JAZZ CLICHE’ CAPERS By EDDIE HARRIS — Highland Music Company _ 1349 NORTH HIGHLAND AVENUE - HOLLYWOOD, CALIFORNIA 90028INTRODUCTION ‘This book is made up of Cliche’ Capers, “licks” as they are sometimes called. In other words, Cliche Capersare the short, popular phrases that are or were played by every soloist during his particular era A. Play each no measure happe Pt < indicated. Example all B's in the same measure are not flat if the first note of that to bea B flat. Jowly to be certain of all the notes. Go through the book for sight re: 3. Play one page over and over for a couple of weeks in order lo: memorize the Cliche” Capers of that specif 4. You could encircle the Cliche” Capers that you Tike and that gives you the most trouble. Play only those page. phrases for a couple of weeks. 5. Two instrumentalists could read each page together in unison. 6. Cliche’ Capers is based on the philosophy that the end of one idea should be the beginning of another Kverything hy Chord symbols were omitted because of the discrepancies in selecting the so-called eorreet chords for the written passages. You could place chord symbols above the passages and present if fo. plane or bass player for accompaniment. a connection, even discords. CLICHE EFFECTS USED BY THE MODERN JAZZ SAXOPHONISTS LL Press all your fingers down’ on the saxophone as if you are Fingering the note Love B Flat. Now Press in the octave key with the thumb of the left hand, ‘This is one effet. Now (rill the fourth finger om the left hand, in other words, the G Key up and down, You can work the G Key, A Key and B Key up and down, Continue doing this with all the normal keys: press down, including the octave Key Do the same as in Exereise No. 1 but this time press all your Fingers down on the saxophone as if you are fingering the note low B natural. Also press the octave hey 3. Do the sa you are fingering the note low € natural, also press the octave key eas in Exercise No.1, but this time press all your fingers down on the saxophone as if 4. Do the same as in Exercise No.1 but this time press all your fingers down on the saxophone as if also press the octave key you are fingering the note low D 5. Another effect is to place as much mouthpiece ax possible into your mouth, then let the mouthpiece rest against your bottom teeth (the reed portion.) As you begin to play the saxophone, press slightly against the reed with the teeth of the lower jaw 6. Another effect is to place as little mouthpiece as possible into your mouths tuck your bottom lip over your bottom teeth and then let the mouthpiece est on the tucked in part of your bettons lip and with a yery loose embochure, begin playing the sixophone. Use oelave key whenever desired. 7. With the sume position as in Exercise No.6, hold down the note C with the middle Finger of the left now begin playing all the other notes. Use octave key whenever desired, against the reed « instead of 8. Place mouthpiece into your mouth with your teeth slightly. pressin d, now tucking the lower lip as you would normally do, The lower jaw teeth are exposed against the 1 begin playing all over the instrument; the harder you bite o the more you close your mouth while the more the effeets will be varied. lowing,EDDIEISMS ‘Vo purchase this book is one thing. To just read the notes is another, but to retain some of the notes to use to your ac you will start to go farther. sto he like others without first searching within himself to greater than thove of any of his counterpart ‘To be @ good musician all you have to do is to practice. To be an exceptional musician you have ta practice eonscien- tiouy longer. To be a successful musician, first you have to become a sucessful human be ture, o keep in mind that potential and drive are shared by one who isalready aware ond am- bitious, Every old man is not over the bill until he stops growing within his mind, te treasured by & select few but recognized by many. Se 1s of communications not a puzzle which one should have to figure out. Therefore, improvisation isa musical lecture played in context to be defined by the listener. G6. Music to the performer is personal and his endeavor is often misinterpreted by others TH. There are no wrong intervals if played in succession: “There are nor wrong chord, only wrong progressions. There are no wrong wotes, only wrong connections ‘Vere are ne weong compositons, only wrong inflections 1 Masie to the J. Seales, chords, seq whereas in syncopation they cast upon us continuous fresh expres teach yon how to ad lib in other words, what to say when talking, but without formal Knowledge, one mans 1s imitations, are