dixon, Bil, Intents and Purposes from The Bil Dixon Orchestra (RCA Victor 384) Fischer, Clare, Last Night When We Were Young from Cal Tjader Pleys Herold Arlen (Fentesy 3330) SS, Gillespie, Dizzy, Emanon from Double Six of Paris (Phillips FHM 200-106) Gillespie, Dizzy, Gee Baby Ain't I Good to You from New Wave (Phillips PHS 600-070) Meeseien, Oliver, Vingt Regards, piano, p. 18 (Durend) Moncur III, Grachen, Some Other Stuff from Thadina (Blue Note BLP4177, BST84177) Nelson, Oliver, Stolen Moments from The Blues and the Abstract Truth (Impulse 8-5) Ravel, Maurice, Pisno Concerto in G (red), p. 338 (Durand) 106SUGGESTED LISTENING AND STUDY FOR SCALES AND MODES WHOLE—TONE Baker, David, The lwdiot from Ezzthetics, George Russell (Riverside 375) Baker, David, Kentucky Ovsters from Stratusphunk, George Russell (Riverside 341) Baker, David, Sippin' at the Bells from George Russell at the 5 Spot (DL9220) Bartok, Bela, Mikrokosuos, Volume V, p. 32 (Boosey) Bartok, Bela, String Quertet #1, p. 11 (Boosey) Barton, Dee, Waltz of the Prophets from Creative World of Stan Kenton (Cap 11796) Beiderbeck, Bix, In a Mist Berg, Alban, Sieben Fruhe Lieder, p. 3 (Universal) Debussey, Claude, Preludes, Volume I, p. 3 (Durand) Gillespie, Dizzy, Ow from Dizzy Gillespie - The Double Six of Paris (Phillips PHM 200-106) Gordon, Dexter, You Don't Know What Love Is from A Day in Copenhagen (MPS20698) Hindemith, Paul, Piano Sonata #1, p. 15 (Schott) Ives, Charles, 34 Songs, Mists, p. 46 (New Music) Johnson, J. Je, Space Walk, entire solo, from The Total J. J, Johnson (RCH LSP3833) McPartlend, Marian, Three Little Words from Ambiance (Hal 103) Monk, Thelonious, Rhythm-e-ning, Off Minor, Getting Sentimental Over You, Jackie-ing and Bimshe Swing from European Concerts by Thelonious Monk (Riverside RB 3020, Moody, James, Heritage Hum from Heritage Hum (Perception PLP 22) Rollins, Sonny, Blue Seven from Saxophone Colossus (Prestige PRST 7326) Rollins, Sonny, Paradox, Raincheck, and There Are Such Things from Sonny Rollins Quartet (Prestige LP7020 Rollins, Sonny The Bridge and You Do Something to Me from The Bridge (RCA Victor EM 2527 anny Sonny, Tenor Madness from Tenor Madness, Sonny Rollins Quartet (Prestige TO4T, Rollins, Sonny, Blessing in Disguise from Reevaluation: The Impulse Years (Impulse ‘ABA AS9236-2) Silver, Horace, Baghdad Blues from Blowin' the Blues Avay (Blue Note 4017) 100104 Volume 13, ML1059) Gillespie, Dizzy, One Bass Hit, Con Alma, and Frisco from The Dizzy Gillespie Reunion Big Bend 20th and 30th Anniversary (MPS 15207) Gillespie, Dizzy, Careless and In_a Shanty in Old Shanty Tow! from New Wave (Phillipe FS 600-070) Gillespie, Dizzy, My Old Flame and The Man I Love from Jazz From Paris (ev 8015) Gillespie, Dizzy, Groovin’ High, Qo-Shoo-Be~Doo-Be, Hot House, and Con Alma from Dizzy Gillespie and the Double Six of Paris (PHM 200-106) Gilléspie, Dizzy, Sumphin' from Tenor Titans, Sonny Rollins (USPS 32) Haupton, Slide, My Blues from A Day in Copenhazen (MPS 20698) Hubbard, Freddie, 245 from Qutward Bound, Eric Dolphy (New Jazz 8236) Mariano, Charlie, Deep River from Toshiko Mariano Quartet (Candid 8612) Moody, Janes, Sound for Sore Ears, Rosd Rumer, Rainy Day, Travel On, end Pennies from Heaven from Heritage tum (Perception PLP 22) Reese, Dizzy, You Don't Know What Love Is from A Day in Copenhagen (MPs 20698) Richardson, Jerome, Dedication from Consumation, Thad Jones, Mel Lewis (Blue Note BSTBY34O) Rollins, come Misterioso, Reflections, and Wail March from Sonny Rollins (Blue Note 1558) Rollins, Sonny, Doxy from Tenor Titans, Sonny Rollins (VSPS 32) Rollins, Sonny, Paradox from Sonny Rollins Quartet (Prestige LP 7020) Seeger, Ruth Crawford, String Quartet, 1931 (Theodore Presser) Tang ese Kentucky Oysters from Stratusphunk, George Russell Sextet (Riverside 3h) Zaniwal, Joe, Burydice from Weather Report (Coluibie 30661) Virtually #11 jazz composers snd performers, countless French tomposers of saxophone msic. PENTATONEC Adderley, Cannonball, Country Preacher (Capitol SKA - ol!) Bartok, Bela, Mikrokosmos #61, #78: String Quartet #3, p. 7-8 (Boosey)Jackson, Milt, Theme from the Anderson Tapes from Smackwater Jack (a8 SP3037) Johnson, J. J., Walkin’ and Misterioso from J. J, in Person (Columbia CL 161) Jones, Quincy, Walkin', Humin', and Bridge Over Troubled Waters from Gula Matari (iat Records 5P3030) Kelley, Wynton, No Blues from Swnol at the Half Note (Verve 68633) King, B. B., Live at the Regal (Paramount ABCS 509) King, B. B.y Live ond Well (Blues Way BLS 6031) King, B, B., Indianola Mississippi Seeds (ABC 713) lewis, John, D and E Blues from The John Lewis Piano (Atlantic 1272) Mclean, Jackie, A Long Drink of the Blues, all soloists, from A Long Drink of the Blues (Status S18253) Mann, Herbie, Memphis Underground from The Best of Herbie Mann (Atlantic 1522) Montgomery, Wes, Boss City, Naptowm Blues, and Twisted Blues from Goin’ Out of My Head (V/v6 8642) Montgomery, Wes, Gears a on My Mind and Goin’ on to Detroit from Down Here on the Ground (A&M 1P3006) Moody, Janes, Parkers Mood from Heritege Hum (Perception PLP 22) Parker, Charlie, ANY RECORD! Peterson, Oscer, Blues Etude from Blues Etude (Limelight IM 82039) Rollins, Sonny, Wail March end Misterioso from Sonny Rollins (Blue Note 1558 Vim 2) Rollins, Sonny, Doxy, Lime House Blues, and Sumphin from Tenor Titen/Sonny Rollin (vsP 32) Russell, George, Kentucky Oysters from Stratusphunk (Riverside RIR 31) Russell, George, Honesty from Ezzthetics (Riverside 375) Russell, George, Blues in Orbit from Stratus Seekers (Riverside ua) Silver, Horace, The Stylings of Silver (Blue Note 1562) Silver, Horace, Blowin' the Blues Avey and Sister Sadie from Blowin’ the Blues Avay (Blue Note 4017) Steig, Jeremy, Jeremy and the Satyrs, all tracks (Reprise 6282) Steig, Jereny, Flute Diddley from This Is Jeremy Steig (8518059) Terry, Clark, Yunblin' in the Alps end Levee Comp Blues from Montreaux Jazz 102102 Jackson, Milt, Theme from the Anderson Tapes from Swackwater Jack (A&M SP3037) Johnson, J. J., Walkin' and Misterioso from J. J. in Person (Columbia CL 1161) Jones, Quincy, Walkin', Hummin', and Bridge Over Troubled Waters from Gula Matar (Mat Records 5P3030) Kelley, Wynton, No Blues from Smokin' at the Half Note (Verve 68633) King, B. B,, Live at the Regal (Paramount ABCS 509) King, B. B., and Well (Blues Way BLS 6031) King, B. B., Indianola Mississippi Seeds (ABC 713) Lewis, John, D end E Blues from The John Lewis Piano (Atlantic 1272) Mclean, Jackie, A Long Drink of the Blues, all soloists, from A Long Drink of the Blues (Status ST8253) Mann, Herbie, Memphis Underground from The Best of Herbie Mann (Atlantic 1522) Montgomery, Wes, Boss City, Naptown Blues, and Twisted Blues from Goin' Out of My Head (V/v6 8642) Montgomery, Wes, Georgia on My Mind and Goin' on to Detroit from Down Here on the Ground (A&M IP3006) Moody, James, Parkers Mood from Heritage Hum (Perception PLP 22) Parker, Cherlie, ANY RECORD! Peterson, Oscar, Blues Etude from Blues Etude (Limelight IM 82039) Rollins, Sonny, Wail March and sterioso from Sonny Rollins (Blue Note 1558 Vim 2) Rollins, Sonny, Doxy, Lime House Blues, and Sumphin from Tenor Titan/Sonny Rollins (VSP 32) Russell, George, Kentucky Oysters from Stratusphunk (Riverside RIR 3/1) Russell, George, Honesty from Ezzthetics (Riverside 375) Russell, George, Blues in Orbit from Stratus Seekers (Riverside 412) Silver, Horace, The Stylings of Silver (Blue Note 1562) Silver, Horace, Blowin' the Blues Away and Sister Sadie from Blowin' the Blues Away (Bive Note 4017) Steig, Jereny, Jeremy and the Satyrs, all tracks (Reprise 6282) Steig, Jeremy, Flute Diddley from This Is Jeremy Steig (8816059) ‘Terry, Clark, Mumblin' in the Alps end Levee Camp Blues from Montreaux Jazz104 Volume 13, M11059) Gillespie, Dizzy, One Bass Hit, Con Alma, end Frisco from The Dizzy Gillespie ion B: 20th ‘Anniversary (MPS 15207) Gillespie, Dizzy, Careless fee and In_a Shanty in Ola Shanty Tow! from New Wave (Phillips FHS 600-070) Gittespie, Dizzy, My Old Flame ond The Men I Love from Jazz From Paris (wv 8015) Gillespie, Dizzy, Groovin' High, 0o-Shoo-Be-Doo-Be, Hot House, and Con Alms from Dizzy Gillespie and the Double Six of Paris (FHM 200-106) Giltéspie, Dizzy, Sumhin' from Tenor Titsns, Sonny Rollins (USES 32) Hampton, Slide, My Blues from A Day in Covenhezen (MPS 20698) Hubbard, Freddie, 245 from Outward Bound, Eric Dolphy (New Jazz 8236) Mariano, Charlie, Deep River from Toshiko Mariano Quartet (Candia 8612) Moody, Janes, Sound for Sore Ears, Road Runner, Rainy Day, Travel On, and Pennies from Heaven from Heritage Hum (Perception PLP 22) Reese, Dizzy, You Don't Know Whet Love Is from A Day in Copenhagen (ps 20698) Richardson, Jerome, Dedication from Consumation, Thad Jones, Mel Tewis (Blue Note ‘BSTBY3K6) Rollins, Sonny, Misterioso, Reflections, and Wail March from Sonny Rollins (Blue Note 1558) Rollins, Sonny, Doxy from Tenor Titans, Sonny Rollins (VSPS 32) Rollins, Sonny, Paradox from Sonny Rollins quartet (Prestige LP ‘7020) Seeger, Ruth Crawford, String Quartet, 1931 (Theodore Presser) Youngs Davia, Kentucky Oysters from Stratusphunk, George Russell Sextet (Riverside 3) Zeniwul, Joe, Burydice from Weather Report (Columbia 30661) Virtually all jazz composers end performers, countless French composers of saxophone msic. FENTATONLC Adderley, Cennonball, Country Preacher (Capitol SKAO - Lol) Bartok, Bela, Mikrokosmos #61, 8: Strit artet_#3) p. 7-8 (Boosey)SUGGESTED LISTENING AND STUDY FOR SCALES AND MODES waioLe owe Baker, David, The Idiot from Ezztheties, George Russell (Riverside 375) Beker, David, Kentucky Oysters from Stratuspbunk, George Russell (Riverside 3!1) Beker, David, Sippin' at the Bells from George Russell at the 5 Spot (D19220) Bartok, Bela, Mikrokosmos, Volume V, p. 32 (Boosey) Bartok, Bela, String Quartet #1, p. 11 (Boosey) Barton, Dee, Waltz of the Prophets from Creative World of Stan Kenton (Cap T1796) Beiderbeck, Bix, In_a Mist Berg, Alban, Sieben Fruhe Lieder, p. 3 (Universal) Debussey, Claude, Preludes, Volume I, p. 3 (Durand) Gillespie, Dizzy, Ow from Dizzy Gillespie - The Double Six of Paris (Phillips PHM 200-106) Gordon, Dexter, You Don't Know What Love Is from A Day in Copenhagen (MPS20698) Hindemith, Peul, Pieno Son p. 15 (Schott) Ives, Charles, 34 Songs, Mists, p. 46 (New Music) Johnson, J. J., Space Walk, entire solo, from The Total J. J. Johnson (RCH LSP3833) McPartland, Marian, Three Little Words from Ambiance (Hal 103) Monk, Thelonious, Rhythn-a-ning, Off Minor, Getting Sentimental Over You, Jackie-ing end Bimsha Swing from European Concerts by Thelonious Monk (Riverside RB 3020 Moody, James, Heritage Hum from Heritage Hum (Perception PLP 22) Rollins, Sonny, Blue Seven from Saxophone Colossus (Prestige PRST 7326) Rollins, Sonny, Paradox, Raincheck, end There Are Such Things from Sonny: Rollins Quartet (Prestige LP7020) Rollins, Soxmy The Bridge and You Do Something to Me from The Bridge (RCA Victor LEM 2527) ernipes Sonny, enor Madness from Tenor Madness, Sonny Rollins Quertet (Prestige ‘Tob7} Rollins, Sonny, Blessing in Disguise from Reevaluation: The Impulse Years (Impulse ABA A89236-2) Silver, Horace, Baghdad Blues from Blowin' the Blues Away (Blue Note 4017) 100Evens, Bill, Oleo from Everybody Digs Bill Evans (Riverside RIP 12-2041) Fortune, Sonny, The Night Hes a Thousand Eyes from Song for My Lady, MeCoy Tyner (Milestones 90UL) Gillespie, Dizzy, One Bass Hit and Con Alma from The Dizzy Gillespie Reunion Big Band 20th and 30th Anniversary (MPS 15207) Gittespie, Dizzy, One Note Samba, Ina Shanty in Old Shanty Town, snd Careless Love ‘from New Wave (Phillips PHS 600-070) Gillespie, Dizzy, Con Alma from Double Six of Peris (Phillips PHM 200-106) Haneon, Howard, Symphonie #2, p. 2 (Carl Fischer) Parker, Charlie, What Is This Thing Called Love from Night end Day (verve 8003) Rollins, Sonny, Three Little Words and Alfie's Theme from Tenor Madness, Sonny Rollins Quartet (Prestige 7047) Ta ape mort vend Ruggles, Carl, Men end Mountains, p. 15 (New Music) Schoenberg, Arnold, Yiolin Concerto (red), P. 33 (G. Schirmer) Seriebine, Alexander, Piano Sonata #9, p. 1 (leeds) Sessions, Roger, Piano Concerto (red), P- 34 (Marke) POLYMODAL Bartok, Bela, String Quartet #3, P. 10 (Boosey) Chavez, Carlos, Sonatina for Violin and Piano, Pe & (New Music) Dixon, Bill, Tntents and Purposes from The Bill Dixon Orchestre (RCA Victor 384) Fischer, Clere, Last Night When We Were Yc from Cal Tjader Plays Herold Arlen (Fentesy 3330) —— Gillespie, Dizzy, Emanon from Double Six of Paris (Phillips PiM 200-106) Gillespie, Dizzy, Gee Baby Ain't I Good to You from New Wave (Phillips PHS 600-070) Messaien, Oliver, Vingt Regards, piano, p. 18 (Durand) Moncur III, Grachen, Some Other Stuff from Thadine (Bave Note BLP4177, BST8177) Nelson, Oliver, Stolen Monents from The Blues and the Abstract Truth (Impuise 8-5) Ravel, Maurice, Pisno Concerto in @ (red), p. 336 (Durand) 10698 Henderson, Joe, Terra Firma from Black Is the Color (Milestone MSP 9040) Johnson, ; J., Walkin’ from Walkin', Miles Davis Sextet and Quintet (Prestige 127076) Tewis, John, The Golden Striker from The Golden Striker (Atlantic 133!) ‘TUNES: Killer Joe Sweet Georgia Bright Straight Life IGot Rhythm (bridge) Sweet Georgia Brown Crisis (Freddie Hubbard) Side Winder (Lee Morgan) NATURAL MINOR MODE 67823456 Coltrane, John, The Drum Thing from Crescent (Impulse A-66) Davis, Miles, Milestones, bridge, from Milestones (Columbia CS9l28) Debussey - Satie, Gymnopedie, p. 2 Johnson, J. Je, Neo, section E, from Proof Positive (Impulse AS68) Johnson, J. J., Minor Mist, all soloists, from J. J. Incorporated (Columbia 8486) Shostakovich, Dimitri, Symphony #5, p. 109 Wiebel-Fetzer, Viodo from Wiebel-Fetzer Live (Bazillus 211111) HARMONIC MINOR MODE Coltrane, John, Liberia, (A) section, from Coltrane's Sound (Atlantic SD1!19) Davis, Nathan, A5 from Rules of Freedom (Polydor 623275)qyler, Charies, Charles Tyler Ensenble (85P 1029) Eastern Man Alont (ESP 1059) Waldron, Mal, Thirteen from The Quest (New Jazz NILP 8269) Wiebel-Fetzer, Abrikosuos from Wiebel-Fetzer Live (Bazillus Zi11 11) EXOTIC SCALES Bartok Bulgarian Rhythm, Volume Duets Mikrokosmos, Volume III, #99 i, #1 Tir, #86 I, #1 MISCELLANEOUS Bartok, Bela, Sonata for 2 Pianos and Percussion, p. 65 (Boosey) Britten, Benjamin, Turn of the Screw. red, p. 180 (Boosey) Finney, Ross Lee, Piano Quintet, p. 33 (University of Michigan) Griftes, Charles, The Pleasure Done of Kubla Khan, p. 1 (Schirmer) Ravel, Maurice, Concerto for lett Hand, red, P- 20 (Durand) Stravinsky, Igor, Firebird Suite, P- 25 (Katme) the compositions of George Russell and other avant garde composers. 10896 Idoya, Charles, Bizarre from Discovery!, The Charles Iloya Quartet (Col 2267) Sibelius, Jeon, Violin Concerto, p. 3 Wilson, Jack, Soft Summer Rain from Song for My Deughter (Blue Note 84328) PHRYGLAN MOTE 34567823 Beker, David, ‘The Silver Chalice, CBDA 1969 Convention Silver Crest Coltrane, John, Chim Chim Cheree from The John Coltrane Quartet Plays (imp 485) Coltrane, John, Ole from Ole, John Coltrane (Atlentic 137) Davis, Miles, Flamenco Sketches, lith scale section, from Kind of Blue (co1 s8163) Davis, Miles, Saete and Soles from Sketches of Spain (Columbia CL 1480) Davis, Nathen, Maketuke from Mekatuka (Segue LPS 1000) Debussy, Claude, String Quartet, p. 3 (Kelms) Haden, Charlie, War Orphans end of the United Front from Charlie Haden Liberation Music Orchestra (Impulse AS91853) Johnson, J. J., Neo, (B) section, from Proof Positive (Impulse S68) Ravel, Meurice, String Quartet, p. 5 Shostakovich, Dimitri, Symphonie #5, p. 4 (Musicus) ‘Thompson, Randell, String Quartet #1, p. 2 Vaughan Williems, Ralph, Fantasia on a Theme by Thomas Tallis, p. 6 Waldron, Mal, Warm Canto from The Quest (New Jazz NJLP 8269) Woods, Big Willie, Dambella from Awakening, volume I (A Greathouse Prod. 001) IXDIAN MODE 45678234 Baker, David, Iydian April (ab/MWP) Hanson, Howard, Symphony #2, p. 32al ALL Le wo 7 qed appetite amt) ee = apRente arent kS ase vs —Sarret yan See Pas Hed é fe a \ i Ay iT SNTAOTGAMI YOd SATLTIIGISSO SIVOS UAHTO SNOSThe player should choose a single chord on which to improvise, then choose a scale to color it, Now he must examine the scale charts for all of the possible chords and trisds contained in the scale. Next he should examine the book, Developing Improvisational Technique, for exercises to use on the scale. Here is @ sample chord end the approsch to it. (exemple 1) ‘The player might decide to concentrate on two chords from the scale. (example 2) oR He might choose one chord and use dramatic devices, tessiture, dynamics and surprise to make msic. (exemple 3) oR He might decide to use all of the triads in the key plus all of the devices he can mster, (example |) oR He might take the major and minor triad on C, (example oR He might choose a pattern from the scale book. (example 6) oR It might be a single note. (example 7) ‘The whole point is to have the player draw on all his experiences to make msic with the material at hand. The only limits ere his own creativity. If the rhythm section (bass and piano) accompanies him, they may play the C7 chord in this case or any of the other chords in the scale. They may play single-line counter-nelodies or clusters (piano) or double-stops (bass). If the bass player end pisno player decide to move outside the pure scale colors, they might play the minor seventh chords and dominant sevenths derived from the scale. (example 8) The rhythm section might play completely free meter, compound meter, in @ single meter, free time, or in strict tine, (Anything goes!) The next step would be to start structuring the solo by? 1. Setting a time length on each chord (i.e., five minutes, etc.) 2, Deciding on a set number of bars (eight, sixteen, thirty-two, etc.) 3. Deciding on a particular tempo and meter. ‘The technique of total saturation should be applied to all of the scales in all keys. The player should then combine changes and scales at random, (example 9) After avery short tine, the player should find his technique growing end his facility with scales end chords greatly increased. The next step for the player is to apply this facility and technique to playing on tunes. This grasp of scales should eneble him to play "inside" and "outside" on the chord with ease. (example 10)Section III...Chapter 5 <= Ss Se eas FENTATONIC SCALES =e = =e 5 aS ee ee _ == SSS = ==> —— ===> =. == = = | R a ie att ee = * eS} Se 3 > ; qq [Saas The above exercise should be practiced in ell keys snd using ell of the former instructions. =n = == Hap aS sy SS SS SS eS = SST ete oe The above exercise 6! starting on the lowest Observe all former instructions ee Sasa CRT ata Ferd ere oe d be practiced in all keys, conteined in the scale. t | “ob Seales ( Seeger ‘and, alin) “and | Tnesourus o Scales90 Chapter 1. 