FQBK-handbook.pdf

1-800-456-1388 • www.jazzbooks.com

Cover Photo is Jamey Aebersold

CONTENTS

GENERAL INFORMATION ........................................2

Valuable Jazz Information........................................3

SOLOING by Jamey Aebersold ...............................4

Jazz: The Natural Music...........................................5

Suggested Listening–Jazz Artists ..........................7

Historically Signiicant Recordings ........................8

Tips For Learning A New Tune ................................9

Practice Procedures For Memorizing Scales

and Chords To Any Song ....................................9

Practice Procedures–Musical Examples..............10

SONG LIST for Beginners......................................11

SCALES ...................................................................12

Introduction to the SCALE SYLLABUS ................13

SCALE SYLLABUS .................................................14

NOMENCLATURE ...................................................15

The Dominant 7th Tree of Scale Choices .............16

Ten Basic Exercises–TREBLE CLEF ....................17

Ten Basic Exercises–BASS CLEF.........................18

TREBLE CLEF SCALES .........................................19

BASS CLEF SCALES..............................................20

Ear Training.............................................................21

Interval Chart ..........................................................22

Basic Keyboard and the Chromatic Scale ...........23

The Circle of Cycle of Fourths ..............................24

Scales/Modes Based on the Major Scale .............24

HOW TO PRACTICE by Jerry Coker .....................25

HOW TO PRACTICE by David Liebman................25

Things That Create Interest When Soloing ..........26

Starting A Phrase or Melody..................................26

Jazz ARTICULATIONS ............................................27

Jazz RHYTHMS .......................................................29

The BLUES SCALE and Its Use.............................30

F BLUES & Bb BLUES PROGRESSIONS:

For TREBLE CLEF C Instruments ....................31

For Bb Instruments ............................................31

For Eb Instruments ............................................32

For BASS CLEF C Instruments.........................32

PLAYING THE BLUES ............................................33

What Does “To Hear” Really Mean? .....................34

VARIATIONS ON BLUES ........................................35

Values–Plato Quote–Bill Evans Quote .................36

BEBOP CHARACTERISTICS by David Baker ......37

Short List of Bebop Players ..................................38

BEBOP SCALES .....................................................38

Transposition Chart................................................39

Two Interesting Short Stories................................39

Jamey’s JAZZ THEORY ASSIGNMENTS ..............41

II/V7/I Progression With Emphasis On The

7th Resolving To The 3rd ..................................46

PIANO VOICINGS:

Blues Voicings....................................................47

Major and Dominant 7th Voicings ....................48

II/V7/I Voicings ....................................................49

Jamey’s POINTS TO REMEMBER .........................52

This booklet is provided FREE OF CHARGE by Jamey Aebersold Jazz.

If you would like a complete catalog of the thousands of jazz educational materials available,

please call 1-800-456-1388 or visit www.jazzbooks.com

SUMMER JAZZ WORKSHOPS

For information concerning the inest in jazz education write to SUMMER JAZZ WORKSHOPS, c/o the address

below. Our week-long Workshops (and the 2-day “Anyone Can Improvise!” Seminars) are held in locations

all over the United States and are open to people of all ages, all abilities and all instruments. You will not ind

a better program anywhere in the world !

Call 1-800-456-1388, or visit our website for the most up-to-date info: www.summerjazzworkshops.com

Published by

JAMEY AEBERSOLD JAZZ

P.O. Box 1244

New Albany, IN 47151-1244

www.jazzbooks.com

International Copyright secured. All copyrights used by permission

No portion of this book may be reproduced in any way w/o express written permission.

GENERAL INFORMATION

This booklet is designed to give you the basics which you will need in order to learn the art of improvising in

music. Many feel that people who improvise or play jazz are special. If they are special, it is because they have

spent their time wisely learning the tools of the trade. A few of the tools are: scales, chords, patterns, licks, songs

(standards and originals), training the ear, listening to records of jazz greats and any other thing which they feel

will contribute to the growth of a well-rounded musician.