far \J whether his aptitudes sometini R 1. Every young man has a away of life wees have their limitations, but there is no end to thythn. dlodies are varieties of inter- 1s of the times we five i Vherefore, Noone ‘ereation may very well be another 1. Avnew song is supposed to generate a different thought, Keep in mind that th tomorrows’ reoceuranees. Jnts of today are last nights devams and but your mind is the lack which the hey has to fit before you continue M. Discipline isthe hey to becoming a great music ot think this or any book for that matter wil help you, please erg in mind that eo ff progress 0. N you cold have: elderly fs wo, one should practice slowly, fora short period each day you, the inusician is when you neglect to used it to practice: J. tn order to infuse the welder ygors or rapid fingering cout be retarded by P. Phe only instance in whieh “Time” works aye (0. Most young musicians are in such a hurry to make i lo the top tomorrow, that they could not find tine ty practive yew terday, therefore they end up in a complete stage of com jim today BIOGRAPHICAL SKETCHES Fade Harris, born Oetober 20, 1936 in Chicago, linois began his rarcee asa singer in various Baptist Churches arounul Ci cago, ln 191) his cousin Bernice Benson taught Eddie how to play piano. After attending John Fares Gramamer school nul Tessie high school, he continued his education at Minois University aud Roosevelt Then Eddie took advance sa iphone less privately in Paris France at the Paris Conservatory of Mi a number of yearson clarinet under Capt. Walter Dyett, then Eadie bean his sately with Low Honig. Eddie has played ith all types of bands, both large and small, Eddie became internation ler he was deafted into the army and Loured Germany and Franer asa member of the Seventh Army Symphony Hand with Lanny Morgan, Len Wright, Dan Metta, Dave Saneher, Cedar Walton, and Don Elis, After returning to the United States and Chicago Eddie has hail many musicians phy in his bands Rafacl Garrett, Clifford Garvis, Booker Little, Bob Cranshaw, Muhal Richard Sbrams, Bobby Hryant, Ro “Thompson. la'Sullivan, Ray Codrington, Jack DeJohnette, Jimmy Hopes, Harald Vayboen, Harold Jone Junie Booth, Svotty Holt billy’ Hart, Wille Pickens, Louie Spears, Bob Croseder, Jodie Christian, Andy Bey, Oscar Brashear, Sonny Phillips, Charduce Wheeler, Jack Wilon, Paul Humphrey, Joe Diorie, Ronald Muldzow, Bradley Bobo, Norman Fearrington, Raf Heed, Roland Faulkner, Billy James. Fie made his First recording with Ver Jay Recording Co. in 1960, One of the tunes was called Evodus, from the motic ft a he same ile; Fe Fis ceording oer ition ords, Fudie hogan eecording with Columbia Recor pecaltere he alw recorded some very papular Canes. Shortly afterwards he started playing the tenor saxophone with a teont Jane mouthpieve, A year later he began using a clarinet double barreled joint in between the ach and instrument of the =e phone, Tle then began playing saxophone with a hassoon reed! that had a shortened bocce inserted into the neck of the sasophone, AN year an ely: Chasles Stepney’, Carter, Marshall half later while recording with Atlantic Recording Co. Eddie was the first musician to come out with the Electra Voice Creation for the rument Co. This electrival attaebnient for the saxophone is called the Varitone Sinee then he has played his Electric Saxophone on most of the Lanes that he has revorded for Atlantic Record Company. Some of his most popular Albums are, Electrifying Fildie Iarris High Volt ‘on Dow Shins Movement, Bree Speech and | Neve Some Money. [n 1970 Eddie Harris invented a reed mout pet, Co fand Trombone and this moulhpieve will make all of the above instruments much wasier to play ie Harris most recent design isa wind synthesizer named, the Eadie Harris attachment. With this attachment any wind instrumentalist will now be able to play five part harmony. These harmonies ean be played in open or close positions. With this unit-you are able to get vations synthesizer effects, plus the attachment ean be fr any other synthesizer on the inarket- You are able to hear te Bade Harris attachment on Eddie's new crease on United Artist revord labelJazz Cliché Capers esf Eerie Ext fh Psd DELP apr ee ee By EDDIE HARRIS ebeiltt te gSetaetee aaa fae sempeanatie rates glee oie, fe Pea pel pe te eet ppt ees aster epee Reet bg tgtag? ats nel f Ctenem (etal eS rie gloria EE epee as ponte {CE Pr pe ricette apie —— eat Baas J fSest SSS Ee ae Inter oc 1978 by Baal nal Copyright Se Al Rights Reserved,bee be , eptftte tfteactter te gh ect st nite peep toe gf ESpripe: : FE. 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