2. 3. 10. i. 12. 13. 1h. 15. 16. 17. Section III...Pitch Materials Page ‘A METHOD FOR GAINING FACILITY WITH VARIOUS SCAIES . - INVERTED SCALES AND MODES ..... tucvestcsrccees OH SCALES AND MODES (REALIZED) -..+++0e seeee 109 SOME OTHER SCALE POSSIBILITIES FOR DEVELOPING ..... peee erie) PENTATONIC SCALES .... peace Ls COMPOSITE SCALES BITONAL SCALES fee cece POLYTONAL SCALES ..... BITONAL AND POLYTONAL EXERCISES .... seeeeee 12h BITONAL MELODY FOR SIX INSTRUMENTS .. 12h BITONAL DUET .. eee . Peeereee ee atl) BITONAL EXERCISES .... eee eccoccocd eee 125 OTHER CONTEMPORARY SCALES SOME CONTEMPORARY SCALE PATTERNS . THE TWELVE-TONE TECHNIQUE eeteerectnees seye: 132 a. Twelve-tone playing (exercises based on rows)... 134 b. Rows, sets and melodies for improvisation . 135 c. Some symmetrical patterns 137 d, Twelve-tone melodies 138 fe, Duet for trombone and tuba using the twelve-tone technique .... 138 MICROTONES . FOURTHS . a, Exercises based on and/or derived from fourths . seseee INS >. Fourths and minor sevenths 16 c. Fourths with intervening tones a7 a. Melodies based on fourths fi 148 e. More fourth exercises -..-....+- 19 f. Fourths based on the augmented triad .... 150 g. Fourths based on the diminished seventh chord ... 153 h. Fourths based on the whole-tone scale ++... 155 4! Melodies . Aaa the 155 d. More fourths 156 i. Melodies ... 156POLXTONALITY (POLYMODALITY) Polytonality is simply the term used for the practice of writing or playing in two or more keys simltaneously. In its most obvious form the two keys mst be relatively pure and separated in both tinbre and register. Composition in which true two or more keys maintain equality throughout are extremely rare. ‘The acales thet make up the different tonal aress may be intervallically identical or contrasting, traditional or synthetic. The chords forming different tonal areas may be intervallically identical or contrasting. ‘The exercises in this chapter explore some of the multiplicity of possibilities for combining scales and chords. Some composers who have worked successfully in the area are Milhaud, Honegger, Bartok, Casella, Britten, Hindemith, Wallingford Riegger and Stravinsky. It goes without saying thet in most instences polytonality takes place between two or more instruments. BITONAL Johnson, J. J., Mack the Knife from The Three Penny Opera (Columbia CL 1741) Johnson, J. J. Spring Swing from J. J. (RCH LSP 3350) Kloss, Eric, Waves, piano solo, from Doors (Cobblestone 9006) Tongo, Michel, Soul Searching from Heritage Hum, James Moody (Perception PLp22) Parker, Cherlie, What Is This Thing Called Love from Night snd Day (Verve MSV8003) Prokofiev, Classical Symphony (Victor 9020) SUGGESTED LISTENING AND STUDY FOR POLYTONALTTY (POLYMODALLTY) Aaderley, Cennonball, Something Else Beker, David N., Black Anerica, first end third sections Bartok, Bela, String Quartet #5, p. 87 (Boosey) Bartok, Bela, Sonata #2 for Violin and Piano, p. 29 (Universal) Berg, Alben, Wozzeck (red), p. 71 (Universal) Britten, Benjamin, The Turn of the Screw, p. 158 (Boosey) Copland, Aaron, Pisno Fantesy, p. 5 - 6 (Boosey) . Fischer, Clare, Last Night When We Were Young from Cal Tjader Plays Harold Arlen (Fantasy 3330) Honegger, Arthur, Symphony #5, p. 1 (Salebert) 116SS 6.22 SSS —=C*= ESE SSS e Se Pass Think each member of the triplet as a unit of the new time. »$iiisil aie Trdulation ging Re Him of costar tne Ooage os wel ee ee As ptecting-up-andt-slowttng down (pet utith-complets-tonetol)— “esp Fi selene eet pc This technique can produce same of the most exhilarating dime sfgsets imaginable Nos the Pier MgnF EypUTNEA With moving From ene Aine area w anothercy = a 118 @p £ ap i a5 t SSS io aa Sa = # a? Fas HA Ss ¥% i ge == “ ; === —SSnnddaia jaieerr™ Tt g), f Ss A a SS & + Fang ate 3a , SS LSS owas gat Sea rT aad ad as oh = + SEIvOS TWNOLIG 2 xeqdeyg’* ITT wor3ees SFE fd te *e & i = ——_,| ~~, | Paget et at tt te Ee tp Ppt iy Bae a ae = a f = ™~ B= = fear He — fsczt bang beste be ee -_ 1 es =— zi § 7? ppp x x ee = SS an , tee = = me ‘Some Uses of Metric Modulation pass = A soloist sets up a basic un ™ a complete chorus effecting a fe b= final or final measures of the = bt oe eee % a m4 hed SS Poems So Cg So mk +t. be as be be me og "Gg El op ce 1 = = ae 3, be = = SSE ee SS x Le == Se ee mavitcese € =The preceding exercises should be practiced using other genre scales, i.e., minor, diminished, whole-tone, etc. All other instructions maintain. Next practice all bitonal scales as triplets, broken 3rds, ths, and in every other imaginable manner. Next practice combining different genre scales, i.e., C Major + G minor OR C Major + A diminished, etc. Your imagination should be the only factor circumserib- ing the exercises that you devise on these scales. 12282 Black Man, Black Women (db/MMP) Calypso Nova #1 (db/MWP) Catalyst (db/MWP) Te Chat qui Peche (ab/MWP) Cinquatre (ab/MWP) Concerto for Flute and Jazz Band (db/MWP) Concerto for Violin and Jazz Band (db/MWP) Concerto for Trombone and Jazz Band (ab/MWP) Concerto for Bass and Jazz Band (ab/MNP) The Professor (ab/MiP) Brubeck, Dave, It's a Raggy Waltz (3/4), using hemiola Bluette (3/') Far More Blue (5/1) Far More Drums (5/1) Maiori Blues (6/1) Unsquare Dance (7/4) Bru's Boogie Woogie (8/8) Blue Shadows in the Street (9/8) from Time Further Out (C11690) Toeria (3/4) Uniephere (10/4) Shim Weh (3/4) World Fair (13/l) from Time Changes (Columbia C88927) Davis, Nathan, Mekatuka (7/9) from Makatuka (Segue LPS 1000) Ellis, Don, Open Beauty, Alone, end Indian Lady from Electric Bath (Columbia 89585) Harris, Eddie, Smoke Signals (16/4), recorded Eddie Harris, Shelly Manne Spanish Bull (6/l), recorded Eddie Harris Incoherent Durations (5/4), recorded Shelly Manne 1g74 Blues (7/4), recorded Eddie Harrison III...Chapter 9 Section ITI...Chapter 10 BITONAL AND POLYTONAL EXERCISES BITONAL MELODY FOR SIX INSTRUMENTS80 Mariano, Charlie, Shout trom Mirror (Atlantic SD1608) Russell, George, Lunacy, all soloists, from George Russell Sextet _in K. C. (DCh183) Shepp, Archie, In_a Sentimental Mood, introduction, from Live in San Francisco (Impulse A918) Stadler, Heiner, Brains on Fire (Labor Records LPS 7001) Taylor, Cecil, Densities from Unit Structures (Biue Note 4237) Tehicai, Jobn, Funeral from Archie Shepp in Europe (Delmark DL 409) ‘Thelin, Eje, Acoustic Space (E062 - 34180) Tyler, Charles, Ensemble (ESP 1029) . Tyler, Charles, Eastern Man Alone (ESP 1059) Vitous, Miroslav, Indefinite Search (Embryo SD 52lt)Mennin, Peter, String Quartet, #2, p. 24 (C, Fischer). Powell, Mel, Filligree Setting for String Quartet Revueltas, Silvestre, Sensemaya, p. 27 - 37 (G. Schirmer). Russell, George, Blues in Orbit from The Stratus Seekers, George Russell Sextet (Riverside 9412 Sessions, Roger, Symphony, #1, p. 7 (Arrow). Stravinsky, Igor, Canticum Sacrum; Petrouchkas The Rite of Springs L'Histoire du Soldat, Webern, Anton, Cantata, Opus 29. (See examples at the end of Section II) 7Boulton, Laura C., African Music (Folkways Records FW8852) Carter, Ron, Walkin' from Miles Davis Greatest Hits (Columbia CS 9808) Carter, Elliot, String Quartet #1, p. 5 (Associated). Coleman, Ornette, Lonely Woman from The Shape of Jazz to Come (Atlantic 1317) Davis, Miles, Saeta from Sketches of Spain (Columbia 1480) Dixon, Bill, Metaworphosis from Intents and Purposes (Stereo LSP 384i) Hindemith, Paul, Mathis der Maler, p. 20-22, (Schott). Ives, Charles, Second Sonata for Violin and Piano; The Revival, third movement James, Bob, My Love from Bold Conceptions, The Bob James Trio (Mercury 620768) McPartland, Marian, Three Little Words from Ambiance (Halcyon 103) Ravel, Maurice, Sonata for Violin and Cello, p. 5 (Durand). Roberts, Howard, Sometimes I Feel Like a Motherless Child from Let My People Go, chorale (Col MS718h} Russell, George, Living Time (Columbia KC31490) Russell, George, War Gewesen from The George Russell Sextet in Kanses City, all soloists (Decca 4183) Steel Drums, The National Steel Drum Band (Tredition 2064) Stravinsky, Igor, Petrushka, p. 10 (Kalms). Vitous, Miroslav, Indefinite Search (SD32h Embryo) Wiebel - Fetzer, Yiodo from Wiebel - Fetzer Live (Bazillus Zi11 111) (See examples at the end of Section II) 7674 Milhaud, Darius, Symphony #1 Rollins, Sonny, It's Alright with Me from Sony Rollins Quartet (Prestige 127020) Rollins, Sonny, The Bridge, You Do Smething to Me, and Without a Song from The Bridge (RCA Victor LEM 2527) Rollins, Sonny, Green Dolphin Street from Reevaluation: The Impulse tears (Impulse ‘BC 9236-2) Rolting, sonny Sumphin, I Follow My Secret Heart, and Doxy from Tenor Titers USPS 32! Rollins, Sonny, Alfie's These and Three Little Words from enor Mafiuess, Sony Rollins (Prestige 707) Rudd, Roswell, Wherever _Junebugs Go, (throughout), from Archie Shepp Live In Sen Francisco (Impulse A911! Strauss, Richard, Till Eulenspiesel's Merry Pranks, 28 Stravinsky, Igor, The Firebird Stravinsky, Igor, The Rite of Spring Walton, William, Symphony Wilson, Phil, My Favorite Things from My Kind of Broalway, Woody Hermen (Columbia cs 9157) (See examples at the end of Section I)length of phrase, tessitura, volume gradations, etc. 4. Complete groups of notes may be repeated before proceeding to the next notes of the series. 5. Other means for varying the note order in the chosen row exist, Search tor them, (Jee. ete.) Use your imagination. SUSGESTED READING Dallin, Leon, Techniques of Twentieth Century Composition (Wm, C. Brown Co.) Krenek, Ernst, Studies in Counterpoint (G. Schirmer, Inc.) Perle, George, Serial Compositions and Atonality (Univ. of Calif., Pres.) Smith-Brindle, Reginald, Serial Composition (Oxford University Press) SUSGESIED LISTENING AND STUDY ‘TWELVE-TONE AND ATONALETY PIECES TWELVE-TONE AND ATONALCTY PIECES Anderson, T. J., Chamber Symphony, Composers Recording Beker, David, Sonste for Piano and String Quartet, 2nd movement theme end variations (ab/mmr) Baker, David, I Who Would En ass Millions (lyrics by Mari Evans), soprano and piano (ab/MWP) —— Beker, David, Parades to Hell (lyrics by Solomon Edwards), soprano and piano Beker, David, Songs of the Night ("Fragments” ‘and string quartet lyrics by Langston Hughes), soprano Baker, Davia, Concerto for Bass and Jazz Band, slow movement (ab/MNP) Bartok, Bela, Violin Concerto (Hawkes and Son) Berg, Alben, Violin Concerto (Universal Edition) Berg, Alban, lyric Suite (Turnebout Mono TU yo21) - 132Berg, Alban, Chamber Concerto for Piano, Violin and 13 Wind Instruments (Connoisseur Record Corp, PIPS-62/t) Berg, Alban, Music of Alban Berg (Columbia Masterworks M2I271/M28 620) Berg, Alben, Wozzeck (Universal) Bloch, Ernest, Sinfonia Breve (G. Schirmer) Brooks, John Benson, Avant Slant Honnegger, Arthur, Pacific 231 (Senart) Ives, Charles, Aeschylus and Sophocles, from 19 songs (New Music) Kenton, Stan, City of Glass (Capitol W736) Krenek, Ernst, 12 Short Piano Pieces (G. Schirmer) Ruggles, Carl, Evocations for Pisno (American Music Ed.) Schoenberg, Arnold, Pierrot Iuneire (Universal) Schoenberg, Arnold, Violin Concerto (G. Schirmer) Schoenberg, Arnold, String Quartet #4 (G. Schirmer) Schoenberg, Arnold, Six Short Pieces for Piano, #2, Opus 19 Hive Pieces £ 8 Variations for Orchestr: 6 Stra ivors Mars Schuller, Gunther, Abstractions, Variants on a Theme of John Lewis, Django, and sf criss cross, from Jazz Abstractions ‘Atlantic SD1365) Webern, Anton, Symphony Opus 21, p. 1 (University Edition) ‘Twelve-tone Camposition (Folkways Records FI 3612) 133——— === == = Fay a “ayaa SSS Te Se was ty = fr ==: 7 = Seg z =e =z i The $aaay = = a 7; = gg 4 3 gli ee SS Se Peron aa ee ee SSS is = 3 epi SSS ae es = = 4 a 2 =) F< aS =f = == <4 sleet fy tise wt a ft Sse Bet = == a Sie =e Se # aa a Sing i —) ASS Sse SSS == * feet T + SSS : J c SSS SS gsSection III...Chapter 16 MICRO-TONES The term "micro-tone" designates an interval smaller than a semi-tone. Micro- tones are, often a part of the msic of non-Western cultures, i.e., India, China, Japan. "Primitive" cultures and contemporary Western composers have more and more flirted with micro-tones, as in Copland's The Vitibesk Trio, Bloch's Prayer for cello, Bartok's Violin Concerto, George Russell's Pandaddy, David Baker's Sonata for Piano and String Quintet, and John Eaton's Heracles. Because the principles are the same, ir arespect ive of the size of the micro-tone, the exercises in this chapter are confined to quarter-tones. (Quarter-tone designations vary from composer to composer as stendardization has not yet taken place. For this reason, a number of different signs will be introduced.) SUGGESTED LISTENING AND STUDY FOR MICRO-TONES Beker, David, Dance Class from George Russell, Sextet at the 5 Spot, Carla Bley (Decca DL 1920) Beker, David, Sonata for Pisno end Strine Quintet, first and fourth movements (ab/ MMP) Baker, David, Levels, Concerto for Bass and Jazz Band, slow movement Beker, David, Faith of a Citv, orchestra, choir, etc. Bartok, Bela, Violin Concerto, first movement Bloch, Ernest, Braver, for cello Burgess, Bobby, Adams Apple from Woody Herman Brend New (Fentesy 847!) Coplend, Aaron, The Vitebesk Trio Davis, Miles, Poray and Bess (Columbia CS 6085) Davis, Miles, Sketches of Spain (Columbia CL 1480) Baton, John, Heracles Ellis, Don, Turkish Bath and Indian Lady from Electric Bath, The Don Ellis Orchestra (Col 9585) Hebe, Albis, Fantasie for Violin Solo, Opus 9A (Folkways FI 370!) Khen, Ali Akbar, Master Musician of India (Connoisseur Society CS462) Lashley, Lester, Sound from Sound, Roscoe Mitchell Sextet (Delmark DS9408) Ponty, Jeen-Iuc, The Loner from The Connection Rudd, Roswell, Wherever Junebugs Go from Archie Shepp Live in San Francisco (Impulse A-9118) 140Russell, George, Thoughts, all soloists, and ity all soloists on introduction, from Ezzthetics, George Russell (Riverside 375) Russell, George, Pandaddy from The Stratus Seekers, all soloists in George Russel) Sextet Shanker, Ravi, Sound of the Sitar (World Pacific WP 143}) Welle, Dickie, After Theatre Jump from S'Wonderful, Buck Clayton Wiebel-Fetzer, Viodo from Wiebel-Fetzer Live (Bezillus Zill a) Woodmen, Britt, Sultry Serenade from Duke Ellington Seattle Concert, (RCA1002) ‘The Sound Phenomenon of Quarter-tone Music (Mesurgia 4-8) 141Section IIT...Chapter 17 FOURTES Though chords built in superimposed thirds (tertian harmony) with various addi- tions, deletions ond juxteposition still comprise the principal or basic harmonic structures for mch twentieth century msic, harmonic materials constructed on inter- vals other than 3rd are in the ascendency. ‘These are known as non-tertian structures. Minor 2nd and Major 2nd fifths end sevenths are frequently used, but for many, fourths seem to provide the most accessible harmonic material for non-tertian com positions. Since fourths play such a large role in the vocebulary of most modern Jazz performers and in the writing of many of the most performed and imporatnt com- posers of the twentieth century (both Western art-msic end jazz), this chapter is devoted in its entirety to exercises, melodies, improvisational materials, etc., based on or derived from fourths. SUSGESTED LISTENING AND STUDY FOR FOURTHS Bartok, Bele, Concerto for Orchestra, last movements (RCA IM193\) Barton, Dee, Waltz of the Prophets from Creative World of Stan Kenton (Cap 11796) Berg, Alban, Wozzeck, reduction, p. 45 (Universal) Bernstein, Leonard, Seven Anniversaries for Piano, p. 3 (Witmark) Brown, Garnett, Manhatten Fever from Manhattan Fever (Blue Note BST 84278) Copland, Aaron, Pisno Fantasy, p. 2 (Boosey) Davis, Miles, Freedom Jazz Dance by Eddie Harris, from Miles Smiles (Col CS9401) Davis, Nathen, Rules of Freedom and Blues for Trane from Rules of Freedom (Polydor 23275) Dolphy, Eric, In the Blues #3 from Eric Dolphy in Burope (Prestige 7366) Hancock, Herbie, Maiden Voyage from Maiden Voyage (Blue Note 84195) Harrison, Nelson, Ladies Lib from Makatuka (Segue LPS 1000) Hindemith, Paul, Nobilissima Visions, orchestral suite, p. 49 (Schott) Honneger, Arthur, King David, reduction, p. 5 (Foetisch) Hubbard, Freddie, Chaos from The All Seeing Eye, Wayne Shorter (Blue Note 84219) Johnson, J. J., Bimsha Swing end Stratusphunk from J. J. (RCA LSP 3350) Idoyd, Charles, Forest Flower from Discovery! The Charles Lloyd Quartet (Columbia CL 2267) Nelson, Oliver, Blues and the Abstract Truth (Impulse AS 5) 143Rollins, Sonny, Three Little Words from Tenor Madness (Prestige 7047) Schoenberg, Arnold, Kammer Symphonie, Opus 9, Pp. 1 (Universal) Shepp, Archie, Four for ‘irene from Four for Trene, entire album (Impulse 8-71) Iydia in Bags Groove from George Russell, Sextet _st Beethoven 15059, Tyner, MeCoy, Virtually any record Trenthem, Brian, Hall. (Seba Walton, Williem, Concerto for Viola and Orchestra, reduction, p, 12 (oxford) Webern, Anton, Piano Variations, Opus 27, Pp. 5 - 6 (Universal) 144— = = SSS =o Ses A SSS « ——— ae es is SSS =) == = => + =) SS Se eee $9 === eee 4 i —> £ —_———_———_ == é z 5B | ie f ; Sa = SSF 3 SS SSS See ; . =, = : ep tt, te se pt 59 == See = eS se oe 2 28 « f, ms tt > + ate = E + = z = = 4 = SSS ae © 5s =n —! + 4 + —— Ste SS > eae d SS SS ed a -—a—- Bs — ees sy ea eat ee @ ae ee Fr ett = — % eae i" | i a8 ¥ \h \ | HAY bite : R 368 ll ap ass = ee 3 ooo alias & ii S= Peer igs om —— ees ia re Saas foe: [aS 3| 1 | it ei? ‘4 2484 15 e i i | \at s Ge iy Pal a UD 4 ‘ ! 