We will hold conversations and share information about the 2012 Colorado All State Jazz Bands here.
First, you can get pdf copies of the changes for your instrument by copying these links into your browser:
http://www.lynnbakerjazz.com/ASJSoloChanges_Alto.pdf
http://www.lynnbakerjazz.com/ASJSoloChanges_Tenor.pdf
http://www.lynnbakerjazz.com/ASJSoloChanges_Trombone.pdf
http://www.lynnbakerjazz.com/ASJSoloChanges_Trumpet.pdf
Check out the Basie band performance of Shiny Stockings (http://www.youtube.com/watch?v=E3SF4BbBcpA) and notice how, in the in-chorus, all notes longer than a quarter note crescendo and have vibrato. Practice your parts in this way.
December 25th, 2011 - 5:13 pm
When blowing on the changes to “The Ring” you can play a half-whole diminished scale on the 713(#11)(#9) chords and an Altered scale (7th mode of the melodic minor scale) on the 7alt scale. The Altered scale works well for the changes at the bridge because the #5 in it foreshadows that minor seventh in the minor tonic to which it is resolving.
December 26th, 2011 - 10:20 am
Bodysnatchers: I made a root transposition error on the original pdf files, so either download new copies or just change the root on Bodysnatcher to a concert D. We will open the section between 113 and 120 (inclusive) for additional solos.
The blowing changes to Bodysnatchers is all over a concert D pedal. But the really important thing to know is what is happening in the voiceleading of the accompaniment. The first thing to notice is there is a D at the top and the bottom of all the changes.
1) The first chord, D7sus is a standard suspended fourth voicing. However, the bass figure contains an F Natural and C so it could better be explained as an Dm7sus4 chord. When dealing with pedal chords like this it can be useful to create a scale from the given materials. In this case the scale would be: D, F, G, A, C. Because of the F and C you can play a D Dorian or Aeolian scale, depending on how you want to color the 6th. The parent major scales being either C or F. An F Pentatonic would also fit the change.
2) The second chord, D Locrian, is best understood as an Ebsus4 between the Ds, and Eb major is the parent scale. The bass figure clearly arpeggiates a Dm7(b9) chord. The constructed scale would be: D, Eb, F, Ab, Bb, C. An Ab Pentatonic or D Locrian (Parent major – Eb) would both fit.
3) The third change, D13, is an E7sus over D. This again presents ambiguity because there is no 3rd in the voicing. The constructed scale would be: D, E, G, A, B. It is your choice, depending on how you want to color it, to use a Major or Minor third – F# or F, a D Mixolydian or D Dorian scale. Therefore the parent major scales could be either G or C. A G Pentatonic is also available.
4) The fourth change is Bb/D. The voicing is an Fsus between the two Ds, but the bass figure provides more information, including a G and Eb. The constructed scale would be: D, Eb, F, G, Bb, C. Again, there is ambiguity because the quality of the fifth is not stated. So the choice could be either a D Phrygian or Locrian, depending on what color you want. The parent major scales being Bb and Eb, respectively. Eb Pentatonic would also fit the change.
If I was playing on this my concern would be to first play lyrically, creating a melody that always had D as a home base. After that, I would try to choose scales that brought as much color to the changes as possible. My scale choices would be: 1) D Dorian (with a B Natural), 2) D Locrian (with a B Flat), 3) D Mixolydian (with an F# and B Natural), and 4) D Phrygian (so that the only scale with a Flat 5 is the one used on the second chord).
However, there are many ways and you should find your own.
December 27th, 2011 - 2:47 pm
Additional thoughts about Bodysnatchers –
The video recording (http://www.youtube.com/watch?v=-5rYLPep6sA) has some real time issues, especially at the beginning. The piano entrance is on two compared to the rest of the rhythm section. At 10 everyone is back together except the piano is still an eighth-note late. The saxos and tpts. at 18 are not lined up with the trombones – and on and on it goes. However, the feel of the tune is right even though the groove isn’t lining up, so it’s worthwhile to listen to – just expect the whole groove to be tighter when we play it.
In addition to opening the section at 113 we’ll make another change to the tune. At 189 we’ll suddenly come down to piano volume and the drums will switch from ride to hi-hat. That will give us room to do a final, dramatic crescendo to the end and not just play louder and louder.