I feel it is good to establish a practice routine, especially for those of you who are new to learning the language

of jazz. To play jazz requires discipline, and discipline is good for all of us.

The language of jazz or the jazz idiom is in a constant state of lux. In order to be a part of the jazz movement

one must accept change. Jazz has changed greatly over the past 70 years and is presently in transition. Each

generation of jazz musicians contribute their own unique ideas, feelings, and sound to the music and this is what

creates the change. If you equip yourself well, you may be one of those people who inluence others and set new

trends in jazz.

If you want to get it all together, I suggest reading each of the pages in this booklet very carefully. Mark with pen

or pencil points that you feel are important so when you lip through the pages In the future your eye will catch

them. Listen, listen, listen carefully to anyone playing jazz or improvising. You can learn much from live per-

formances as well as records. Start a record collection and listen to what has been recorded over the past 85

years. You are in for a treat!

Spend your practice time wisely. Don’t play things over and over that you can already play. This is great for the

ego but does little to advance your musical progress. Be patient with yourself. Don’t expect everything to come

at one setting. They say that things come to us when we are ready to accept them. A healthy mental state is also

responsible for progress when practicing.

Gradually train your ears to really HEAR music and all of the components that make the inal product. Read the

pages on Ear Training carefully and institute a daily routine to improve your perception. There are also other

pages that help spell out an excellent practice routine.

Since most of us do not have a good rhythm section at our disposal, I recommend practicing and soloing with the

play-a-long records. Each volume contains a book and one or two CDs. Many professionals use these recordings

to warm-up, keep in shape, practice new patterns or licks, or to learn new songs and improvise on the chord/

scale progressions.

During the past 43 years, many private teachers as well as high school and college teachers have made the

recordings part of their daily or weekly teaching assignments. It is good to begin playing with a rhythm section as

soon as possible and the better they are the more you can beneit from the experience. I personally still practice

with my Play-A-Longs in order to continue to progress musically.

Playing jazz teaches self-esteem and independence.

I highly recommend our SUMMER JAZZ WORKSHOPS which are offered in the U.S. each summer. Some of the

inest performers and teachers of jazz appear at these workshops. Write to: Summer Jazz Workshops, P.O. Box

1244, New Albany, IN 47151-1244, or visit www.summerjazzworkshops.com for more information.

Lastly, play on the best instrument that you can afford and study with the inest teachers available.

May your journey in music, and jazz in particular, be as enjoyable as it has been for me in putting this booklet

together for you.

- Jamey Aebersold

VALUABLE JAZZ INFORMATION

The basic ingredients in music are SCALES, CHORDS, MELODY, RHYTHM, and HARMONY. Jazz education’s purpose is to give you the

basics you need in learning to play jazz or to improvise. The jazz musician is an instant composer! The melodies which come from their

instruments are conceived in their mind just before they play them. The difference between the improviser and the traditional composer is

this: that the “jazzer” has no eraser to instantly correct mistakes. They practice long and hard trying to make their physical body and their

mental frame of mind an appropriate vehicle to execute the ideas formulated in their mind.

The GOAL of every jazz musician is to play on their instrument (or vocally sing) what is heard in their mind. Practicing scales, chords

(arpeggios), exercises in all keys will help gain facility which will help unlock the ideas that are now being held prisoner in your mind. As

soon as possible, try playing what you HEAR mentally in your head! In other words, sing a short melody mentally, or sing with your mouth,

and then play those exact pitches and rhythms on your instrument. This is the same procedure the jazz player uses when improvising.

To play requires discipline. It is good to establish a practice routine. Improvisation should be a part of your daily practice. Play whatever

you hear in your head. It could be something from TV, radio, or just some melodies that you hum to yourself. This is also a form of EAR

TRAINING. You are training your inner ear to direct your ingers to the notes it hears, instantly. Gradually train your ears to really HEAR

music and all of the components that make the inal product. Listen carefully to anyone playing jazz or improvising. You can learn much

from live performances as well as recordings. Start a collection and listen to what has been recorded over the past 80 years.