5 i i ay fe } ‘i a ah iF | é . | a ‘ By Se ‘el ii fad ath ee i 3 ib f t 5 = } 1 1 | E; | # ; | |i E r a E i 4 ISection IV. Drama _In Music chapter 1. THE USE OF DRAMATIC EFFECTS .... BS 2. COMBINING WIND INSTRUMENTS AND COMPONENTS FOR VARIOUS SOUND MIX- TURES...... seen e eee eeeeeeee Peete eee ee 160! 3. CHART OF COLORS 2 168 44, MELODY FOR TROMBONE ......+ 169 5. THE VIBRATO ....... Wietcreseeesecse-s003 | (0 6. CIRCULAR BREATHING ... aoe oo 173 7. EXERCISES FOR DEVELOPING SKILL WITH ANGULAR LINES (ALL INSTRU- MENTS) . poe peer Hecees) 279) 8. MUTES (BRASS) eee nao) 9. MULTIPHONICS . eo 10. IDIOMATIC DEVICES FOR THE TROMBONE ........ 194 a. The overtone series .....-+++ 5 195 b. False positions off the horn paeeeeee 195 br fuereives to develop skill with angular Lines . 1% a. Lip trills, turns, shakes and effects . 197 e. The tud-ul tongue 199 f. Fretted playing ... 202 g. Against-the-grain playing 208 LL. IDIOMATIC DEVICES FOR TRUMPET .....--+++++eeeereeseerecsers 21 a. The overtone series ... . seeee 211 bd. False fingerings . nee eeeeeeee 211 c, Lip trills, turns, shakes and effects ...++ 212 a. The tud-ul tongue ae oe wee + alk e. Fretted playing - oe oe 216 12. IDIOMATIC DEVICES FOR SAXOPHONE ....- se eeeweee 218 a. The overtone series ....++++++ 218 b. Some exercises for saxophone - 218 13. STRINGS IN JAZZ .....- seeweneee vee . 221 a. A partial list of jazz string players past and present ....... 221 b. Three reprints from down beat coo. | 288 Sr Gone recommended records involving string players ......-+.... 227 158Section IV...DRAMA IN MUSIC The following chapter, while dealing in a general manner with dramatic effects, includes sections concerning (in limited fashion) specific techniques and exercises for expanding the expressive range of brass (trombone and trumpet), saxophones, end strings. The chapter also includes extensive lists of books, scores, records, etc., which deal with the msical phenomenon deseribed herein. Section IV...Chapter 1 ‘THE USE OF DRAMATIC DEVICES All msic is drama, and on the ability of the contemporary meicion to handle aramatic devices rests a considerable portion of his success as a performer, ‘There is an infinite variety of ways to play a given phrase, a scale, one chord, or even one note. The performer is encouraged to be as adventurous as possible. "No com bination of scale patterns and dramatic devices should be considered too "far out", The creative mesician mist work constantly to create and maintain interest using dramatic devices. Working within the following areas, mch can be done to create excitement and drama: 1. Dynamics 2. Articulations 3. Range and tessitura 4, Dramatic effects 1. Dynamics Dynamics are varying degrees of softness and loudness which can be used effectively to create interest in a msical line. Crescendos, diminuendos, pla- temed dynamics, and sudden changes in dynamics all contribute to general feelings of excitement. Changes in dynamics help alleviate stasis in msic. (See III-A) 2. Articulation The term "articulation" refers to the manner in which a note is attacked or a group of notes is attacked or joined together. In any given situation, there are a miltiplicity of choices avalleble regarding the articulation of a group of notes, (See III-B) 3. Range and Tessitura The placement of certain notes or groups of notes in a particular register or rapid changes of groups of notes from one register to another cen do mich to create dramatic impact in a msical line. 4, Dramatic Effects "Music is made by a performer. It comes from him rather than from his instrument, the instrument being merely a vehicle. Therefore, it seems logical that any sound performer can make may be used in a msical composition.” Donald Erb. 159For some years, meny enlightened composers and performers have operated out of msical imperatives suggested by statements similar to the one above. ‘This kina of philosophy has resulted in greatly expanded concepts of color and color possibilities. These trends have manifest thetiselves in the msic of all instruments, and the future will see even greater and far more imaginative ex- plorations. There are certain msical devices that are traditionally used for dramatic reasons, Some of these devices are a part of the vocebulary of all msical instruments. Others are idiomatic to certain instruments, In the first catagory we have such devices ast 1. Trills - usually a rapid alternation of two msical tones a degree or half- degree apart. 2. Shekes - an effect sounding like a trill but with a wider intervallic range. 3. Mordent - a trill meke by a rapid alternation of a principal tone with a supplementary tone a half-step below it. 4, Turn - a musical figure consisting of four tones, the second and fourth of which are the same, 5. Gruppetto - a rapid five-tone turn beginning with the main note. 6. Appoggisture - en ornamental tone preceding another tone. 7. Glissendo - a sliding effect between two notes. 8. Portanento - a slight slide between two notes introduced for expressive purposes. 9. Rip - a fast ascending figure (usually executed in a vigorous manner). 10. Irregular phrases 11, Use of silence 12, Sustained notes 13. Repeated notes 1s, Extra-musical devices - shouts, teps, yelps, etc. 15. Micro-tones - tones smaller than semi-tones. 16. Drop-off - a repidly descending chromatic figure. 17. Distortions - of tempo end meter. 18, Variations in vibrato - speed, width, etc., lack of vibrato, snd vibrato placed at the end of the tone. 16019. Changes in the basic sound of the instrument, physically (throat-eirstream) or through outside means by mites, etc. 20. Any unexpected resoiutions, tonal shifts, etc. 21. duxtaposition of eny formerly segregated elements. For instance, combining an articulation from one section with a phresing from another. 22, Imitations - of the vocal idioms, 23, Sound intensification 2h, Smear - a very short glissendo in which the player approaches the note from ~ slightly below the pitch. 25. Bend - a slow mordent. (See example sheet II-c) 161spares e a a + < ony ae ; = % : 4 4 5 ® IS iano » 2A eH, om ¢ @ — 3 : SSS SSS ESS] SSS a eS 7 tt ee oe ae Sees t — sound sorinust © 2 9 = : saree 1 ¥ E ~ _ ee, ie i = = SSW Pa = = am = z SEE g = . - SSS a = = Stag = =. a3 nung es =e 4 ee $ aes ooaes (Section IV...Chapter 2 COMBINING WIND INSTRUMENTS &, COMPONENTS ‘BUZZ_ALONE FOR VARIOUS SOUND MIXTURES 1, Varied articulation, i.e., breath attack normal tonguing tud-ul, triple, double flutter, growl. 2. Different registers 3. Glissandi 4, Vibrato/none, 5. Volume changes. 6. Tills, shakes, turns. ‘MOUTHPIECE ONLY 1, Varied articulation, i.e., breath attack normal. tonguing triple tud-ul, double flutter, growl. 2, Different registers. 3. Glissandi 4, Vibrato/none wider 4 narrow 5. Volume changes 6. Trills, shekes, turns, ‘INSTRUMENT VOCAL OTHER SOUNDS 1, Varied articulation, 1, Humming Using hands, i.e+, i.e., breath attack clap, strike, rub, normal tonguing 2, Singing (different thump tud-ul, triple, double vowels timbre). Using fect, i.e. flutter, growl. 3. Talking stomp, shuffle, kick, i, Whispering tap dance Different registers 5. Yodeling Using fingers - drum, 6. Gargling fast snap, etc. 3. Glissendi T. Yelling 8, Screaming slow Anything else you can 4, Vibrato/none 9. Suck sounds ‘imagine s1ide/valve/finger 10, Kiss sounds lip 11. Grunts diephreem 12, Groans wider 13. Yelps + nerrow 5. Volume changes 6. Trills, shekes, turns. Combine with materials for sound alteration, i.e., mites, plungers, bottles, glasses, electric fans, electronic equipment, etc. The ebove are just a few of the possibilities for sound generations. See meicel examples for some possibilities of combining. 166‘EXANPIE, EXAMPLE EXAPIE, ‘EXAMPIE EXAMPIE EXAMPLE EXAMPLE i 2 EXAMPIES Elutitier tongue - This whirling effect is executed by rapidly rolling ‘the tongue. 4 4 = This is, of course, self- explanatory. Awide range of pitches, articulations, volumes, etc., is availeble. Mouthpiece - in glass, bottle or any other kind of receptacle (tin can, cardboard box, rubber hose, etc.) Mouthpiece - in eny opening of the instrument. Changing colors - on a sustained note or on a line, i.e.y buzz ===> add mouthpiece ---- add instrument ---- add bell, or vice versa. Any combination - i.e., play - sing - play - sing - play - scream - whistle - talk - etc., sing - play multiphonics count - yell, ete. multiphonics - trill - yodel - tongue - click - scream, ete. Sucking and kissing sounds. Playing with water in the horn. Squirting sounds into the horn. z with a loose embouchure, puffed cheeks, arched tongue, different north/south or east/west placement. Buzz, Mouthpiece buzz or instrument into electric fan. (Play into a fen set at different speeds, using any of the instrumental sounds, ‘yoeal sounds or extreneous sounds.) 167Section IV...Chepter 3 CHART OF COLORS Practice other melodies substituting sucking or kissing sounds for notes in the line. =a 168Section IV...Chapter 5 ‘THE VIBRATO only recently has the full potential of the vibrato as a dramatic device begun to be recognized. Many tines fn the past, ite presence has been ubiquitous with gearcely any regard for its dremstic import. Good string players have always been willing to vary the speed and Explitude of the vibrato according to the exigencies of the msical situation, but even then only within the perimeters prescribed by tradition. Usually brass players have not even been willing to go this far. Either a player used a vibrato, or he fian't, Sometimes the kind of.msic might influence the decision, i.e., @ trombonist might use a vibrato on Ravel's Bolero or on e jazz piece but not on Brahms’ Leh or Wagner's Parsifel. of late, the utilitarian value of the vibrato in e mch wider variety of situations hes emerged. the contemporary msicien (cn any instrument capable of producing a vibrato) mst be at ease with vibrato at Farying speeds end amplitude. The following exercises are designed to help bring about that ease. SUGGESTED READING Techniques for the Trombone by David N. Baker Saw. quocte tones side» ey.arm, ete.) ‘The Vibrato eae Zap pasneen the reeder is afvised to practice the vibrato while practicing the different scales. the reader should elso lip down a whole step while practicing these exercises. Practice melodic passages with sustained tones varying the speed end width of the vibrato. 170Practice starting and stopping the vibrato on a single note or within a passage. Practice passeges using a terminal: vibrato (a vibrato Placed at the end of a sustained note). Se Tmt bt 171SUGGESTED LISTENING Listen to es mony different instrumentalists and vocalists as possible, in. amltiplicity of situations. Especielly such stylists in jez as: ‘TROMBONE, Lawrence Brown ‘Tommy Dorsey Bemny Green Bill Harris J. J. Johnson Curtiss Fuller, et al ‘TRUMPET Miles Davie Dizzy Gillespie Freddie Hubbard Clifford Brown Chet Beker Harry James Clark Terry, et al SAXOPHONE Charlie Parker Johnny Hodges Tee Konitz Marshall Royal Ornette Coleman Cennonball Adderley James Moody, et al TENOR _SAXOPHONE Coleman Hawkins Tester Young John Coltrane Sonny Rollins Albert Ayler Archie Shepp, et al STRINGS, VOICES, and any other instruments that use vibrato SUGGESTED READING 1. Section on vibrato in any book vie-a-vis the reader's instrument. 2. Contemporary Technique for the Trombone by David N. Beker (in preparation) 3. Jaze. Isprovieation, chapter on "A Psychological Approach to Communication ‘Through An Improvised Solo" (db/MWP) 172Section IV...Chapter 6 CIRCULAR BREATHING How to play the seemingly endless phrases that composers have insisted on writing since the dawn of Western msic has been one of the principle problems of the wind player. Often a line offers no logical opportunity for breathing, that is, without destroying the line. The problem is rendered even more acute when the wind player attempts to match a line played by a string player or a keyboard msician, The problem has been tackled in many different ways. Some players have chosen to omit what they felt were notes of lesser importance. Others have opted for quick-catch breaths through the nose, often sacrificing a note or two in so doing. Legend has it that during Wagner's time at Bayreath, the bass trombone rigged a contraption not unlike a bicycle pump. On those endless sustained notes (i.e., Lohengrin, Parsifal, etc.), the tronbonist inserted the hose in his mouth and pumped in air fter the fashion of a bellows. Meny jazz players have arrived at what seems a mch more reasonable solution to the problem, ‘That solution involves a technique called circular breathing. Some of its most avid practitioners in jazz are Clark Terry, Snooky Young, Ernie Royal, Harry Carney, Slide Hampton, Howard Johnson, and Rehseen Roland Kirk. In simplest terms it works like this, The player: 1, Takes a breath. 2, Fills his cheeks with air (puffing them out). 3. Maintains an even tone by expelling the air in his cheeks as he breathes in through his nose. 4, Plays naturally, continuing the process indefinitely. The technique, while admittedly difficult, cen be perfected in a relatively short period of time. I. The approach for developing the circular breathing technique: 1. Practice filling the cheeks with air and expelling the air. Do this at first without the horn, This will strengthen the cheek miscles and accustom the player to this very different sensation. 2, Next pick a comforteble tone in the middle register. Practice playing this tone with the puffed cheeks - filling and expelling, filling and expelling. 3. Next fi11 the mouth with water, cheeks puffed, practice squirting a stream of water by deflating the cheeks, At the seme time inhale, The stream mst gontinue squirting while you're inhaling. 4, Now try the sane exercise with a straw in a glass of water, Keep that water bubbling while you inhale and while you recover the airstream and inflate the cheeks again, 5. Now try the same exercise with a balloon. Keep air going into the balloon while you breathe in, Now we try playing a middle C ppp using the technique described in numbers 3, 4 and 5. Don't be discouraged if it doesn't happen at first or if the sound 173is a mere squeak when you first try. 2. Once you're able to produce an audible and recognizeble instrumental soundy work to improve it, Now move a semi-tone up and down, working all the tine for n firm tone, Gradually expend your renge until you can execute the circuler breathing in any register. 3, Practice the breathing on simple melodies, i.e.» folksongs, patriotic songs, hyms, etc. At first, avoid tunes with extreme ranges (try to work within a 9th). 4, This technique is a great deal hore effective if you use a lot of short quick eniffe rather than one big gulp of air. Also, breathe before you need it fo that you always have air in reserve. (Coution: Puff the cheeks ‘only when actually performing the act of circular breathing.) 