I’m looking forward to working on this with you.
December 29th, 2011 - 9:36 am
Blowing on Low Down –
The A sections of Low Down are variations of the jazz standard “There Is No Greater Love.” The tonic is established in the first measure and immediately a sequence of dominant-type or ii-V movements, of one measure each, lands on the Dominant II chord in the fifth bar. Then the harmonic rhythm gets quicker and moves in ii-V motions through the tonic and then back to the tonic in the 9th measure. Here are some ways to approach these changes:
1) Play in a “blusey” way, especially incorporating the F blues scale that includes the Major 6th. This will provide you with consonance tones on the tonic and colorful chord tones (like the #9 on the VI7 chord) while allowing you to maintain a lyric character.
2) Move chromatically through the first four bars, resulting in a Tri-Tone substitutions in the third measure, e.g., F, E7, Eb7, D7
3) Experiment with other ways to use tri-tone subs in the first four measures, e.g., F, Bb7, Eb7, Ab7
Regardless of how you approach it, if you can make a convincing G MAJOR cadence in the fifth measure and the move back to F starting in the sixth measure, your improvisations will have a convincing harmonic content.
The bridge essentially maintains a F Soprano pedal while the chords move down from the b5. But really, the harmony never moves outside of the F tonic area, it just colors it. So the trick is to somehow distinguish the things you play in the bridge from the A sections. You might construct a solo to focus on the harmonic information of the first four bars of the A section and play in a more “bluesy” style during the bridge – or the other way around.
Experiment with these and other approaches as you develop ideas to blow on Low Down.
January 2nd, 2012 - 2:16 pm
Shiny Stockings –
Random thoughts on style:
Check out the soprano voice of the guitar voicings during the first brass melody, laying out a very simple guide-tone countermelody.
The drums start on brushes and change to sticks in bar 27 of the brass melody to prep for the big entrance.
In the horn solo section the saxophone line alternates in two beats between the Bbmin7 and the Eb7 instead of two MEASURE phrases – I notated it like this in the blowing changes pdf. This gives the soloist flexibility about how they want to shape their melodies. Michael Weiss says that the horn player should just play on the Eb7 in these cases and let the rhythm section do the suspension (Bbmin7).
Check out the drums on the piano solo. Sticks on hi-hat and hi-hat stand!
Also, check out the sound of the hi-hat on the whisper chorus after the piano solo – they are just slightly open on 1 and 3, giving a very connected, “wash” to the time.
Several observations about the shout chorus: 1) The shakes always stop on the note from which they shake just an eighth note or less before the next entrance, 2) the fall in measure 4 is held to “and” of beat two before the fall begins, 3) In bar nine the trumpets seem to disappear after the hit on one, when we do it the trumpets will actually lay out for the rest of that measure, 4) in bar 12 check out how the piano reinforces the rip up.
There are some other details like fall types, fall lengths, and bends that are also important parts of the style – try to listen for those.
January 4th, 2012 - 12:44 pm
Blowing on The Last Season –
The form is a 32 bar repeating form, the internal form is AA BC, each 8 measure long.
The piece is firmly in Eb minor and the A sections are clearly in Eb Natural Minor, using the F# Major scale. All of the chords except the Bb7b9 can be created from the F# Major scale and even the Bb7b9 change just needs a brief alteration of the D natural. This is a great example of modal writing and improvisers should use this characteristic to create flowing melodies in the key.
The B and C sections contrast to the A section by passing through more key areas.
Both of these sections end like the A sections with the Abmin (or Fmin7b5, same change with different root) moving to Bb7 and cadencing in Ebmin. However, they differ in the first four measure.
The B section starts on a dissonant C7alt and slides down chromatically to the Abmin. Clearly stating chord tones in sequence is a good way to handle these changes.
The C section begins with a ii-V-I7-V7 sequence in B, and finally moves up a half-step from E to the Fmin7b5 chord. Utilizing bebop lines in that key will provide a good and contrasting method of playing on that section.
Have fun practicing melodies in these keys that are less-commonly used as you develop your solos on this great tune.