The old myth that says, “You either have it or you don’t,” is strictly a myth founded on ignorance and the inability (or unwillingness) of those

who can play to share what they do verbally with those who think they can’t learn.

The mind is the originator of ALL musical thoughts. The mouth (singing) usually can approximate the pitches, rhythms, and nuances of

what the mind hears better than actual instruments (sax, trumpet, etc.) can do. Since the instrument we have chosen is a learned device,

it is the least able to reproduce the musical thoughts of our mind. It stands to reason that the person who is better equipped technically

will come closer to playing on their instrument the thoughts of their mind.

One of the reasons the jazz greats sound different than you is the fact they have so many sounds (scales, chords, patterns, ideas) at

their disposal. The SCALE SYLLABUS can help you uncover new sounds. Practicing, using the exercises found in this booklet or in Vol.

1 “How To Play Jazz And Improvise” will give you a good foundation to play ANY style of music.

“JAZZ IS FREEDOM!” Thelonious Monk said this. Too often we refuse to take advantage of an opportunity which will allow us a measure

of growth and freedom in our musical expression. Listening to jazz greats is inspirational and rewarding. Keep this in mind: practicing

exercises, patterns, licks, scales, and chords should lead to more expressive creativity, not boredom.

HOW DO YOU BEGIN IMPROVISING? Many people begin by playing by ear (letting their inner musical ear guide their choice of notes

and rhythms). This is a hit-or-miss process that most jazz players (before 1965) had to use to learn their trade. However, this method

strengthens the player’s ear and is extremely valuable. Everyone should spend time each day playing by ear. The sooner you train your

ears to discern, the sooner they can HELP YOU in making music. By using your ear, and knowledge of the needed scales and chords,

you will feel much more comfortable with beginning improvisation.

IMPORTANT: Don’t get hung up practicing exercises and more exercises without ever attempting to improvise. Avoid becoming a person

who plays great exercises, but delays using their creative energy until tomorrow. DO IT NOW! IMPROVISE. Even if you only use a few notes

of the scale, begin there. START! Don’t put it off until tomorrow or until you have the scale under better control. DO IT NOW! The longest

journey begins with a single step. Today is the irst day of the rest of your life. The longest musical phrase begins with a single note.

Just because you practice scales, chords, patterns, and exercises doesn’t mean you will sound stiff and mechanical, OR that you will

become a jazz great! But it’s a means to an end. More than any other ingredient, the JAZZ TRADITION is based on LISTENING. Listen-

ing to jazz records/tapes should be part of every musicians daily routine. Not only is it fun to listen to, but you can absorb many musical

ideas and incorporate them into your own solos. Recorded music contains most answers you seek.

Having “good ears” means having the ability to hear the roots to the various chords or scales that are being played; having the ability to

hear the quality of the chord or scale--major, minor (what kind of minor?), pentatonic, dim.whole tone, etc.); it means having the ability to

tell what tone of the scale or chord is being played at any point in the solo--”ah, that note was a #4 resolving to the 6th and then resolving

to the 5th!”; it means hearing the piano, bass, soloist, drums, etc. individually as well as collectively.

There are many levels of hearing. Some people hear. Other people can really HEAR! And some can seem to hear and identify almost any-

thing that is being played. They can seem to sing or play back portions of solos right after the performer has played. How can they HEAR,

and we can’t seem to ind the roots, scale, qualities, or what time signature the piece is in? They have worked hard at identifying all the

various sounds they hear daily. Since they want to improvise, they take the time to apply on their instrument the things they are hearing.

They also use their mind and their free time to igure out things harmonically, melodically, and rhythmically. Using a small chromatic pitch

pipe is real helpful in identifying pitches when you are not at a piano or don’t have your instrument. You can carry it with you and train your

ear “on the go.” No one knows or could truly imagine the amount of thought each jazzer has put into their art/craft.