5. The final step ic simply to work toward es unobtrusive a technique a5 possible, Remember, this technique is utilitarian, not show business. SUGGESTED READING. Contemporary Techniques for the Trombone by David N, Baker (in preparation) 17%:Sussuodwo TEAST TT hyo, “sxNSS0d 50 = Apeumare-pue-Ayprta= sob uthoid pr OM ORTIGAS Ea SSTOORTOT Pam OOUOT IRS SUIS H5UUOU 2UROS 3p USGI 3 ==> a= So, ws 4 ez 1 ea oe v Ht Sf se pt et pe $4 oe a wet t f “= i ee IP $3 = Ate ot =e *(TeAzequy seyjous snqd exe300) steArequy punodmos ATzeTNO Se = ; a SP yuma Mdoemooe aqnfosge Jog sTearoquy soqaoead yezza (eaueunzqeuy TT?) SONTI WINN EITM TITNS ONTAOTEAST Yor saSTONRKE _ 2 seqdeuge**ar uotz0ag ce (Section IV...Chapter MUTES (BRASS) With the awakened interest of contemporary composers and performers in the ex- panded color possibilities of all instruments, mtes and other devices used to transform instrumental timbre have become quite importent. Although most of the frase mites in use today had their inculestion with Jazz msicians, they have found their way into the sound arsenal of the qvante garde, including Western art-msic. Ai mites affect the instrument in two basic ways. They change the instrument's color and reduce its volume. Same basic mte types follow with their sound description: Straight mte - This has a tight cutting sound, It is the kind of mte usually used by the orchestral trombone players = This mute is a rough mixture of straight mte end plunger. Its sound is mich softer in volume and quality than the straight mte. Harmon mite - This mite was developed by David Hermon, owner of the Drean)and Balicomand boss of King Oliver. He designed it in an effort to imitate the King Oliver wah-weh sound without using a plunger. Its sound is dry and metallic, with most satisfactory use in sustained passages. Bucket mite - Thie mte.fits over the bell, producing @ rather hollow sound. Derby - This mute reduces the volume without greatly effecting the basic sows tt the instrument, The derby is best used with a supporting stend to free the pleyer's hands. Plunger - (Usually a plain plumbing veriety plunger) The two extremes of plunger are open thet is away from the bell, and closed or tight thet is with the plunger flush against the bell. The tight plunger deadens the sound and is not Palike "cuivre” for French Horn. When used open or partially open, the sound is like a kind of vocalization. The plunger is often used in conjunction with a shortened straight mte. Felt-hat - This is usually the crom of a felt hat with slits cut in it. It has the effect of covering the sound, the perforner should be prepared to encounter other sound alterers, including water glasses, bottles, the hand, flat surfaces, etc. The contemporary instrument- witet Gould be wise to experinent end become familiar with the intonation and sound production adjustments necessitated by any end all of these sound-altering devices. EXAMPLES: STRAIGHT MUTE Beversdorf, Thomas, The Vision (Indiena University School of Music) 176Clayton, Buck, Bugle Blues from Blues by Basie (Columbia CL 901) Newman, Joe - Jones, Thad, Duet, and Splenky from Basie (Roulette Birdland Series 52003 Rimsky-Korsekoff, Scheherazade Strauss, Richard, Salome (closing scene) ARNON MUTE Culley, Wendell, Lil Darlin' from Basie (Roulette Birdland Series R52003) Davis, Miles, Round Midnight from Round Midnight, Miles Davis (Col C199) Erb, Donald, And then, Toward the End (Merion Music, Inc,, Theodore Presser Co.) Gillespie, Dizzy, One Note Sazba from New Wave (Phillips PHS 600-070) IERBY MUTE Fuller, Curtiss - Morgan, Lee, Bongo Bop from Slidin' Easy (U.A, UAL 4ol1) PLUNGER MULE Armstrong, Louis, Everybody Loves My Baby, closing chorus, from Clarence Williams, Blues Five Beker, David, Thoughts and Honesty from Bzzthetics (Riverside 375) Beiderbeck, Bix, You Took Advantage of Me from Paul Whiteman Orchestra Grey, Al, Mama Dev from Easin' It, Count Basie (Roulette Birdland SR52107) Jackson, Quentin, Rockin" in hm from History of Jazz - Enter the Cool, Volume 4, Duke Ellington (Capitol LP2610-)) Miley, Bubber, Choo Choo and Black and Tan Fantesy from Duke Ellington. (RCA Victor) COMPOSITIONS WITH PLUNGER Baker, David, Terrible T, letter N (db/MWP) Erb, Donald, And then, Towards the End (Merion Music, Inc., Theodore Presser Co.) Erb, Donald, Z Milosei Do Warszeny Countless stage bend and jazz band arrengements end compositions. Countless other jazz, blues, rock, pop, art music records, v7SUGGESTED READING Contemporary Techniques for the Trombone by David N. Baker (in preparation) Section IV...Chepter 9 MULTIPHONICS Nultiphonics is the practice of producing two or more notes simltaneously on a traditionally single-lined instrument, i.e., trumpet, trombone, flute, saxophone, ete. On certain instruments such as the saxophone, flute or clarinet, certain fing- ering when combined with enbouchure manipulations will actually produce 2, 3, 4 or clusters of notes. (John Coltrane was one of the first saxaphonists to achieve # nodicum of success in this aren.) Of course, instrumentalists such as Rehsaan Roland Kirk manage to play two or three instruments similtaneously, but that's beyond the scope of even this book. As for brass instruments, the usual. method for producing two tones is by playing one end singing the other. (This technique is often used on other wind instruments, i.e., saxophone, woodwinds, etc.) In some instances, certain intervals will produce yet a third tone, i.e., perfect fifths when produced in said manner will often emece a Major 3rd to become audible, forming a major triad - F sung (D) resultant: tone BP played This technique is in its nascent state, but it is the firm belief of this enthor that it can be brought to a high level of sophistication and will ultimately loom large in modern composition and improvisation. ‘This chapter provides one approach to developing this young, but important technique. SUGGESTED LISTENING AND STUDY Baker, David, Concerto for Trombone and Jezz Orchestra (db/MWP) Coltrane, John, Harmonique from Coltrane Jazz (Atlantic 1354) Erb, Donald, And then, Toward the End (Theodore Presser Co.) Griffin, Dick, J. P.'s Thing from The Loud Minority, Frank Foster (Mainstream 349) Wilson, Phil, Flight of the Sackbut from The United States Air Force Presents: Serenade ae Program 257, Disc 6, Side AY) == = = SUGGESTED READING Contemporary Techniques for the Trombone by David N, Baker (in preparation) 178opt ae ee Wed. eee Exercises should also be practiced at all tempos from very slow to very fast, verying ell factors (rhythn, articuletion, meter, volume, progression, etc.) Although all the progressions in the examples included here are one measure apiece, other rates of change are possible and in common usage. Since, however, @ major= ity of tunes use the II-V progression as @ measure change, only @ few exceptions are included. Changes longer then a measure at moderate tempo usually dictate another epproach (scaler, etc.). = wets sae et tot fo fH oS = Exercises should be practiced with varied rhythms and articulations.Chart 5 G.T.A., Confirmation, Song for My Father, Killer Joe, Forest Flower, Nica's Dream, Waltz for Debby, When I Fall in Love, How My Heart Sings, Search for Peace, Spring Is Here, I Should Care, Inch Worm, Els: hart 6 Virtually every composition in the jazz/pop/rock idiom makes use of this progression at some point, i.e., Tune Up, Satin Doll, What Is This thing Called Love?, Sweet Georgia Brown, Jordu, All God's Chillun, Gettin’ Sentimental over You, Stella by Starlight, Lover Man, In a Mello-tone, Call Me, Moment's Notice, Seven Steps to Heaven, Here, There, and Everywhere, The Sweetest Sound, The Night llasa Thousand Eyes, I Fall in Love too Easily, How My Heart Sings, Have You Met Miss Jones, Search for Peace, Spring Is Here, All the Things You Are. Measures 7 and 8 of almost any AABA tune, etc...500 Miles High, Honesty, Deep River, No Private Income. ch 0 There'll Never Be Another You, Confirmation, Altered Blues, etc. Chart_39 Sentimental Over You, Confirmation, There'll Never Be Another You, Silver Serenade, Night and Day, How Insensitive, Time Remembered, etc. Chart 13 Cantelope Island, Speak Low (bridge), Green Dolphin Street, Maiden Voyage, Invitation, Half Nelson, many turnarounds and tag endings. Chart 46 + 6 “Half Nelson, Lady Bird, Isreal (turnarounds)7 by 2 13 > oo 13 # é t4 it a A 44 ets a fs tas ms tasty ts be tase OY Me nas5 tt 4 cr Yn ag 44 co M7 Pa 13 nfs 79 ‘nas ooo my % a3 soe rr 8 as af 5 9 “13 Ltt rh a as go4 rey 5 nag ws 7 9 ti 13 ay ae br ty an 3 bow Ber > a 13 #4 5% tu a she mer tan as », bof ee 85 a ag cu awh Cy a Be & By oa ot & 8 on aaah Cry iby Bh ee By a go OR 8 BS BS st of bP "a1 13 fa of Pb a a3 rs 7 9 tn as 44 Faby 9 un 13, 44 rie Po a as ff vt bs %o ta a3 t? i! 7 Pha as ns rho Y7 % a1 13, 4 ms 7 9 tn a3 4 weer by a a3 4 #7 9 1 a3 35% tn as f peor Pots ay hoy ey 9 a1 a3 2 aM au ou ope a ee lore oe q Mm abl Gt Gta Ao Abo Ge gbo an an En @ 2 ae we we vor a 44 pe 7 by a 13 f t ms 7 9 *1 13 ao om®7 5 nn 23 a 4 op? yaa 13 tt 6, °5 > tu 13 4 th hy %o 13 a4 go My 11 13, FM OEM DM oF & Fr Zz 7 BOE OB : vin Bese Ea wo Re R moe BR he we by P51 13 44 wo Yan a3 as 79 tag 44 ven? Pon a3 oo abr % an a3 5% “a3 ett 7 Po a a3 yoy neo Py % a1 a3 a Ot Bo %) "nag eee ge thy Yan 13 f ms 7 9 1 13 44 war % 1 a3 4 4 Pr % an a3 4% %s ‘un 13 ‘ tf arr by "a a3 4 107% an ag SPSare reoom om abs watcha go m B Rp wow po BS ge ge eR mM Rg 2 o po SGM BBS i 5 ‘on ate ate ot om m= cht om anc $0 8% pe SF eS RM ee my We a OR oh om ty oc om BY coms ths Gls S OB om i GR RM 6 om mM abe Eby ADM a om ™M EM AM ODM GH RRM MM ee Re eS sl Wo oml a om ml al oR gt Moot ot oe eelrg ices aan es ele 1 nm rh ™ mM Pd m™ RM AM ae ™ a om cn By Eby As Gs SM ARM ee eG am kN RN Nl ppl Gl co pfo po po pho go bo Ao Abo po pho Go 8 355% cu oat ow” ooh ore RM OGM a Cm co Be De php Fm Bop Gm Fm An of B Be ye ¢ Be y oP we Lid of ” ap aoe ot gt a ml mom wt a Gt ow a cont - o™ mm oan ci me ye my dy om he SRR BER oo om dy om th o op oat oct om oD & me fe oo pm Dh 9 cm om om oom ano ch gh aN phon Dhatonte Sean SRR RR RRR BER ER RS & o b - go mh & me Mm me % & mom im co re ‘De Go Eo ae ro 6 es Ao oe Be EF 10 ooh om om oan oN oon egy mens aos oes $45 5 5 8 § mn oo & the os ow os we ocd so oa nol o 7 mm m i m & o & m by & & & mw om MR Ge Roo RO om & S & B RB OR BS Boh os BS Diatonic Scale (4 triads) omy Be me oe Ge By le ob om Ge a fe iy mm og by mm os or Bow oe fm oe PRR Ee BEB oe By RB Ube ee Geaokg ty RRR ae Rk Mam mB o ro pe pe G8 co go 48 Fo Bo go Go Go FO Ao Do Gd BO FO EOare SEP ae 3ee S29SH HY 329arg SESare aegare gag a 2 Beg eRe Was ee bate Dh GM EM” ODM 88°88 35° 5 5 ee Be PE FF S oR gs RS Bo oR & 13 oe ie Be ee ef oe oR geo oe wp g@ egw per & 8 8 BS RM BOB - ne * in be Ve FED BOS Bron g om mr Rr om go poo Fo Ae pe po be nn 5 "du me om" mm omhe "ey om ot ci mk a gop @9 oe 8 Be PA wo 0 OM om oO Mf @ SE Rew Pe S 16 mat oaty se he ye ge ge Soe f Mon OM Mm gl ow mio i Sb S SE Bb ” ey TM om ah mM Bt moat ch AM at Ae Bogue eas 8535 ge pr By £7 Fr Ey My FT Gr Gh, aby G7 AT ogee peg nt we we goo po go gbo Fo RO Fe geo gho abe Gg? Ae 1 ate DM EDM cae eee eee ee Soe eRe ee Se ag OM AOS Bante SaateueT) At a& pe ge Ae Be ge po Bo pbe ghe qbo pho gt 4 rr Fe 3 SPSure ae 2 2 a RRSWEE ? P By ERs aaa op ° 19Bee sacaed 329999 Was vey Eg Ber aye aeoere ve PRY BEE STE = 2 aeqagg — aeragag Serre ae2are ee w2 “OTT NEE aeee OFS SEE a BET are Bee EE SS Bog are SET EE 3883 ~TzATz me Bh AM ao fz EES my ot BBS es be os TR VE ‘ 19 mom RW a ar om dh ae mo 5 Sou 9 an Ys woe OM roel 2 ae Gg? Abo gho ge FO gbo EO 20 a mc z yo 3M woe eo ue om 2 wm fo fb pho ge ge mh oP a Bee ae bem yy a a Bo oS oe y 8 "7 Aby Gy DET 7 oT So oo oof SS me 2 He eat BSG 5H 3 Pw Rm g Rb ow PS 23 ix fu mx mot at BGERER: ho dy > Le mon o %e Ew BB “ED? ee qee ese See HE SPF SEE Pa > Bd SIS REE BES WE aesure Boo ar ” ay ns Bee Ure Ses aFe BPE REE wey Rre Sts REE gears SEP REE wr? Peery BPP RRE cs a ce aw cg oo er8 Se Zante Em aER Bena BESET Emme EEREAR RERaah SE BaEwree EP EEDY TE EERSAS SRS RaRAe Ere SE EEA Ba SOR Am rah EMSsr Beyooe Basse BER SAD ERR EZe RaRaah ELE BESTE Esvsse EERE RaS Sak BER OaR REBEL BL 5se BERS Eee aM See ERA BEV ose Bsysse BERRY EMRE ERR SR Aahdee FAR Tee ERO. RMeAR sevcee bamnran 26 Baresy BME see EDR BR Eee Boo sSe TR Ra gak EDLELE FARE BEvose Za eey SESSSs Eat ERReen Rab Sake EAI, ERASAy Bocce 28 Bose ERA EAD EER oae BTse Egezzy RERaAS Barssr Reese EARL EMSSD AM tah Ee ERREAD Am aw Bose BaSSD Fawr, RRS eae RERRAR Ch BV SSD ZR SLY EaASay RR Sa BSD BRS ERY Eee ARR eA BEB ERe Ea mae BEReee EeR re! REN SA ESRSSE Aangan Bevsse eaere » Ramee EERSAR EER RAN Beesse RARER Boe30 Ba SSE Bssese RENEAD Bae rey Rab dae Ren eaw Fem rey BEBESe aL Bayese Rem rah Bae eak BEBSSS ERR SED EM cah EASES BIEsr Bow SSe AEwEah ERR Eee SEE SERRE Aanean ESSA Bese 33 Baece EAREAh EERE Basse SEE FARE Renean Bevese 34 Bavece * EM ean amr ERAR, TOE EM rek Ei Renean Bevese Rab sae REREAD REREAD 2aerey BEpose SERRE, RERERR Baia aeasy BR Rabnat TH EESSAR TEE BEysse RaRrcy Rab eae RERERR SER EPL SER RRRTEy Sh BEES SEE Rawson Ra eae SED RAMSAR ERRERe Rannan Bavose SEBS RaREAL EEReRR SED Brose SA BERRA REREAD Seba BErsse Ranss Bere ERM EAR Sy EER aaR Ratan SRS re Basse SRE, Zarek RENEA% WE Reb oem Aaah BaR Eee BEBsse 38 BS BE a8 Ss aa HA ws A za RA e 58 Bs] HA EA RA 58 22EDS Baasae Raeres FPATAL ZENER FERN SEE EEMEE RARSAR HERaAR Besse Auadah BANSAL caysy BsREse EER EEL SRE GSE EGMGR Sieg FAbs=e Ee, agareg Reaan Bsesse sepsse —-FARARR BABAAK gay sae, RaRGAR Zeee2e AMkssh BABSAR SSBSSS TSBSSE ag EEBaE PRERAOORE oeeee ERGE rece RaR* * seReSe * Fanto gag DObUSE BSRCC Raneae AMRoae z BeB588 zetect, TERE Be2se% F032 = © zeerio am BANRES EER@RR RACER " seecse “AONE Beaoae ae ee REESE TENE css Emsaes nebes eee OOPS EE easan peers BERS zencio Zebste wee Beery EARLS, BEBsss BESSSE * i 1% EEE, Bauosy 22eS2% HMASAL FREY FERSEL TAREE BESTS og a Perio Zeerso HR mecee THO TERE CEES AE ome HENNE a aia ae Rawew, 378 TUNN™ zanay RARER EERGAR oe to sm ce EN Rse sexe, | Bah BEDS gee cp RARAAR RARZAR me Ranaat, FAR RARSA% pesca SESE GEDA eae ee jeanwan SEE PEER zearse aanuan eees2s ek “WCiiitia Bteiita Bemoee 8 8( ssh BsRose BEBoseL BEBes BERSES BIBSSL TEBSEL eo om 23 om EM am Pen DM au Pfu BM BM 47 om cM BM rim opm pM EDM cM aM24 wa 7s a aesere SP 9a : poo 3 pe oi ol Al Bo BS go kO By DM a aM BB 3 RH ge B95 % bloat och By eeu DM om cM BB whe Blot af EM AM DM ya 5 Brot es tt eB - DM BM GM a mom on a3 9 8 BG, 7 a a Er Bot oe uel 1. Keep an updated list of old snd new compositions Da Bp ay ce we oF a p o & Bloat sf ef at po Bo G8 AP ox ce a c el of a8 nee eB ty Dp Me ao y o BP i A ® Mo opl Mt oat bel fe Bb RS BS ORS 9 Fiu cm om EM BM ao 3 BB a Be oy By Hi cl of Bt af OG Go BS Be 50 ri bm AM DMM Pim ebm Am = Dm Gi ge ws a rel mel Alb aT Fo BPO fo DOG? cm ce a o ef es SUGGESTED ASSIGNMENT a oa ae 7S a SRS eee » By BO. s By Br BPO 3aaa3 geteperteee according to their predominant root progres- sion(s). 2, Identify at least 10 examples of combinations of the given formlae. 3. Play the progressions ond the charts at all tempi, neters, keys, and using all possible genre chords on a perticular root. pies ates 1a OB T pk Gr bl ox a a ee De ge EbO px mn a 23 5 Be oeL aL, Be Rho pu pm réy BBD Di Bt rt ot gl rem opm AM a OB Hy Br ar Ho 50S youuuETFS © fs (wouig Bud uty ny) uray u Bus scout,ble ig a oodied d 3 2S pod ‘sauoy TTe wosz da BUT3Ie98 BdTqoB.z2: Crdén au hod uo s30u ama, SF ‘Su Bus “a ‘s6u Build uD TO004 ade fy ES i =e #2) == = a! d dandy. fee, K + = ISS) rete) “sou0g #urss@99 quezezsrp d i — Suren saystus pus sTearequy wopuez uropsowad fy > Sf= ef ==) < fe oF, d \ oa fen TS = ® da aod 4 4g ee E te wf Pet hte aS ee ‘ *g9009 ITs mor 2 n2 2s Sutqzeqe soTQoBry i ? ae = ee eae pe pee a (9302 603 Tre ays) @: OFSOBIE Teazeguy 183= == = he SSS == z p aan = feet = “Fronspase 7 Gitar Keys for pd gl pel gd — nt Sa beater range, te. SS SSS i — + PY Ts 7 FF fl a5 (ore digpcas®) Gottliee Mugar + + 6 2 = = + => SSS SS 8 a 1 —— : n & - => = —* ‘Also practice screaming and singing indeterminate sounds while pleying: SSS =2 SS aaa —— = ‘The player is urged to practice using =e duet SSS SSS rea, books, singing one part and playing the other (i.e., “Rondiau TC Pepusch Blasevich, Arben, Amsden, Charles Colin, etc.) A r= SS é > =e t- $e a f === ===: a == tt fF be fos —— wa 184a SUGGESTED LISTENING AND STUDY Ayler, Albert, Albert Ayler in Greenwich Village, klangfarben melodie, extrenes in dynamics, range, etc. Almost any record. Boker, David, Bird, dramatic effects such as extreme dynamics and range, noise components, klangfarben melodie, jazz articulation, vocel imitations, ete. (db/MuP) Black Anerica, dramatic devices involving vocal effects, klengfarben uelodie, extreme dynamics, contrasts, crowd effects, cacophony, sprechstinme, etc. (ab/mWP) Black Man, Black Woman, klengferben melodie, vocal imitation, extreme contrasts (db/MiP) Calypso Nova /1, klengfarben melodie, mouth-piece playing, vocal a noises, etc. (ab/MWP) Coltrane in Memoriam, dramatic effects including Charles Ivesian polyphony, heterophony, extremes in dynamics, tessitura, range, extreme virtuosity. (db/MHP) Eros and Agape, compendium of effects including cacophony, free polyphony, vocal imitation, jazz articulation. (db/MiP) Jazz Mass, Credo, sprechtinme, klengfarben melodie. Iunacy, free metric, free harmonically. (ab/MWP) Modality, Tonality, Freedou, free metric, free harmonically, cacophony, sprechstinme. (ab/TWP) Psalm 22, Oratorio, Inst section uses cacophony, sprechstime, total freedom. (ab/MWP) S Stickin', total freedom. (ab/MiP) Three for Malcolm, cadenzas use the entire spectrum of colors. (db/ ee Two Faces of the Black Frontier, free metric, harmonic, cacophony, Jazz articulations, microtones, etc. (db/MWP) A Sumer's Day in 1945, extreme registers, glissandi, tape super- imposition, distortion, klangfarben melodie. (db/MWP) Western Song, coienzas completely free, extrene registers, microtones, multiphonies, (do/MiP) Concerto for Violin and Jazz Band, cadenza, harmonics, slides, slurs, trills, mltiple stops, etc. (db/MWP) Concerto for Flute and Jazz Band, cadenze, mltiphonics, slep tonguing, harmonics, flutter tonguing, slides, slurs, trills, etc. ~ (ao/somr) 185Concerto for Trombone and Jazz Bands (throughout), multiphonics, soncerte effects, alternate positions, clissandi, trills, flutter Ceactings extrene registers, angularity, extrene dymanics, ebee (ab/mup) concerto for Bass Viol and Jazz Band (Levels), 9 compendius of Bass and Jazz Bend effects. (db/MWP) Sonata for Tuba and String Quartet, sul ponticello, bowing effects, harmonics, varied pizzicati, etc. (ao/mup) partok, Bele, Quartets, a virtual textbook of special effects for strindis toto saree cello, col Teel, harmonies, mItiple stops, bowed effects, Stes Fine Arts Quartet, (CS 208 CS 207) Berg, Alban, Wozzeck, everything purgess, Bobby, Adaus Apple from Jazz West Coast, Woody Hermits quarter-tones, Agnanie anil dranatic effects, i.e, erowis, slides, elurss ete. (Brand New Fantasy 8414) Broxton, Anthony, No Greater Love from Circle, extreme angularity, chronaticism, varied vibrato (ECM 1018/19 ST) Brow, Earle, Available Forns 1 for chanber ensenble fron ‘The New Music, "open fora”, “the composition may well be regarded from, the decorative point of view, Shinmering cascades of jade, the tossing ‘of broken Peystals, the twittering of wind instruxents, conetantty set against fio temepility of long, sonetimes bitonel and bitinbrel, or pluri- tinbral, pedal points." Brown, Marion Jr. Spooks from Three for Shepp, varied sound and vibrato, rhythmic Feekiom, wide dynanie range (Impulse 9139) Why Hot, Klangfarben melodie, extrene contrasts in dyiel tes Tange, etc., cacophony, trills, slurs, Jazz articulations. (BSP 1040) burton, Gary, Survivors from A Genuine Tong Funersl micro-tones, percussive effects, glisses, slides, trills, kKLlangfarben J elodie (RCA Victor LSP 3968) Coae, John, Music for Keyboard, 2 compendium of piano effects (Columbia M26819) . . Bacchanale Sonatas and Interludes for prepared piano. cameron, Richard, The fvakeningy 1971, glissandiy high resister control (Concert Tape w1229, N2b16) carter, Elliot, Bight Buudes_and_a Fantesy for Woodwind artet, extreme ranges, ELangfarben melodie, flutter tonguing, harmonic fingerings, tremelosy extrene dynanic contrasts, yips, yawps. ~ cherry) Don, Complete Communion, klangfarben, trills, slides, slurs, extremes indynamice, range, varied Jazz articulations, etc. (Blue Note BST 8226) Where is Brooklyn? (Blue Note BST 51311) Childs, Barney, Mr, T, His Fancy, Bert Turetzky, new string technique, new sonic materials. Coleman, Ornette, This Is Our Music, quartet (Atlantic 1353) Change of the Century (Atlantic 1327) ‘The Shape of Jazz to Come (Atlantic 1317) ‘Town Hall, (ESP 1006) a ‘The Empty Foxhall (Blue Note BLP 42h6) Hew York Is Now (Blue Note BST 811287) Quartet (Atlentic 1378) The Music of Ornette Coleman (RCA ISC 2982) Free Jazz Improvisation (Atlantic B6lt) At _the Golden Circle (Blue Note #22!) Skies of Averica (Columbia KC 31502) Klangfarben uelodies, micro-tones, slides, slurs, vocal imitations, ete. Coltrane, John, Aseension (Impulse A-95) (impatse 9148) Cosmic Mus. Expressions (Impulse AS 9120) Klangfarben melodies, trills, slides, slurs, vocal. imitations, heterophony, cacophony, extreme registers, dynamics, etc. Kulu Se Mama, vocal effects, exotic instruments and rhythms, layers of sounds, klangfarben nelodie, ete. (Impulse AS 9106) Meditations, overtones, squeaks, extreme registers, stacattos, etc., Klangfarben melodie. (Impulse 9110) Qn, klongfarben melodie, "a whirlpool of sounds, cries, percussive Jmperatives, intensities, densities." (Wat Hentoff) Davis, Miles, Sketches of Spain (Columbia CL 1480) Jack Johnson (Columbia A 30455) Porgy and Bess (Columbia CS 8085) 187Bitches Brew (Columbia GP 26) Nefertiti (Columbia Ch 297!) Micro-tones, heterophony, noise components, glissandi, distortion, ete. Filles de Kilimanjaro (Columbia CS 9750) In A Silent Way (Columbia CS 9875) Miles in the Sky (Columbia CS 9628) At Fillmore (Columbia 630038) Miles Davis on the Corner (CS KC 31906) Micro-tones, heterophony, noise components, glissandi, distortions, ete. Dixon, Bill, Bill Dixon Orchestra, instrumental effects, klangfarben melodie, ete. RCA ISP 360 Dolphy, Eric, Outward Bound (New Jazz 626) Qut_to Ianch (Blue Note 84163) Extreme angularity, vocal imitation, Jazz articulation, extreme dynamics, registers, etc. Eaton, John, Myshkin, glissandi, trills. Electronic Music (Turnabout TV 400!) Ellis, Don, Orchestra, Electric Bath, extreme angularity, vocal imitation, extrene registers, half-valves, flutter tonguing, etc. (Cotumbia cL 2785) Ferguson, Maynard, A Message from Newport (Birdland R 52012) M, Fe, Horn Two (Columbia KC 31709) Extreme high registers. Gillespie, Dizzy, One Bass Hit from The Dizzy Gillespie Reunion Big Band 20th and 30th Anniversary, half-valves, kissing the uouthpiece, Siccing vomie Ol (MPS 15207) Gee Baby Ain't I Good to You from New Wave, half-valves (Phillips PHS 600-070) Iwo Bass Hit, balf-valves ‘The Champ from The Double Six of Paris, Dizzy Gillespie (Phillips PHM 200-106) 38You Stole My Wife, You Horsethief from Dizzy Gillespie, Volume 2, (trombone players), neighing like horses, trilling, slurring, ete. (RCA Victor 731 068) Haden, Charlie, Liberation Music Orchestra, heterophony, gliscandi, trills, slurs, nicro-tones, etc. (Impulse AS 9183) Hampton, Slide, Chop Suey from The Fabulous Slide Hampton Quartet, trills (Pathe Records EMI CO 621 0156) Harris, Bill, Bill Harris Herd, varied vibrato, trills, glissanai, ete. (Norgran Mat Tose) Harris, Eddie, Silver Cycles, electronic effects (Atlantic SD 1517) Hemphill, Julius, Dogon A.Dsy klangfarben melodie, micro-tones, percussive string effects, glicsec, slure, trills, ete. (MEC 501) Henderson, Joe, Black Is the Color, klangfarben melodie, extrene dynamics and range, varied articulation (Milestones 9040) Holland, David ~ Bailey, Derek, Cello and Guitar Improvisations, sul ponticello, Pizzacato, col legno, harmonics, trille, slides, slurs, bowed effects, multiple stops, ete. (gem 1013 sr) Honegger, Arthur, Pacific 231, percussion effects (Westminster WST 1uh8%) Horn, Paul, Suite on the Mass Text, Lalo Schifrin, sprechstinme, micro-tones, trills, slides, ete. (RCA Victor LEM 3414) Howard, Noah, Nosh Howard at Judson Hall, klangfarben nelodie, string effects, cacophony, varied jazz articulations, ete. (ESP 106i) ““ubbard, Freddie, Sing Me A Song of Songmy, electronic effects, heterophony, layers of sound, recitation, processed sounds (Atlantic SD 1578) Izenson, David, Sadness fron Towhall Concert, string effects (B5P1006) Jackson, Quentin, Rockin’ In ta from History of Jazz - Enter the Cool, Volume IV, growls (Cap 2610-l) Jarman, Joseph, Dexterity from Great Black Music - Message For Our Folks, (Art Ensemble of Chicago), Actuel 28, extreme range (altissimo register), indiscriminate pitch, trills, slides, ete. Jenkins, Leroy, Vietnam 1 and 2, Revolutionary Ensemble, string and percussive effects, micro-tones, harmonics, slides, slurs, bowing effects, trills, ete. (ESP 3007) Jones, Elvin, Summertime from Heavy Sounds, string effect (Impulse A-9160) Kenton, Stan, City of Glass, string effects, slides, slurs, ponticello, harmonics, etc. (Capitol 736) 189Klemer, John, Soliloquy for Tenor from ALL the Children Cried, slides, slurs, trills, varied articulation, equavke, squeaks, ete. (Calet) JeGrand, Michel, Nuages from LeGrand Jazz, tronbones and flutes slides, slurs, trille (Columbia CL 1250) Iobos, Villa, Violoncello Society, extreme registers, varied bowed effects, harmonies (Everest Records 60h) Mahavishnu Orchestra, Birds of Fire (Columbia KC 31996) The Inner Mounting Flame (Columbia KC 31067) Janz articulations, slides, slurs, electronics, vocal imitations, extrene ranges ond registers, etc, NePartlond, Marian, Glimpse from fubiance, string and piano effects (lialcyon 103) 7 Mingus, Charles, Nostalgia in Times Square from Wonderland, pirzacato, varied Vibrato, slides, slurs, extrene registers, guitar effects, ml- tiple stops, micro-tones (8518019) i Gan't Get Started from Wonderland, pizzacato, varied vibrato, Slides, slurs, extreme registers, guitar effects, mltiple stops, micro-tones (8818019) Mitchell, Roscoe, Congliptious, entire album, Nossa 2, dramatic effects such as extrene dynamic contrast, widely varied articulation in all instruments, use of extreme registers, trills, slides, slurs, micro-tones, silence, smears, klangferben melodie, ete. Parisot, Aldo, Kodaly, Unaccompanied Cello Sonata, from Counterpoint, harmonics, Scodatura tuning, extrene registers, slurs, pizzscato of varied types, varied vibrato, mitiple stops, trifle (CP 569) Peterson, Oscar, Shelley's World from Blues Etude (Limelight 1886039) = Penderecki, Kraysztof, Murenody for the Victins of Hiroshima fron The lew Music, extrene registers (“he highest possible sounds on the stringed instrunents"), tone clusters, "every possible way of attacking the note is explored", ete. (Victrola VICS 1239) Sonata for Cello and Orchestra from Siegfried Palm Violoncello, Various modes of playing between the bridge and the tail- Piece, unconventional techniques in which the strings are struck by the hand, irregular bowings, changing pressures on the bow, ete. (Heliodar Wergo 2549-004) Ponty, Jean-Luc, Plays the Music of Frank Zappa (Pacific 20172) More Than Meets the Ears (Pacific 2013h) Electric Connection (Pacific st 20156) Grities’ Choice (Prestige PR 7676) 190piming effects, harmonics, doublestops, trills, slurs, portanenti, bowing effects, etc. Pousseury Henri, Rimes Four Differantes Sources Sonares from The llew Music electronic sounds and orchestra (Victrola VIGS 1230) Rostropovich, Mstislav, Concerto for Cello, Shostokovich, varied vibrato, elides, Slure, miltiple stops, harmonies, pizricato, polyphony, ete. (Columbia ML 5452) Robin, Mado, Souvenirs de 1a Belle Bpogue, dramatic high register (Pathe CUD 215k) Russell, George, Sextet _at Beethoven Hall (SABA 15059) 45 Sexvet (Riverside RS 3543) The § Spot (Decca DL, 9220) The Stratus Seekers (Riverside 12) Othello (Flying Dutchman FDS 122) Jazz in the Space Age (Decca DL 9219) Living ‘ime (Columbia KC 31490) Maximum expressiveness via pantonality, pan rhythn, mexcimum latitude vis-a-vis pitch, inflection, interpretation, extreme contrasts in range, expressiveness, volume, etc. Free, Sanders,Fharoth, Jevels of Thought, extrenes in dynamics, rence, ete., rhythmic effects, exotic instruments (Impulse AS9190) ~Schoenbers, Arnold, Qde to Napoleon Bonaparte, sprechatinme (tionesuch 171186) Schuller, Gunther, Jazz Abstractions, string effects ~ sul ponticello, harvonies, slides, slurs, micro-tones, mltiple stops, varied means of producing sounds, (alto sax), micro-tonal, slide, guttoral {Seay Yoral imitations, alternate fingerings, ete. (Atlantic 1365) The Conteuporary Composer - Quartet for Double Basses, retunings, multiple stops, trills, slurs, pizzacato, jazz articulations, harmonics, ete. (Turnabout TV-s 3hh12) Hoodwind Quintet, 1958, Concertapes, Ine., # soundpiece (klang- farben welodie), varied vibrato and non-vibrato, tone clusters, ete. The New York Woodwind Quintet (1229, M216) Shankar, Ravi, Sound of the Sitar, micro-tones, varied levels of rhythn, vocal anenonics imitating the various tones produced on the drums (World Pacific WP 143k) Shepp, Archie, In A Sentimental Mood, intro, from Arch ¢ Shepp in San Francisco 191Sinmons, Sonny, A, ¥. from The Cry, Prince Lasha, slides, slurs, indiscriminate pitch, shapes, etc. (Contemporary 87610) Stadler, Heiner, Brains on Fire, klengfarben nelodie, slides, slurs, percussive effects, trilis, eaccphony, heterophony, ete. (Labor Records Ins 7001 Starker, Janos, Kodaly, Unaccoupenied Cello Sonata from Round the World with Janos Starker, trills, slides, miltiple stops, scodatura tuning, varied vibrato, extrene register, pizzicato, harmonics, ete. (Thrift Edition 1093) Stockhasen, Karlheinz, Nouente for Soprano, 4 choral. groups, 13 instrumentalists, 1965 version, widely varied seale of articulations, con- tinmous noises, fast stomping, hand clapping, knee slapping, foot shuffling, speech sounds, non-pitches, gigeling, murmuring, speaking, shouting, sereaning, ieughing, singing, klangfarben melodie (Nonesuch H1157, 171157) Kontra-Punkte, for 10 instruments, from The New Music, Klangfarben nelodie, struck plucked, boved strings, inside of pisno, extreme dynamic contrast (Victrola VICS 1239) Taylor, Cecil, Unit Structures, compendium of effects (Blue Note 4237) eral from Archie Shepp in Europe, Volume I, slides, elurs, pitch variation (Delmark DL 409) Terry, Clark, Montreux Jazz Festival (Polydor 24-5002) Tehicai, John, Together (Columbia 32-16-0254) Varied articulation, false fingerings, bends, slides, slurs. Thelin, Eje, Acoustic Space, klangfarben melodie, slides, slurs, vocal imitations, - Space, cacophony (E062-3}1H0) Turetzky, Bert, Bertram Turetzky, Contrabassist in a Recital of Ne tones, widely varied instrumental articulations, e: in dynamics, various types of pizzicati and harmonics, changes of register, electronic sounds, etc. (Advance Recording FGR - 1) The Mew World of Sound, Ars Nova, ensenble composition by a single performer, micro-tonal tunings, extremes in sounds and silences, exploration of the variety of timbral and articulative characteris- tics of all instruments on the records, klangfarben melodie, ete. (Avs Antiqua AN 1001) Varese, Edgar, Ionisation, (percussion) Vitous, Miroslav, Indefinite Gearch, slides, slurs, mltiple stops, harmonies, Warfmonie displny, pizzictti, varied articulation (fsbryo Sb 5a Walker, T Bone, Soul, (Johnny Winter, Lightnin" Hopkins, Bobby Bison, Clifton 192Chenii1), micro-tones, slides, slurs, jazz inflections, ete. (Bmbassy 33006) Webern, Anton, Three Pieces for Cello and Piano, OP 11, klangfarben melodie Woods, Big Willie, Danbella from Awekening, Volume I, rips, trills, slides, non- itches, vocal-Iike ubterances (A Greathouse Production 001) Zinmerman, Bernd Alois, Sonata for Cello Solo, 1964, "It can be considered as a ‘Compendium of modern cello-pleying techniques", angulerity, Klangfarben melodie, quarter-tones, etc. Xenakis, Iennis, Metastasis, compendium of orchestral effects (Vanguard VCS 10030) Virtually any record of artists such as Cecil Taylor, Albert Ayler, Anthony Braxton, Roswell Rudd, Roland Kirk. SUGGESTED READING The Technique of Orchestration by Kent Kennan, sections on special effects in each water Any good theory book - section on ornamentation SUIGESIED TECHNIQUE BOOKS AND METHODS Ken Dorn Demonstration Tape snd Sheet Multiphonics, and other newer techniques. New Sounds for Woodwind by Bruno Bertolozzi, translated and edited by Reginald @mith-Brindle, London (Oxford University Press: New York - Toronto). A Modern Guide to Fingerings for the Flute by Janes J, Pellerite (Zalo Publications, 7. 0, Box 913, Bloomington, Indiana) Cont ‘ery Clerinet Sonorities by Wm. 0, Smith (article), (Selmer Bandwagon Naber ty, Delmer Division of the Magnavox Co., Elkhart, Indiana) Vocal and Speech Sounds by Bertram Turetzky (article), a technique of contemporary ‘writing for the contrabass, p. 118. The Composer, copyright by Composers' Autograph Publications, 1969, Volume 1, "73, December 1969. Tape Delay Techniques for Electronic Music Composition by Paline Olivers (article), 0 135 (lie Composer, 1569, Volume I, #3, December 1969) _ The Besa as a Drum by Bertram Turetzky (article), a discussion of the percussion —paraietere of mid-century writing for the contrebass (‘The Composer) 193New Directions in Saxophone Wechnique by Fred I. Henke (articte), (I na Ir Selmer Bandwagon, No. 63, Selmer Division of the Magnavox Co., Elkhart, Indiana). Muree Octave Scales and Chords for Saxophone by Joe AULara (Charles Colin, 111 W, Nth St., W.Y., W.Y.). f , ‘Top Tones for_the Saxophone (Ii-Octave Range). by Sigurd M, Rascher (Cari Fischer, Inc., 62 Cooper Square, NY). Contemporary Systems and Trends for the Tuba by Daniel Peranton, Associate Professor of Music, University of Illinois. Section IV...Chapter 10 IDIOMATIC IEVICES FOR THE TROMBONE 1, Expanded Bottom Range Pecause of the influence of the trombone with F attachment, modern writers have ser atiains about writing those non-existent notes between E below the start ant pedal tone BP. It is this writer's experience that with diligent practice those missing notes are as practical and accessible as they would be on bene ‘trombone. In creeeacne the flexibility end relexation gained from playing in this resister srzergthens the middle end top register of the tenor trombone. Every teoskeniet should also strive to perfect his playing in the pedal tone register, difficult though it may be. In practicing the following exercises, the player should keep the corners of the enbouchure firm and the center relaxed, then change the notes by dropping ‘the bottom jaw in a straight line, | Additional practice may be gained by practicing in a bess trombone book or simply teking tenor trombone exercises down an octave. 2. Developing skills with angular linet 3. Lip trius. 4, Shokes and effects.