PRACTICE SUGGESTIONS

1. Play with good sound/tone. Wind players -- support your sound. Don’t play staccato.

2. Make phrases low naturally; even when playing scales and exercises.

3. Mentally sing the exercises, scales, patterns as you play them.

4. If an exercise is hard, slow it down. Then gradually increase the tempo.

5. Listen to every note you play. Match your mind’s ideas.

6. Be patient. You’re not the irst to make mistakes.

7. Use jazz articulations on exercises and scale/chord practice.

8. Improvise some every day. That’s the REAL YOU. Play what you hear in your head.

9. Make a habit of practicing in all twelve keys. Volumes 21 and 24 are excellent.

10. Learn the Blues in Bb & F concert keys.

11. Memorize everything you can. Know what it is you are trying to play.

If we all waited until we were perfect musicians before we played an instrument, there would be no music in the world. Play on the best

instrument you can afford and study with the inest teachers available who will give you guidance in jazz and traditional music.

Use your imagination. Experiment- take chances! You deserve to be creative! Treat yourself.

SOLOING

by Jamey Aebersold

1. Keep your place - don’t get lost. If you do get lost LISTEN to the rhythm section. The drummer will often give

a little crash at the beginning of new sections. If you hit a note that is not what you intended, move it up or down

a half-step and you’ll probably be back in the scale (or chord). Remember, jazz music usually moves in two, four

and eight bar phrases. You’re never far from a new phrase beginning.

2. Play right notes . This really means play the notes you hear in your head...the notes you would sing with your

mouth. Having the scales and chords in front of you on a piece of paper is merely a guide. They don’t provide the

actual music that’s going to be played. THAT comes from YOUR imagination. If you’ve got the scales, chords, and

chord/scale progression MEMORIZED it provides courage to your imagination and allows you to operate from a

more creative natural basis. It allows you to take some chances. It helps remove FEAR.

3. Using REPETITION and SEQUENCE is natural in music. It’s found in all types and styles of music. The novice

improvisor often feels that if they repeat an idea, everyone knows they are going to repeat it, so why do it; plus

it’s not original enough for your EGO so you don’t play it. WRONG! The listener needs to hear some repetition

and sequence or else they can’t remember anything you play. Repetition and Sequence are the glue that holds

solos together. The usual number of times something is repeated depends on you but the average is 2 or 3 and

then your mind will tell you when to repeat and/or when to use sequence. It’s a part of the way we hear music

played by others.

4. CHORD TONES (the 1, 3, 5, & 7 of a scale) are great notes to begin and end a phrase with. Just sing a phrase

and see if you don’t follow this simple rule. Our ears HEAR chord tones irst so it’s natural to begin and end there.

Plus, it gives us and the listener what we’re listening for - harmonic stability.

5. SOUND: Be sure that you are getting a good, full sound on your instrument (or voice). Don’t let the scales and

chords or the progression or tempo intimidate you. Sound is foremost and is the FIRST thing a person latches

onto when you sing or play. It leaves a lasting impression. So, be yourself and let your voice or instrument ring

out. It’s the main ingredient of your musical personality.

6. LISTENING: There’s no way anyone is going to play jazz or improvise well without listening to those musi-

cians who have come before. Through listening alone you can ind ALL the answers. Each musician is a result

of what they have listened to. It’s easy to determine who people have listened to by listening to them play. We

all tend to use imitation and it’s good to do this. Some feel that if they listen to others they’ll just sound like them.

This is not true but your ego will try to convince you it’s true. The ego hates competition or what it preceives to be

competition. Don’t let it fool you. If no one listened to anyone else, why play music? Music is for everyone and

truly is a Universal Language.

7. Everyone has the ability to improvise - from the youngest child to the senior citizen. You have to have desire

and set aside time to work at it until moving your ingers becomes automatic and the distance between your mind

and ingers grows smaller and smaller to where you think an idea and your ingers are already playing it. It’s not

magic. If it is, then magic equals hard work and perseverance. When asked, “What is the greatest obstacle to

enlightenment?” the Buddha replied, “Laziness.” I agree!

Some of Jamey’s Recommended Play-A-Long Volumes are:

1, 24, 3, 21, 116, 84, 54, 70, 47, and 120

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