<=, oe = + ey aiais shace 20p v Ww as me e settee rae 4 og Pers “ = :* “a eS = = : == we ne - = pricpteas-thece + Mh ts a4 Se 7 = + . re RTT) ORL ys O Sen ros Be a Taw, e a ey WiOH SUT FJO SUOTTTHCE SSTEE “GOT ( BeyTey SuOWIOAD SAL * 195( ( O* Geeree Practice the various scale exercises (given before) in their bottom octave using false positions when necessary, $e =F oF FF fF « epee aes Practice tones between low E end pedal BP until they ere as accurate as with s pedel. Drop te bttom aor ibaa a a ae 7 = MMoumDIce, = == = ——————— 100, Exercises to Develop Skill with Anguler Lines Ce a, First practice intervals for sbsolute accuracy, parti- Sacre = = ee culerly compound intervals (octave plus another interval). oe ‘Tombs, tee _ See See Teas pep ee - a == eo 2 eae ® % a Practice ell genre sceles using the bottom-most octave. Strive to make ell notes have the same quality end et all volume levels. Be sure and practice vibreto on the false notes, see a SS 7 Practice ell quelity triads bridging the gap between low E and the lowest possible sub-tones, Se cbewt WEEKS WZ. 3. ond 4 eoOrE GisplaceMENS 196= ——= aE HOA, 30 CORP = ta YS 2 21918304 50 460t sO dn om PD MOIS 4701S ‘uno amok Jo exon astasp pue S039 ‘setpoTem ‘sestosexe paqseBns 94} JO TTs eoTz0B4g “T SINGANOTSSY CRIsEDMs *(@9i/ap) Amnques qyetquens 04g ut oTerm Jo smeTqosd 9u3 UATA BurTTesp of qososdde AxeuoTgnToaer v ‘remeq ‘N Prauq Aq SuOqHOR, 9} OF SeMbTUqIe] AIPFOGHSGUOD “wOgD so S3}qOLOA Gurxiwixow s3smoN8%3 aTOS AHO doTaNag He a “ @ wet 6° af hu 8 == Ss cers ot ae SS ae Ee AT SUI B ce ad Speman cot TOF] s7oos ssMNIp PmOUS Tahoe Uy, a z — ? q 3 #4 4505} moIg fp a SS = = awa, == - “3508 500k 50 mas £ = a Eye G ( ( 197: 3 2 2 fe,petepe titer? tieet sitet a = 2 3 : seat stp e gt 3 ee SSS Tig Fenaer tos ase-oteenat—posthons- ie cst oree Tod erare fo {ast Fetes he may Simply FAKE #he tw wi his ip. é. 4 == seis $ All genre scales should be practiced in the above manner. —Some piney oppmacres:__ Pe bs —— == Vibe Fie ten wo =: —— a a a ‘ola @ aighing horse Practice starting all over the horn moving from lower number positions to higher and vice versa. Experiment wi smaller iitervals 198( _ nus, au my eh amo suoq3098 STU; UT STepom ===] Pry FE oun 09 Suypacove suoygoe8 zey90 UT seTeOs LIV soyaIuag *sax6900 3. aTqtsees Tle ut pue (suoTzTsod syeuseyTs pus TeTNer ZuTsn) ESS EEEe EEE + SSS 66 edd SOUUEE eAOGE 84} UF SPxoyoeIz03 Oy} JO TTS soT}0NIg 1 SES Ss z a) hae aan EE 4 = SF Se =a ae rus TO == tS Saas oie = wy reynd sol eH « f masa, Gumbuoy mony, ‘uoyg0es eTy9 Uy sTepom ya 09 Suypscooe suOTZOes TeNR0 UT seTeOS TT soTZVIE SE Eansrsaassaa see sSese=e=— Sorc Seana oaeaacad = SSS Sr pan aa Sana Santee aa aaa 3nWyS_ MB. Yor M-PAL MPN _Te BAL MPM T--TM Sea ( +eat3 Jo"porsed yz0ys & Ur AATT ORs pus enbruyoss ‘peeds uz asverouT peysem v Uy 3Tnsez Try segdeqo sTQy UT peqrsosep senbyuys, oy JO UOTysOTTdds queSTTTD suz, ‘erBu0y Ta-pny omy dopeaep 07. peusTssp sas suoTysS¥Is Due sasToTeXe BUTAOTTIOS Ou teuoqmozy ug go unzoeds soto ey3 Surpuedxe jo suvex zeq30uE ek szegzo SurnBu0y stu, ‘orsnm Axesodmezuoo zeqq0 Uy ‘squammaysut zzef zeqjo W3TK suz03 Tenbe uo SuTqedmoo Jo susaa ¥ yeTuoquos 943 sepracad pus suoudoxes z0ul3 2uy seqemyxosdds ATes0To eaom ansuoy Tn-pny aug *3xaqu00 zaef ep;z Buog & UT AxoR0uJeTIWSIM PUE eATSUEZIO onsu0>, STAN 9y3 PUTT sysTuoqMOI} |soH “UOTYSeT DTAemEZPOTOR faz0o ‘33738 8 UT sore sem onBu0y atqnop aug ‘sod wey prder ys0m 943 38 UeAS fzzwP ur onBuoy etqnop pue Tat 943 09 @ATZUUAEGTS poqEaTBe sseT puL oyeFaT arom yorm 8 sepracad Surnfu03 stuy, ‘en#uoy oTdy.3 pue stqnop PTo-s#e 943 Jo woTgeoTI+pom w st enBuog Tn-png Our, (euoquosy) SARUOL TH-PAL SL *gOT ( 199bE att = bee = a= =—=—- be op be sl oe =< phe PF pe be ge _ aa ES = Practice all scales and combinations of tetrachords : using reguler and elternate positions. Work toward the be BE be festest possible speed. SS vee f = 3 + —_ vars be oe f ME a4 jp eeeeet =e Se 3 = = SS fet t pit = eet? 2 eee = eS $ = sitet aS ee sae gale oe sree t 5 = SS = = aS 5 7 iso prectice the descending version. 2 t tt sagPerforn ell genre scales in the pre- st etet = sett z = ceding manner using reguler and sug- = gested alternate positions. Graunctgisce Terre Combine tetrechords in different manners to form other = = scales (nrastice as suggested). 4 + Beeeee, eats SS = =e = SSS qe heul foF fo haul Bee = = fap ee fap * + 2 = ap tt pep Sees zi Practice all scales end combinations of tetrechords in the sbove menner (reguler end alternate positions). eae eae panes approach-maximam— Velouiy, suirten 70 this modupeanion eee + 5 eee 2 ned Lew wea ar uw oul Ae Aur * £ mp pete soeretty a ae 200voT3eaedead uy Joueg *N Prasg Aq SuOGMOTY SUF TOF SID THET FHOD ANTOYEE CaLszOMS ‘6S0STas vavs) TIER weAouyeeE Fe FSIKeS Tleseny obioep woxg SADOTD SHOT UT OTM ‘uerag ‘moyqueay, (mgr Sue) fopyTs ‘uoydaoy (mare Ave) (SJE sprsaeaty) TOPTOUIE wozy TITSUOR (oz6t "Ig o0eq) oTos gnoysnosys F Suse FeROG Treseny Sfa0ep moss TOTIO_ STUSMOR “pTvwg SreqeG SaION MANOEL -Ghi JO SeTaWXE 20110F. Fretted Playing (Trombone) The term "fretted playing" is used to describe an approach not unlike that used in playing string instruments. For instance, on cello, a perceptive player will soon discover that if open strings are avoided, all chords and scales of a particular genre may be executed using the same fingering, i.e., CM9 - DPMO - IMO or C minor scale, B minor scale, BP minor scale, ete. Of course, the advantages to a player in improvisation or other situations mst be patently obvious. It means that mch of the work in playing a particular passage cen be delegated to the fingers. For example, if the cello player plays aC minor 9 across 3 strings the fingering might bet A 1 >a G B SS c Bp c in which instance all minor 9ths across three strings would have the identical fingering, of course, allowing for intonation adjustments as he moves higher or lower on the fingerboard. In my experience I have found that a similar phenomenon to a mich lesser degree exists for the slide trombone. It is my conviction that all good players, intui- tively or otherwise, make use of the principles involved in this concept. Very simply, this concept is based on the same principle as the bugle, that is the possibility of creating identical melodies on the partials which lie above each of the fundamentals of the overtone series. (See overtone series) For exemple, fa melody which cen be pleyed ell in 2nd, 3rd, lith, Sth, 6th, or 7th position. Extending this logic, we find that melodies using various slide combinations also maintain this characteristic, i.e., a melody with the following slide positions. 13246 if started on the 2nd overtone series would be played ah357 oR F minor 9th: F APC BD G oR E minor 9th: EG BD FF 13:33 2 24kag oR OR, Dminor 9th: 46665 E> minor oth: EP GP BP DP F 54 355 on DP minor 9th: 5.7776 In each of the above instances, once the player settles on a set of positions for a given passage, he need only allow his arm to duplicate the sene motions starting in another position. Again, the advantage mst be all too obvious.Somple Graphs of Some Simple Fret Patterns diminished Th chords BP a. Meo G @ F E PG eee Aor E & »p * t t F E ® Pp id c 8 D ab CB e A » eine eee fol eo F E D Leas 8 B A » 6 @ F E 1 2 3 4 5 o 7 - Bbdiin. Adin. —Abdiin, Tr ic ws Ete. ‘wee ye ’ t lone ey BPdim. dim. Adim. ~ (Bv>EGB») (Acebeta) (above M) 203mented. Qu Eaug. EPoug. (FACKF) EGtcE) (eho Be? Faug.13 chords (+11) r Rok ah eB A we 46 c eee a = a G @ 4 2 3 4 5 Boel Atl! Atl! (A cKEG B DF FF) (Por A CEG) (Ab cebober DF) nm>oeog mQ@oe oPreparatory Exercises For Fret Playing — all 2 single pestion ‘position. be 2 es a ee ed = =< === getctits 2 ‘ingm npn 2 hte 2 == a me Henly Ma be by = 2S eet fi tbeo~ Peer San a Le as 1. Practice from any book of bugle calls. 2, Practice from sny warneup books which contain exercises all in one position, Simple Exercises tn Two Adjacent Posthins Fee £ (4% onc 2nd fi22 = £ —pesthans=aaip?(soTgeredead uy Xow" *N PTABg Aq SWOGHORL oyy doy SeMOT RSL Mier ONIGVEE CEISEOMS (n9 at o8ay) TpOoA SemBP mozy PROWET ‘my ‘ysoquroy, (9oL at 9873800) TERERE moss THIER Sp *p ‘uosuyoe TOT = 2900 INE eusea) FOSTETG BOSSE SPTIS StOTaqeE Su] wor3 Feng “eptis ‘uoydmy eprsseaty) SHUGSEHS wosz THT SLE spTssenty) BOFSURAAG woss FOTPAT oe pue TyseuoH (oz6t Id_vove) FUSS SU Fe TIOSSNE OHIO moaz SOTIO SIUSIO ‘prag ‘royeg Z0hIs (NY BNINSISTI caiszms ( ( *paotgowad 8q PTnoys enBuoy Tn-png ayy wou} “AaTTTORI pauTe® sey. sefeTd eug pue poogszepun st eTdyourad pagqeaz 243 soup106. Against-the-Grain Playing This term is one coined by the author to describe a way of playing trombone which minimizes the necessity of tonguing. Because of the manner in which the trombone is constructed and the relationship of one overtone series to snother, whenever the slide moves in the opposite direction of ‘the note a natural break Secure. For instance, the notes move higher os C to D and the slide moves lower (smaller to larger number) 3 to 4, Conversely, when the slide and the notg move fa the sane direction without » compensating attack, a speat reaulte, seep € t0 ” We all know the effect in Lessus Trombone, the Firebird Suite, and much Bixieland moic featuring tailgate tronbone. The swear, rip or slur has been used most effectively in both dranatic and comic situations thraighout the history of the slide trombone. By using the technique which I lebel "sgainst-the-grain" playing, © mltiplicity of sdvantages may accrue: 1. Dramatic effect approximating a valve action, Speed end technique often not possible using the tongue. 3. Rips end slurs not unlike those produced by the French horn in certain contemporary works. 4, A smooth legato, not obtainable with any modification of basic tonguing techniques. 5. Meny others limited only by the player's imagination, In the following scales, the player is offered countless possibilities and alternatives in virtually every instence, When possible, entire scales are posi- tioned in a single direction, Otherwise, as many notes as possible are offered ina single direction or in recurring symmetrical or assymetrical patterns. Through use of the charts of the overtone series, the player may uncover posei- pilities for any seale, arpeggio, melodic passage, etc. SUGGESTED LISTENING AND STUDY (AGALNSI-THE-GRALN PLAYING) Dennis, Willie, Move, throughout solo, from Jazz Workshop, Volume I (Debut DLPs) Eaton, John, Myshkin Lashley, Lester, Sound, throughout solo, from Sound, Roscoe Mitchell Sextet (Delmark ps hos) eT Rudd, Roswell, Wherever Junebugs Go, throughout solo, from Archie Shepp Live in San Francisco (impulse Wg Witcon, Phil, Never WLLL I Marry and My Favorite Things, throughout solos, from My Kind of Brosdway Woodmen, Britt, Sultry Serensde from Duke Ellington Seattle Concert (RCA Victor 1M 1002! ‘SUGGESTED READING Contemporary Techniques for the ‘Trombone by David N. Baker (in preparation) 208==: = + 2 a2 et Se —— ———{—— ———= oy ¥ a a ed yur 4 pe_eteos 84 ‘yz SSS > SSS SSS = =——— oa Sree == ——— = eae 3 Tt yo ¥ ¥ _. * St ne Se toys 29 “ys 1 9 + SSS —* Ee See SSP ¥ aia Tos F 3 7 y 7 1 6 19 rite H Ss {oS = ss SS a= f oe ty ep S= == = SEES == oC es ari # wr —— a a wll Se Rl iet td = Toe TF id Coase EOE fetontal pcm geeaY + z SS ee = ht = 7s Taare + + st 14 c's ¢ 1 _ jeeeseycttcts, = js === T ——s ve z7 to yt e4 v's tz sis Get reaiagtinnss. +9 25 9 SSS —————S SSS SS SS ~ oF St eee Sere 7 pt os 2st e+ ks ? SS (eee SS SS SS Se ae aH pore srr rT ro ‘c_ = aie t's 9 ‘2 ¢ + pa tttote = =e SS ine 7 Ft aa * £ 29( ( Practice all quality trisds bridging the gap between low E and the lowest possible sub-tones. Practice large intervels involving false tones. Qa ska 45, 2k == == mie Prectice various cele exercises in their bottom oc- Te he tave using felse tones when necessary. i = by aes = = Practice tones between low P¥ end pedel C until they gat Ft* ere as accurste as the notes in the middle register. tale vd Gente Ca aD a 1 — bet Other exercises may be appropriated from different = = method, solo, and ensezble literature by simply placing 5 + oS 6 = mowree these pieces down an octave and using false tones ¢@& "a (sources for material might include Arban, Universal, x ——— — Colin, ete.) ¥ we Ss we OS SSS SSS = be 2 i js weve 6 ae FF ee a eee ae === aa Sa afr Jum Practice all genre scales using the bottommost octave. (it?) ri Strive to eke all notes have the seme quality end st ell 7S Se Se lela: Ee-sure wl peaceienionc ar tietese f= ae er eeaige oe ai St notes. ===. & QS == <= = + Spee & ple =j —- m om —_ 8 = SSS eS 22=: { 2 Se qs, SSS a Practice all scales in other sections according to the models in this section. & SS ae Pecan Reuse tees Sle ees ee Pais pee So ee =a ee b ars GSpeaae aaa = Practice ell scales in other sections according to the models in this section. Waile the trumpet, unlike trombone, obviously cen com pete on equal terms technically with sexophone, this color epectru, Gucew ong sais! ‘Tome Je slow to os fast os possible es ea SSS Eiaia wun omit & —— =: fp ===: SS See =| eS = a= Ss oS Soe; e+ 214(etéyoupad pumogez) 4 pn) Fm) TPP << oa = “psoas Gumondf 24 Gurm unig suueD wae DRUTOW OTO Yh tuovaeorzTpom STH 0% uosras “A3y00TSA ara pide eae a 7n-ph mM + z 2 eS = 4 aa ss SEES) SS SSS SSS Se eet Sees speods eTaTssod aso3se5 U3 PxeA03 520M ‘sBuTreBuTI eyeusexTe pUE TeTASea PuTSN SpxOyOeI383 JO suOTIUTQUOD PUE SoTEOS TTe soTRIwAg SS SSS = 5 rep ot rantLIE. Fretted Playing (Trumpet) ‘The term "fretted playing" is used to describe an epproach not unlike that used in playing string instruments. For instance, on cello, a perceptive player will soon discover that if open strings are avoided, all chords end scales of a particular genre may be executed using the same fingering, i.e., CM9 - DPM9 - IM9 or C mi scale, B minor scale, BY minor scale, etc. Of course, the advantages to a player in impro- visation or other situations mst be patently obvious, It means thet much of the work in playing a particular passege can be delegated to the fingers. For example, Af the cello player plays aC minor 9 across 3 strings the fingering might bet A 1 D 1 > 6 2 o th ae c js Pi NA in which instance all minor 9ths across three strings would have the identical fingering, of course allowing for intonation adjustments es he moves higher or lower -on the fingerboard. In my experience, I have found that a similar phenomenon to @ much lesser degree exists for trumpet (and other valved instruments). It is my conviction that all good players, intuitively or otherwise, make us of the principles involved in this concept. Very simply, this concept is based on the same principle as the bugle, that is the possibility of creating identical melodies on the partials which lie sbove each of ‘the fundanentals of the overtone series. (See overtone series) For instance, a melody which can be played all open horn {no valves) can also be played all with 2nd, Ist, Ist - 2nd, end - 3rd, Ist - 3rd, or 1 - 2 - 3 valves, Extending this logic, we find that melodies using various valve combinations also maintain this characteristic. i,e., a melody with the following fingering: 0,1,2,1 2,1 3, if started on the 2nd overtone series would be played 2,1 2,1,2 3,1 2 > oR G minor 9th «= G BP DFA 1, 1y1,1 2 oR Op1y1p]y2 oR Ff minor 9th = Ef A C# B Gt 212 12 12 23 2412, 12512,1, OR F minor 9th racEra 1 23 23 23:13 123 23 23 12 oR E minor 9th EG BD Ft 1213 13:13 123 12 13 13.13 23 > minor 9th 23 123 123 123 13 In each of the above instances, the player is settled on a set. of fingerings for a given passage, then he need only duplicate the same fingering pattern starting a” different place (i.e., 0 2 22 becomes 2111). Again, the advantage mst be all — too obvious. Examples follow! 216otuoe rworysof Sa 22 D joemie tae ee aan © an ‘qt : . 217 adda ¢ ea 5 tt Tn i a I ZU Fz SSS = cha z = = = er a a Zoz *eoqzes 7 SU0ZTEAO BYR UO peseq sesTorexe fue eoT_oeag °s too “*STTBO eTHnq Jo yooq Aue mzz eoTgoeag °T a "i z f PN s FFHE zm = 3 SS S5 Se tate uigs eg ado = = Ss SBE wu fo Kowa ay doarap = oe Su He b £4 === Se ==) + * = = ts ==S— ee SS 2D eae SA ye Tae ss tab => Sas Sse os a =F == = : , Se SSeS — me < ‘uo ado —— = aS SSeS <4 Baan, eg Se ( Guihog sey 28 sasaIa Mororodsy (& fen i 2 ha 2 see 3 5 : coma e Once the fretted principle is understood and the player ie ° 5 : ° : é has gained fecility, then the tud-ul tongue should be e 7 frectioeds ft ee Re Fe CRE a re fe 8 ae 2 gs *e = é x Section IV...Chapter 12 me] os] os : soe] soe | c IDIOMATIC DEVICES FOR SAXOPHONE : . . “ : . le : 3 f : ue e ee ee ee | som] soe] one Slee lee gem] os nit imo Ty its = ateta tS gets 2t2F 12B. Some Exercises for Saxophone 1. Practice all genre scales at least 4 octaves. 2. Practice triads, 7th, 9th, 11th and 13th chords of all types and in all inversions at least 4 octaves. 3. Play ell exercises and melodies in your scale, tech- nique, method, excerpt (etc.) books one octave higher | than written, 2a9 t—- ‘suoydores sui fo saynbu muLs sub Fmovbmant S37 yo sasUl vayMIA OF VOLE ToRadS: hay = =n ~ pr ee eee eg ere ap Sg DEE “ se0ae SS D up pdupg Tre a0 olen Tre uy soTeon ommed Tre = ttt eo 7 3 + + 7 z = = SSS = = aossed = f HH = Sa Toute 7 et =e ts squemeseTasTp eae3D0 mmog pue satus soz ION (a) = a seane ~~~ a 3 "H--D0 ams 943 UT Sogou satanDesuOD ong AUTE ss CL -00 ou 3 ~eTGsTD sodity Tre Jo soTeos Tre sor oaGe Nil i Ho Il" fle fie fle fhe fhe fe 4 + & 4 wo 4 4 4 4 i i i fy } = — Tce =sqrsvod: ke : sa pEnoSan Ty +, = a th tt fSection IV...Chapter 13 STRINGS IN JAZZ Because of the (1) tremendous emotional, technical and expressive range of the instrunenta of the string family, (2) the fact that strings, except for the bass viol and guitar, have by end large been grossly neglected or disproportionately represented in jazz, and (3) the inherent potential for strings in contemporary Jazz mesic, the following articles from down beat magazine ere herein reprinted. At the conclusion of the articles is a list of selected recordings which give sone hint of the fantastic capebilities and the seemingly limitless scope of string Saas (See suggested readings at conclusion of chepter on Dramatic Devices. 13A. A Partial List of Jazz String Players Past and Present, Becmse the use of guitar end bass in jazz is already well esteblished end the players well known, neither instrument is included in this list. von Ray Nance Ieroy Jenkins Dick Wetmore Jerry Goodman Stephane Grappelly Suger Cane Harris Svend Asmesen Claude Williams Stuff Smith Pappa Creach Bddie Soutir Michael Urbenisk Mike White John Blair Willy Girera Glenn Moore Pete Psarianos Gatemouth Brown Ornette Coleman CELIO Ray Brown Oscar Pettiford Calo Scott Abdul K. Wadud (Ron DeVaughan) Ron Carter Joel Friedman Tony Marcus Darryl Wey Jean-Iuc Ponty Sam Jones Eldee Young Fred Katz, Wayne Darling Fred Seykova David Beker 221222 13B. Three Reprints from down beat The String Player In Jazz, Part | (db, March 5 '70) ‘Tne stmmia Laven in jazz is faced wit ‘many problems, some of them directly re: Iated to the instrument, others common to all jazz players, Pethaps one of the most frequently voiced concerns is how to make the string player swing. The string player usually has problems in this area because of the Similirity between his ackgro that of the player on a traditional jazz in strument, He is often. completely. locked into. western European musical concepts All of his. practice music (etudes, reper- ie studies, te.) is im of developing a sym written with the phonic player. Tn many is also the case for a trumpeter oF trombone player, but st least a body of literature 3 of 1e symphonic literature (example jazz std ies, syncopation studies, transeribed solos, ce). Most teachers sill see no validity in the idea of exposing the student to con: cepts, outside the confines of European art (ood, serious, classical”) music. ‘Add to this the lack of string heroes of the stature of a John Coltrane, Dizzy Gil- Tespie, Miles Davis, etc, and’ the conse: quence is a string’ player faced with a Virtual lack of models ‘a model because he only hears recordings of non-jars. violinists Tike Heifety, Stern fic, or cellists like Starker, Casals, Jani fr0, etc. The violist hears only Primrose, Dawson, Hindemith, ete. All of these choices are of course excellent, but hecanse fof the lack of available recordings by ji sling players, no eal alternative is avail able. Obviously, this is not the case forthe jazz bassist because of the fonetional role that his instrument has traditionally played in jazz. The bass is far more advanced in jnzz than the other string instruments Despite many exceptions to the rule, ‘most jazz players must be taught 0 swing (not necessarily via the academy or in a formal sense). It is this writers contention that a feeling for the propulsive flow of rhythm that we eall swing is best achieved through aural means. Four basic steps at sugested: 1. Listen 2 Imitate 3. Learn bebop tunes 4 Play with a'thythm section The first step in learning to play notes and phrases in the manner of a jazz play to listen. The student. shouk! obtain a list of respected jazz players, then 0.10 the record library” and listen. Perhaps the al stages of listening should consist of kind of "bath in sound” approach. The player should listen to the “heads” (mel ‘dies of compositions) and solos watil he jong with them. He should then ‘devise syllables that capture the inflections the players use, He should then snap his Fingers, tap his foot, nod his head” and in general do anything that helps him feel the time in the manner of the soloist. by David Baker with records, he should get hi and play along with the heads of the tunes, Seain imitating the He should ty t0 im tions, and when possible, even the player personal. instrumental. sound. Stat to give him some insights tent approaches to sound and style.) ‘Uniess he has an exceptionally well. developed ear, it will probably be neces. sary (0 slow the turntable on the record Player from 33% to 16. Thjs change of peed will drop the solo line. one octave but leave it reasonably close to the orig inal key. (Some minor adjustments wi Inave to be made in the tuning of strument.) Now he must listen and it ft this slow speed; the notes, articulations, te. will be more easily heard, Once the fotes are learned the original tempo sh be observed, ‘Some additional suggestions: 1. The player should play the head with the ensemble, then continne playing the hrend alone for the next few choruses while the soloists are playin will build confidence and a feeling of inde- pendence. He should now play the head ‘lone without the record, trying to recall fuatly. the articulation, nuances, inflee- tions ete. "2. He should next pick a solo from a record and learn it, He should play the solo along with the soloist, then play it hile the next solo is going on, then play without the record. It goes without say- ing that if he can find © rhythm section he should then play the tunes and. the solos with them, As the player memorizes solos and heads, he must try to identify various Ticks, rhythms, and dramatic devices; he should st Carry, the phrasing, articulations, he learns from the record over practicing of similar jazz passages. 3. Once the player has begun to be relaiively comfortable with steps one and {two, T recommend learning as many tunes from the bebop era. as possible. Why these particular tunes? Because, generally, the lines are eighth-note oriented, teach: ing the player to think in terms of eighth notes asa basic unit. The tunes are usu- ally built either ‘on the blues or some extremely vertical structure. This ives the perceptive player some notion of the re Inionships that exist between chords and scales, Most of the melodic, shythmic and Inarmanic vocabulary of today's jazzmen canbe easly. perceived in these bebop Tines. ‘Most of the Hines have been frequently recorded and are also. generally found in most fake books. ‘This easy accessibility Imakes bebop tunes even more valuable Whenever possible, these tunes should be learned ditectly from the record rather than from sheet music, Tt it not only ‘excellent ear training, but enables the play= fr to imitate the people who should Enow in addition to these tunes the player wi hhave to learn ballads, standards, and con- temporary compositions. In learning these other tunes, the same procedures should be followed. ‘As soon as possible, the player should start playing the lines he learns with a rhythm section and other players. He should take solos, listen, analyze, compare, ask questions, imitate, ete. Aside front the general problems, cer- tain idiosyncratic problems exist for the player, some of which 1. Problems releied 10 bowing. How ie the string player to approximate the sound, swing and feel of more tradi- tional jazz instruments? Many of the prob- lems in this area will have been solved by the listen imitate technique, but such prob- Tems as the kinds of bowing and articuls tions to use must he examined forther. Tn Tong eighth ote passages at a moderate to fast’ tempo this writer has founda Sowing like TD UD or TTD to be quite eflective approximating a bebop sazo- Tom At faster tempo, the Prove of playing many notes undet one Tow may. be gute eectve._At slower tempor, this tid of rnelisma i best saved for'rns used as pekope ala Coltrane eample (I)--er for clortype rn, i alin old matic groupe example (2). "The detache seem most lfestive when in combination mtn oer bowing oF the base, towing ina doobesine osage ora fast singletime paenge, EX: mnie (O)-—rancyBowings Such as the inure, spccaton, and ele afe best ererved for spel efecto for expres. pl poves ay they tend to sound ated in 8 Fir context 7 (example of possible combination towing ona bsboplgpe tune—example rs Tn general, towing veties seem to manta foe example fs upbow for annexe, &: dbenbow for thes © Giscendostate'mosteatly flected by going from point to frog. 4 gEtan ope eae at the pt of he bow. e. Fic’ actene tre bes taken with {. flacmen ofthe bow, sped of th islon of the bow must fer 10 con base ound. aiviom ofthe ow accrding to speed, number of notes, length of note, ete.(These fondamental found in any good string method or learned from any good sting teacher) tte ee (ab, Apri2 30 '70) IL, Problems related to extracting the most strama through the use of idiomatic siring techniques. All music is drama, and on the ability of the improviser to handle dramatic de- vices rests a considerable portion of his success as a jazz player, Thete is an infinite variety of ways fo play a given phrase, a scale, one chord, or even one note, Be’ as adventurous as possible. No. combination fof scale patterns and dramatic devices, should be ‘considered too “far out". ‘The jnzz player must work constantly to create ‘and maintain interest using dramatic de- the following areas, bbe done to create excitdment and ‘Take advantage of the fact that stringed instruments possess more ways of produc: ing sound, and are able to move from fone shade’ of expression to another bet. ter than any other ‘drama-produci 1. Col tegno Battuta—drawing with the wood of the bow. 2. Col legno Gestrichen—striking. with the wood of the bow. 3. Sil pontcello—bowing near the bridge The String Player In Jazz, Part Il by David Baker doqaq-380d yz wTU3TM Yorm AxeA eT uoT|TSOdmoD sTyL “T ISONIV 233ANJISA Anjise ie e Sembe end essentially model. The improvi- sor shoula adhere to the stylistic imperatives of the genre end use the materiele from the compositions. Anjisa. AULEL This composition affords the player en opportunity to play on @ bossa nove with a difference. The tune alter- nates between s horizontal and verticel approach. Letter (C) is the opening melody transposed a half- step, end the improvision should make mich use of thie juplication. The player should also strive to play stylietically correct within thie genre, Auuit Dowel N. Baker bossa nom Bn == 2S SS _p. Sa eee = oe ay * Sele + FE Emi 2 & Sea & 259 Fr E SaaS = 2.e—--————— é Arte ee Ss a man As E SS SSS 4 + aaa Sa rt 234tuoT;Tsodmoo ey} 50 soTsTseoerEGO SuTUTE cep zeujo pus sadeys ‘smyyiqr oy3 osn 07 aaTZ3s pTHOUS sefeTd 03 fuoyy;soda09 sty Uo UOTIwsTAOAMM; UT *L suoyqestaosdny aug ut eTépourad sTua azTTTan pue ) ems ween Uy JT30m Buyuedo ayy Jo quemeoeTdsTp oy a0 “9 vaumg syu3 uo uoTIsTACAdaT sty UT Yovoride eTyy eaotéxe 09 Pefemoous st Tens0sred 843 pus ‘uoTaTSodnoD sTu3 Jo amyees queuymoad zeyjoue st AaTmeTNRUY °G suorssezto2d Lig 4p temp 4a bey t 2a dyer Ata Aye rrr ue uy TE wnosm 62 seauseen ‘0-7 ‘uopyenaze proms se Tmays Soe 03 peyidde pue efey TTe Uy peumweT pus yxequOO s,euny ou9 UpUyTH paorgoead 8q PTHONS SUR UO zeAdeyS ayy UT wI05 asyosexe Uy PUnog Ox WTYA sureqIRd UIy osu, “TE uonomma Lz ‘Sz ~ He ‘zz WBnomy oz $91 wnozyg ET ‘TT ‘Q ‘9 UBMOTUR 4 semswem ‘+e*T *(uaq) Uamnoz 8y3 ST soTAeP Teangonzys TEC eu, *y *(eTs0s paysTuTETP 943 uoTYsSZ sATQBUpSexy we UT es OF aATa}S PTHONS ZeAETE yy) eTeOS POUSTUTHTD B YITA PeXOTOD sy euMy ezTqUS ou; UT eAuBTO Azeag ‘oqeuymopesd suseyqed otsos peystunm *f SHIT NAL pus TST SMI Poy Sores ‘BOY ve souny dogeg yons soz stseq oy; Pepracsd yoTYA uot tsodmoo prepueys © 0 saueyo ey; uo peseq *z tesues gsomd 043 uy doqeq oztz0408 neyo 0} aa09 easy YOTYM sBUTYR es0u} JO Tepom yy “T CSLISIAM: aogaE 235BIVES FOR BIRD 1. Blues for Bird is e tune rooted in the bebop tre- aition but with e lerge difference. The melody, while implying e straight-sheed blues, moves in e pantonal or free tonal manner. Its rhythn and choice of shepes gives the illusion thet ell is well. This composition is extremely enguler and the thematic neteriel distinctive, easily recognized end sufficiently veried es to provide e surfeit of improvisstionsl mate- rials, This tune should be treated as a free blues, ives, ell involved should keep ea 12-measure blues struc- ture just below the mditory level (thet is used as & referential, not a structure), The player then plays any neterial from the composition. He may join phrases in aifferent waye, end, in general, develop the materiel according to his own taste. (see Chapters XII end MIT in Jazz Improvisation) Blues gor Bid Dawes Ni. Boxer SSS == BROTHER 1. A l6-ber blues. 2, The predominant color is the blues scale. 3. Notice the dominant 7th progression which moves by whole steps in measures 9 - 10 - 11. 4, Notice the G7 chord which ends the composition. 1 5. The improviser is encouraged to make mich use of the recurrent minor 3rd interval. 6. The improvisor is further encouraged to emilate the extremely wide interval renge of the piece (2 octaves end a minor 2nd). Brother 236*eoraep oTmuséqa JaTyo ous st quamsoeTaerg *worgtsodmon 943 gnoysnosy; SousprAs UT YORE ATOA sau uorstsodsuez3 pue sousnbag ‘zemsus pue uoT3sonb 30 3309 © 80 30 YOTYA squsuFeZs OTPOTET ony UO passa SF sdeTd ua “OL - 6 - g (0) Pues (g) go uoT3daoxo 2u3 WITH vam sqy3 uo AvSupourauos feTd 03 st oy 37 oTsnm s,qUOW 03 aansCdKXS 50 Teep 20948 © pay easy prnoys zoszacadar ayy pus “oq qUOR SnoTucTeur © Jo ano ATraBeY AxeA sex0o uoTz;soduoo STU WED GHL - ART TaN f= SS fa Auey 4% Suga na — ‘y m4 SSS SS SS SS oye SSS SSS on) ‘w =e 940 *suotqes;a0ad car OTauaOTPT Sursdmegge azogoq anbruyoy ouog-gt uo 224 dew ous uate aerTrmes ATyBNOZON 2q pTnoYs seABTE oun VEG Dud OW Ge z0 oF wy vo Pesepao sf moz syy *senta 8 sy eangonzys SupAtzepun S37 Pue fnoz suog-zi @ wo paseq sy uorazsodmoD stu “T €ao apy sng tuoyareoduos eu ur sTeTae9eE pu soTeos PoyseSins ou; uo ATrawey wat prnoys sospAoatay ome “(GT wBnoms 6) AazaT308 oyuomreY PUB (g YBnoIy; T semssem) STse4s UoAMzeq soUETEG 2 st ecouy *(s0uRn opPoTer Burpiisoss ogy Due PeuspUTETD U3) seTeoe ong uo ATT rempad paseq 8} uoTaTsodmos sTuy aaTe sng 237‘ovisor should make extended use of the meteri- ositional approaches just described. Even though ges are given, melodic and rhythmic ideas should supercede any and all heruonic considerations. (see Intervallic Playing) Cuan Lorry The Champ swipe Dawid N. Baker 67 GH SS ( Fy Eby ___ ty éF = ae Ey Dy My + = * CUZIN IEE 1. This is a funky soul cum Rhythm & Blues tune using the Tet; (49) colon 40 eneti ‘tte Seuitent anced; The player should use exclusively either the ascending melodic scales or diminished scales implied. (Lees, 7 #9 = OF ascending melodic minor or © diminishea He should maintain the style and adhere to the msical imperatives of this genre, i.e., basically a rhythmic epproech funky simple folk-like melodies ass~sheking Cuzin Lee. Davie N, Baker — Fa wit 238——— sy pt eee a arti et gn = trite Bat SSS = Es 8 Se Ca 4a arog 'y Beg z idee agvg 4g *suoTy ssheyx TTe Uy Supazegs pus sodmeg quezegzrp 9e ‘sagen quezeszTP UT seBuey asous pu eung stu soTZoad pTnoys zeAUTE ayy tm ln ge le ay Los tio 400 Ly fort fsemsvem amoz sesseduoous uoTyenays r 4, Tre zene ~wour pesoTane oq ws enbruyooy our +, saPueYp deg 4ueTD, 40 ,S8%eyp urog sunog, Jo ,seueyD eteay,, ss 03 porters Arrensn exe seBreyo ssyy SuezaToD uyop “zoaueAuT ©aT 30 emeu ou7 sawaq AtTensn yoTGA enbyuyoey uorangrasans 32 BTA perstaBomsuesg ef uoTsseasoad tly rr uy “shox g FeuyO 843 Jo sx owed 0% ouBry doas-sreu © PeMeTd De Pesodsussa oq pTnoys pus siax g yom} peTsTeo uoTS ~ssaSo2d 7 Ly rz eu} wo poseq sy ueyaqsodieo stag *y dyn ¢ dy ‘one wvetaoaday o;gemorpT Supydmeqqe eaozeq enbruyooy eu0y-2t wo geqdoyo oug UT Teyseqem ou} UsTH aeTTIMwS 9Q PTHOUS weMeTd OWL "OE FC gk DAD WV V Ci of s81snu3 Pezepso st Mor ayy, ‘Senta Teq-€T © ST emyonzys ZupéTsepun ayy ‘Mor Buoy, © go een eyy go stdmexe euo st uoTyTsOdMOD STU; *T aqgva he ae te S eee : tet et = SS fp a i AS AG 239‘HE FELIX WALK tthe Felix Walk is a 30-ber blues whose melodic materiel is based exclusively on the diminished scale. The player should use only the correct diminished ‘tne Felix Wank ovisetion and should make extended apes, intervellic structures, moods, Lieations of the composition. 240neti aes sng dang “woratsodmos eu; ur yqz0z 4s LayxeTnBue sueziKe 70 BuryTesg aug Ureger 09 Sazays osTe prnous seAeTd ouy 2 “Uo;aeUTquoD eTqeUTSeR; zayjo Aue ZO Po Tacemegon Sent s Mt 4 B m--Eno€ TT Malia = ig sent 4 4 8 at a 0g ary (Supstacaday aTTUH Semouos o7a3ex quesesz;p us03 03 syeeq oy SuydnOSor UITH quampsedxe PToys uoTgoe= mypiys pue asyOTOS Yao 6 8 syeaq g a ee acca 9 s s988q 4T 8969q 2T sqeeq og STU SFT SHOOT ‘Patz cHtdeys ‘pus sontq e et ay ‘opazemetatnm sz 3] ‘omaqos ( Dyayem S37 Aq payaso seryTHOTSSTP gy UT soTT sosTACadzy 944 03 asaz0quT Jo guTod Jofem S,uoTqrsod0o spyZ *T santa annz AD AD 4B +207 7s0dm0o aus Jo poou pye Terrequa oy; uo ATyazoy exp PTNOYS 9% Pue uoyqestacsdzr sty uy ADoTaM ayy woZz 488x309 Tepz0yO Pye goTWOS 943 UTeQUTE 09 oAzz3s PTHoYs zeMeTE ayy *(@) uoTgoas UE seNTq e mors quemBeaz & pUE (y) UOTZ0a8 UT PIONS Wa) sour 9y3 JO seep; oFPoTea 243 Uo paseq st suNd STAT DIrDHog 241igo 2 + EES = Sea THE GEORGIA PEACH 1. This composition is in the bebop tradition end is based loosely on the changes to @ mich played jazz stan- derd. Its rhythmic approach end use of syncopation is firmly in the tredition of those myriad compositions from the bebop period based on this and other standards with attractive changes. 2, The entire composition is based on the diminished, ascending melodic minor and lydien scales. (The player is encouraged to enelyze and utilize these sceles in the improvisation.) 3. The mein intervals of the piece are the fourth, sixth and seventh (the aural consequence is e piece of extreme engulerity). (The player should study their use in the composition and proceed in like manner in the improvisation.) Ane Georgia. ack Dawa X Baker & 4 G2 = SS aS g x , = : ¢ SSS == at =o. ey a a = é Bi i — 7 win Se a= — é ie Dy sae or SSS SSS 242t= he T - £ a. eet tt + at . Fle : i; eg “2 Sey a Gag ae — tae, = a aa $ LS SS SS Se — 5 2 2 Sree eee 3 fesse == aes ED a ed war Ne 5 on 4 oa (ira ett tot rest « ees 7S SSS Jay a SS 5 s, SS aaa SSS hy EE u Sate ee 5 ca ae = 3 oy RD) s dup ay veunq om2 Jo Agr Tenb sefetd ouy *h S&ald WEI 7( ( Gri = = ae =a j @sehep seas 4 iF i + : == SSS = q HOY HOY This composition is without changes, and improvisetion should be from the stendpoint of thematic referential. There ere two contrasting uotifs, a tried and e scale, The player should use ell elemente of the composition in his improvisetion: melody, rhythn, harmonic implications, melodic contours, scelor implications, etc. MABA TILA nis composition ie based primarily on the sound of the ascending melodic minor scale and its use on the 7th #9 end minor 9 (M7) chords and the diminished scele. cod The improvisor, while being faithful to the correct as.n.m, scale, should also use the naterial from the tune in af meny imaginative ways as possible. Maba Tile. Hoy Hoy a = Dawe N. Baker cage Brag? Brg) Shag S = tem =: ry = ri i & Bimg( hi, Bomig( th» rial? 1 i és SSS SSS ae = = am . sin ie tf a ie ome ¢ = == —— 5 } = =SS5 = SSS Say 74 as = 2 ; = = SSS = 2S SESS C7 ft ie oo a CSS == aap 2 i be. = et i Ge SSS SSS é =P settee = = a - pane Drape eee My ; SSS SS eS aS SSS 244a sms yp 8 S&S +: ———" = $e = , sf ge partes Ft, tte pe Es als SS ea 6 Wa Mg MC ™ @ ERO NINO ouToW *uOTQBUPSery Due srers uate (c090 feadays ‘onmmytys foruomzy OTD ~otex) Teyioqea ayy 9gn 0 PaBemOOUe sy GOSTAoRiEy Suz seem, ous Jo pus au; 48 suoTZ0es (usTZOp) Tepom ou} Due CT yBnOTIy L(G) vorgoes werpAToxtm 249 Aq peoueTeq 8} vOT;TSOE moo 943 go Suruu;Beq yz Jo LIT TeOTyTEA ouazaKe OUT “SKOTTS WOT|EU -TRemy 949 SB SUOTIENITS OTUOMIEY yUeZeZZTp AueM sv UT IT NATH auemrredxe 09 pus szoqem ‘saoqeT#ex ‘shox Tre UT quem ~Boaz 943 UTET 09 peRemoous ey sostaomde; oyZ *aeieTE zavl Aresodmequos Azeas fTTengzza £9 paon (Se30u 9ATz SUT vuedo) quemSe23 otpotem © uo paseq et uoTZTsodn0D ‘ST EE vaOvK BIR Hit + © pth gt Lope le lee | hi ‘Wu MS PaHONAE 2 e ¢ 245NONE A PLACE ME BE This tune is en etude based on very elsborate and ad- vanced substitution techniques, The original chenges ere miseing in ell but three measures of the new composition. The title is e desd giveaway if you stert substituting words of opposite meaning, for instence "none" becomes "ell", "a" becomes "the", etc. The player mist stick with the new progression, ex- perinenting with the various scale colors for any one of ‘the given chords. (see scale chapters; also consult other scale books, particularly the Iydien Chromatic Concept by George Russell) The player should etrive to maintain the rather exotic quality of the melody by carefully choosing tones from the desired scales. None A Place Me Be. SOUL Six Soul Six is e modal composition with the (A) (B) (c) (D) sections based on the dorien scale. The (E) section uses the dorian and blues scale. The last 2 measures ere based on en ascending melodic minor scale. The player is encoureged to use the thematic material in any way the imeginetion allows. He should also experinent with other scele options (i.e., @ mi7 = G dorian C diminished C whole-tone, etc.) Dovid N. Bake SS+998 epee ‘ PITH T TTT corn a 510 eug uy AeTa pTRoys ysToTOS pue myZKys Og ‘uoTIOes dueA ey} UT ‘eung e492 Jo AZTNOTIITP euz ‘xoueZSTT euR Jo Tee seo 9} 04 seaT Je ‘SZTMTUTE 04 Ju0ZJe Ue UT amt} ou; ss0c0e pue sofueqo eu3 yBnory AUTE 09 eaTags germ cedeTd ouL *paepueas ZaTeA pefeTd yorm v 09 FeTTETs Azea st sweyos oTUOMTEY ow ¢ op We Uy dma we UaTH * 4 f.5.7 , 1 INE Alin ey emagos ofmystus oTseq 83r | “uOTgETNPOR dyxqex Jo etéyouysd ayy SuyzTTTIn UoTy0es w suTEIUCS osTE pas woyyzsodmoo opasemTate: © jo eTémexe ue oT TUS NaN, (GoPS OMT TzeP ur TET pue TIX szeqdeyo ees) “quommsysuy smof Jo eBuer eats cseadxe pue TeoTsfyd eatque eug een jeaTWwedD ea *E *spaoyo pue ApoTom usomjeq satus -voyyeTex oTUOMTEY TeyJo SUTMEXE *sfex TTe UT suoTssers ~oxd paoyo ‘aug JO SUOTRBOTTAmT ouy WITH qUoMTTedxE *z voqe ‘€ 09 T eseayd qoouuco fray ‘often Jenstum Uy wey} euTqUOD ‘seAB;00 943 soETasTP fxoqom PE mygigs 243 Azen ‘pxenyoeq ‘anop aptsdn meu umy ‘shox TTe Uy voTgTSOGmes ayy Jo seseayd oy Jo Yes UIST “T rsuoTaseins sousmzoszed-a2d omog ‘ests Suyyséue pue poom eua snTd ‘squemeTs eseyy Jo Tre Jo esn exem qu8Tm sostacadmT uz suotssea8oad pay Surpunos ‘TeasTPam yeTou; faATzeOOA wosd 2 pus fyotzea ojmuatys pus sadeys oseayd SuTzsez3uCO ‘UTM SxTTATO pue Teotatt st eumg eyy ‘sedvys Teorstm 30 xeqem fsamueyo ‘mi0g DaATsoUCo~ead ou UaTA ‘ST FeUR ‘zoumem sez3 8 UT peqeer} oq 03 ST UOTZTSOdMOO BTYT NDIOTIS 247( ( . ( eforenentioned. The improvisor has the option of playing for as long as he desires on first one elevent and then ‘the other. Section I cen be any idee which uses the minor tried as ite point of departure, but section II mst see the strict observance of the tone row (consult the chapter on “Iuprovising on e 12-Tone Row"), The improvisor ie also encourezed to make use of metric moduletion as suggested fhroughowt the composition i.e., J, Lod J Wen ! David N. Baker SSS a é == = = a I —— te i CA masaru o habe 4 § via pu me soe ue waEW!! SS ee = ps ae mos at = Whew! ee composition with more than e few probleus =“? ai a a contained therein. The piece is through-composed end 4 Pm essentially additive in construction, Melodicelly, it 6 i _SSS5 === st = consists of two basic elenents: a short (2 bar) figure pased on e minor triad alternating with e 12-tone row IBS 4 which is presented in many guises. = 43a = ‘The improvisation is not on the chords to the tune but =] SS = = rather met consist of the two contrasting elements St ee a 248SUGGESTED READING New Directions in Music by David Cope (1971, Wm. C. Brown Co., Dubuque, Towa) The Shaping Forces in Music by Ernst Toch (Criterion Music Corp.) John Cage, edited by Richard Kostelanetz (Praeger Publishers) Techniques of Twentieth Century Composition by Leon Dallin (Wm. C. Brown Pub.) Hindemith, Craft of Musical Composition - Theory, by Paul Hindemith (Assoc, Music Publ., Inc., N.Y.) The J 2 Tradition by Martin Williams (Oxford Univ. Press) Twentieth Century Muste by Peter Yates (Minerva Press, M20) Twentieth Century Music: An Introduction by Eric Salzman (Prentice-Hall, Inc.) A Year from Monday by John Cage (Wesleyan Univ. Press) A History of Modern Music by Paul Collaer (The Universal Library, Grosset & Dunlap) Music, The Arts and Ideas by Leonard B. Meyer (Univ. of Chicago Press) c in the United States by Arthur C. Edwards and W. Thomas Marrocco (The Brown Music Horizons Series) Twentieth Century Music by H. H. Stuckenschmidt (World University Library) The Language of Modern Music by Donald Mitchell (St. Martins Press, N. Y.) Serial Composition and Atonality (2nd edition) by George Perle (1968, Univ. of California Press) The Schillinger System of Musical Composition, Volumes I and II, by Joseph Schillinger (Carl Fischer, Inc., N.Y.) Serial Composition by Reginald Smith-Brindle (Oxford Univ. Press) ‘Twentieth Century Fugue by William Groves (Catholic Univ. of America Press, Washington, D.C.) Studies in Counterpoint by Ernest Krenek (G. Schirmer, Inc., N.Y.) Styles in 20th Century Piano Music (Universal Edition) Improvisatoonal Concepts and Jazz Patterns by Maury Deutsch and Charles Colin (New Sounds in Modern Music, N.Y.) ‘Theme _and Variation by Robert Kelley (Wm, C, Brown Pub.) A Composer's World (Horizons and Limitations) by Paul Hindemith (Harvard Pre: 1952, Anchor Books, ed. 161, The Charles Elliot Norton Lectures, 1949-50, Anchor Booke, Doubleday, Inc., Garden City, N.Y.) 24950 Aesthetic Quality by Stephen C. Pepper (1939, Scribner & Sons, N.Y., Boston) A Manual for the Modern Drummer by Don DeMichael and Alan Dawson (Berklee Press, Boston) : A New Approach to Improvisation by Jamey Aebersold (1211 Aebersold Dr., New Albany, Ind., 47150) An Introduction to Ear Training by William E. Thomson and Richard Delone (1967, Wadsworth Pub, Co., Belmond, California) Around the Drum Series by Paul Capozoli (New Sounds in Modern Music, 315 W. 53rd St., N.¥. 10019) A Thesaurus of Scales and Melodic Patterns (1947, Coleman-Ross Co., Inc., N.Y.) The Basis of Criticiem in the Arts by Stephen C. Pepper, formistic criticism (1949, Warvard Univ. Press, Cambridge, Mass.) Building a Jazz Bass Line by Ron Carter (1966-67, Ronald Carter Music Co., P. 0. Box 316, N.¥., N.¥. 10032) Early Jazz (Its Roots and Musical Development) by Gunther Schuller (Oxford Univ. Press, N.Y.) Encyclopedia of Scales by Don Schaeffer and Charles Colin (1964, New Sounds in ‘Modern Music, N.Y.) Ear Training Based on twelve Tones by Phil Rizzo (Modern Music School, 2979 Woodhill Rd., Cleveland, Ohio 44104) Feeling and Form by Susanne K. Langer (1953, Scribner & Sons, N.Y.) First Steps to Ear Training by William Curtis (Berklee Press, Boston) Improvising Jazz (1964, A Spectrum Book, Prentice-Hall, Inc., Englewood Cliffs, New Jersey) Jazz, An Introduction to Ite Musical Basis by Avril Dankworth (1968, London Oxford Press, N.Y., Toronto) John Mehegan Improvisation Series by John Mehegan (1959, reprint 1963, Watson- Guptill Publications, N.Y.) Let's Learn to Walk by Trigger Alpert The Lydian Chromatic Concept of Tonal Organization for Improvisation by George Russell (1959, Concept Pub., N.Y.) Meaning of Music by Carol C. Pratt (1931, McGraw-Hill Book Co., N.¥., London) Melodia, 1903 - 1909 by Cole and Lewis (Oliver Ditson Co., N.¥., Chicago) Modern Method for String Bass by William Curtis (Berklee Press, Boston)Natfoual Society for the Study of Education Yearbook, A Realistic Philosophy of Hage’ Education, by Harty S. Broudy, edited by Nelson o Henry (1958, Chicago NSSE, Univ. of Chicago Press) Patterns for Saxophone by Oliver Nelson (Noslen, Los Angeles, California) The Professional Arranger-Composer by Russell Garcia (1959, Critefion Music Corp.) ‘The Riythwic Structure of Music by Leonard B. Neyer and Grosvenor W. Cooper (1960, Univ. of Chicago Press, Phoenix Books) Rey Brown Bass Method by Ray Brown (Los Angeles, California) Santayana and the Sense of Beauty by Willard E, Arnett (1955-57, Midland Book, Indiana Univ. Press) Structure and Style by Leon Stein (1962, Summy-Birchard Co., Evanston, I11.) The Techniques of Orchestration by Kent Kennan (1952, Prentice-Hall, Inc., Englewood Cliffs, New Jersey) improvising Jazz by Jerry Goker (1964, Prentice-Hall, Inc., Englewood Cliffs, New Jersey) Jazz Improvisation by David Baker (1969, db/MMP) Guide to Improvisation by John LaPorta (Berklee Press) Nelking on Chords for String Base by Richard Davis (RRER Music Publishers, Ine.) Theory Method & Workbook by Phil Rizko (National Stage Band Camp, Ine.) Patterns for Jazz by Coker, Casale, Campbell, Greene (Studio P/R, Ine.) Jazz Phrasing and Interpretation by Jimmy Giuffre (1969, Assoc. Music Pub., Inc.) Raske 1922 Conception for Saxophone by Lennie Nichaus, excellent for teaching rhythm and feel (Swing House, Inc.) Four Lives in the Bebop Business by A. B. Spellman, profiles of ornette Coleman, Herbie Nichols, Jackie McLean, and Cecil Taylor (Pantheon Books, N.Y.) Twentieth Century Music Idioms by G. Welton Marquis (Prentice-Hall, Inc., Englewood Cliffs, New Jersey) The Story of Jazz by Marshall Stearns (Mentor Books, N.Y.) Arranging & Composing for the Small Ensemble by David Baker (ab/MWP, Chicago) The Art of Melody by Arthur C, Edwards (Wm. C. Brown Co. Dubuque, Iowa’ 25152 it, jazz, blues & rock (222 West Adems St., Chicago, I11, 60606 - published bi-weekly) Canada's Jazz Magazine (P. 0. Box 87, Station J, Toronto 6, Ontario, Canada) Die Reihe (Theodore Presser Co. in association with Universal Edition) Perspectives in New Music (Princeton Univ. Press) The Musical Quarterly, Paul Henry Lang, editor (G.Schirmer, Inc., N.Y.) The Journal of Aesthetics and Art Crit. (The American Society for Aesthetics) Tempo, Colin Mason, editor (Boosey & Hawkes Music Publishers, Ltd.)sks and Texte by David Baker (published by dom beat /MUSTC WORKSHOP. PUBLICATIONS): “JAZZ STYLES & ANALYSIS: TROMBONE. First edition 1973, 1é4p., 11"x8y", spiral bound, 247 transcribed and annotated solos from 191 trombonists, “Dave has to be one of the world's leading authorities on the jazz trombone. This book is a must for all jazz trombonists." += Phil Wilson JA2Z IMPROVISATION (A Comprehensive Method of Study for All Players). Sixth print= ing 1973, 184p., 84"x11", spiral bound. (Lec #72-206818) "In the growing body of jazz literature, the present volume stands out as one of the most useful and most sorely needed...Perhaps the outstanding quality of the book is its comprehensiveness. Many aspects of jazz are dealt with at both the fundawental and most sophisticated levels. Tt is a particular pleasure to see -- for once -- the dramatic and psychological aspects of jazz improvisation treated in a methodical, practical, no-nonsense manner." =~ Gunther Schuller ARRANGING & COMPOSING (for the Small Ensemble: jazz/réb/jazz-rock).. Third print- ing 1973, 184p, 8$"x11", spiral bound. (Lec #72-206819) "This book is an intensive study...Dave gets into piano trios, jazz quartets; he explores four and five-voice writing, chord substitutions, r&b voicings and bass patterns, and a whole lot of other mind stretchers...it's a great trip through the working foundations of modern music.” Quincy Jones TECHNIQUES OF IMPROVISATION (in four volumes). (ce #72-206758) Vol. I, A METHOD FOR DEVELOPING IMPROVISATIONAL TECHNIQUE (Based on the Lydian Chromatic Concept by George Russell). Sixth printing 1974, 96p., 84x11", spiral bound. Vol. IL, TIE IX V7 PROGRESSION. Sixth printing 1974, 76p., 84"xLL", spiral bound. Vol. ILI, TURNBACKS. Second printing 1974, 86p., 84x11", spiral bound. Vol. IV, CYCLES. Second printing 1974, 250p., 84"x1I", spiral bound. "These books have helped me so much to find and explore new directions in my playing...Today's musicians are very inquisitive, they want to know, and people like Dave Baker make it possible for them to know." -- James tloody In Preparation: CONTEMPORARY TECHNIQUES FOR HIE TROMBONE (in two volumes) co-editing, with Charles Suber, additional volumes in the JAZZ STYLES & ANALYSIS series: ALTO SAX; TENOR SAX; STRING BASS; VIBES; TURA; TRUMPET; GUITAR; DRUMS; PIANO; CLARINET/SOPRANO SAX; ARRANGER/COMPOSER; VOCALIST; BIG BAND; and coMBO.Teaching Background Indiana 1., Bloomington, 1966 - Summer Jazz Clinics, 1972 -- Tanglewood, Mass., 1968-70 National Stage Rand Camps, 1966-68 Privately, 1960-66 Indiana Central College, 1963-6 Indianapolis Public Schools, 1958-59 Lincoln U., Jefferson City, Mo., 1956-57 Current Appointments National Endowment for the Arts, Iazz Advisory Board National Music Council, foard of Directors U.S. Dept. of State, Folk Music & Jazz Panel Indiana Arts Commission Contemporary Music Project Black Music Center, Indiana U., Assoc. Dir. DAVID NATHANIEL BAKER -~ author, composer, arranger, instrumentalist, and teacher -- is a gifted and versatile musician equally at home in all worlds of music. Born Dec. 21, 1931 in Indianapolis, Baker first established his musical reputation as a brilliant jazz trombonist. te worked with the big bands of Stan Kenton, Maynard Ferguson, Buddy Johnson, Lionel Hampton, Fred Dale, and Quincy Jones; and with jazz combos led by Wes Montgomery, Harold Land, and, notably, George Russell. Currently, Baker performs on cello, string bass, trombone, tuba, and piano. Baker holds B.M.E. and M.M.E. degrees from Indiana University; studied trombone with Thomas Beversdorf, William Adam, J. J. Johnson, Bob Brookmeyer, and others; cello with Leopold Terapulsky, Jules Eskin, Norma Woodbury, and others; theory and com- Position with George Russell, William Russo, John Lewis, Gunther Schuller, and others. Raker received a down beat Hall of Fame Scholarship Award in 1959; won down beat*s "New Star Award -- Trombone" in the 1962 International Jazz Critics Poll; currently writes regularly for the down beat MUSIC WORKSHOP and MUSIC WORKSHOP PUBLICATIONS In the non-jazz realm, Baker has been a member of the Indiana U. Philharmonic and Opera orchestras, I.J.'s Wind and Brass Ensembles; the Butler U, Orchestra, hand and Brass Ensemble; the Indianapolis Civic Symphony. He has made solo appearances with -- and he has had his compositions performed by -- the Boston Symphony and many other orchestras. Artists who have performed Baker's compositions include: Joseph Gingold, Harvey Phillips, Janos Starker, Thomas Reversdorf, James Pellerite, Gary Karr, et al. David Baker is currently an associate professor of music at Indiana U. School of Music where he supervises one of the most important jazz studies programs in the U.S. He also travels extensively in his various roles as clinician, lecturer, performer, and conductor. 253Bg Bend Arrangements of Original Compositions (Publisher: db/HWP) *also available for jazz combo A Dollar Short and A Day Late/Adunbratio/Apocalypse/April "Bird" /Black Man, Black Wonan/Black Thursday: Calypso Nova/Catelyst/Check It Out /Cinquatre/Coltrane In Memoriam/Concerto for Flute and Jazz Band/Concerto for Violin and Jaze Band Dave's Waltz/Do De Mi Eros & Agape Honesty* Just Before September K.C.C, /Kentucky oysters Le chat Qui Peche#/Le Roi/Let's Get It On/Lunacys/Lydian Aprilt A279 Rougaloo Nina Ever Knew Penick Screenin' Meentes/Shadows/Soft Sumer Rain/Son Mar*/Soul of a Summer's Day/Soul Six/Suite Fron Black Anerica Terrible T*/that's The Way, Lord Nelson/The L.U. Swing Machine/the Lone Ranger and the Great Horace Silver/the Professor/the Silver Chalice/Three for Neleolm/ 3 Vignettes/1wo Faces of the Black Frontier Vortex Western Song Jazz Combo Arrangements (Publisher: New Sounds in Modern Music) The Dude/125th Street/ and titles marked * above Splooch (ab/ituP) Jazz String Ensemble Arrangements (db/MwP) Calypso Nova #1/Mod Waltz/Slow Groove/Sunshine Bougaloo/Violin Sonata Other Published Compositions (db/MWP) Ballade (as,clo,fh)/Sonata For Piano and Brass Quintet /Sonata I For Piano