Jacques Rizzo Reading Jazz The New Method For Learning To Read Written PDF

TENOR SAX
The New Method for Learning to

Read Written Jazz Music
Reading Jazz
CD Trachng Sheet
Time Time
1. Duet 1 - Preliminary Exercise 41. Duet 14 - Preliminary Exercise
2. Duet 1 - First Time 42. Duet 14 - Preliminary Exercise
3. Duet 2 - Preliminary Exercise 1 43. Duet 14 - Preliminary Exercise
4. Duet 2 - Preliminary Exercise 2 44. Duet 14 - Say It Again, Virginia D.
6. Duet 2 - The Smoothie 46. Duet 15 - Two Brothers
9. Duet 3 - Daht's Dah Vay 49. Duet 16 - Two Others
12. Duet 4 - Pop It! 52. Duet 17 - Cha - Da!
13. Duet 5 - Preliminary Exercise 1 53. Duet 18 - Preliminary ~ x e r c i s e
14. Duet 5 - Preliminary Exercise 2 54. Duet 18 - Bleu Skies
15. Duet 5 - Slip "N Slide 55. Duet 19 - Preliminary Exercise
16. Duet 6 - Preliminary Exercise 56. Duet 19 - Just For Jack
17. Duet 6 - One More Time 57. Duet 20 - Preliminary Exercise
18. Duet 7 - Preliminary Exercise 1 58. Duet 20 - Egual Octavo
20. Duet 7 - Preliminary Exercise 3 60. Duet 21 - Bright Eyes
21. Duet 7 - Same Lick - Different Look 61. Duet 22 - Preliminary Exercise
22. Duet 8 - Preliminary Exercise 1 62. Duet 22 - Barbara's Blues
24. Duet 8 - Skippin' 64. Duet 23 - Jersey's Bounce
26. Duet 9 - Preliminary Exercise 2 66. Duet 24 - Kickin' It Around
27. Duet 9 - Two Short - Not Too Short 67. D.uet 25 - Preliminary Exercise
29. Duet 10 - Preliminary Exercise 2 69. Duet 25 - Charlie Jack
31. Duet 10 - The Frondescence of Fall 71. Duet 26 - September's Song
33. Duet 11 - Preliminary Exercise 2 73. Duet 27 - Sippimissi Mud
34. Duet 11 - A Little Minor Blooze 74. Duet 28 - Preliminary Exercise
35. Duet 12 - Preliminary Exercise 1 75. Duet 28 - Melody For Michelle
37. Duet 12 - A 01' Ian 77. Duet 29 - Lull-A-Byin' Rhythm
39. Duet 13 - Preliminary Exercise 2 79. Duet 30 - Triplication
40. Duet 13 - Restin, Fore and Aft
Total
PREFACE
How This Text Can Help You
Throughout the country, thousands of music educators spend untold hours teaching jazz ensemble music by rote
as, with few exceptions, students entering their bands have only had traditional, classically oriented training. Few
are able to read written jazz music accurately, no less interpret the parts using idiomatic articulations.
This was also my situation, even though the members of the jazz ensemble were the best musicians in the school at
which I taught. It was difficult to find time in an already overcrowded schedule to teach reading and interpretation of
written jazz music. This self-study text and tape was developed in answer to this problem. 1 say self-study as most of
the students using it were able to work through the duets by themselves with little or no help on my part. Indeed, the
play-along format made learning to play in a jazz style easy and enjoyable. Completion of this text is now a
prerequisite to membership in the jazz ensemble and excerpts from the duets are used for auditions. The result is
that, from the first rehearsal, students are not only reading music, but working toward making it "swing."
Although designed for scholastic use, the text may be of assistance to classical musicians who find themselves
called upon to perform works in the jazz idiom, and music educators with little or no jazz experience who wish to
conduct jazz ensembles or works in a jazz style.
Why Jazz Music Is Difficult to Read
Traditionally trained musicians encounter difficulty in reading jazz for three reasons. First, the rhythm patterns,
although written in four quarter time with an even subdivision of the beat, are usually performed with an uneven
subdivision of the beat. Secondly, performance of these rhythm patterns is complicated by an inconsistency in their
notation by jazz arrangers and composers. One pattern may be written in several different ways, all of which are to
be performed in an identical manner. Lastly, the phrasing and articulation are often poorly notated, if notated at all,
the arranger assuming the performer will interpret the music with characteristic phrasing and articulation. It is to
these three problems that this text is addressed.
How the Text Was Written
The rhythm patterns selected for use in this text were drawn from over four hundred pages of written jazz music
currently in print. Any rhythm pattern that appeared three or more times was included in the book. These rhythm
patterns were sorted into fourteen categories with one category (syncopated quarter notes) having thirteen
subdivisions. The rhythm patterns are presented in the text in order of increasing complexity.
Prior to writing the duets, five intermediate method books were analyzed with regard to range, key signatures, note
and rest values used, etc. This survey was used as a guide in limiting the technical difficulty of the duets.
There is a considerable range in the number of articulation marks supplied in the parts, from preliminary exercises in
which every note is marked to duets in which there are few (if any) markings. This was done to simulate the wide
variety in the amount of articulative markings to be found in the music students will play.
Final revisions were made after two years of use with students from two different school systems. The duets were
rated by four prominent jazz educators representing middle school through collegiate levels in categories
developed by the National Association of Jazz Educators. The consensus of these ratings was (1)grade of difficulty
(rated I-VII): III/IV, or medium difficulty, and (2) musical rating (rated A-F): A minus, or excellent. It was also noted that
articulations used conformed to the Standardization of Stage Bands Articulations recommended by NAJE.
INTRODUCTION
This text is designed to help you read written jazz rhythm patterns accurately using idiomatic articulations. The most
commonly used jazz rhythm patterns are presented, one at a time, in order of increasing complexity in a series of
duets. Each duet is preceded by an introductory section to guide you in your initial approach to the rhythm patterns.
This introduction is divided into five parts: Heading, Written, Played. Preliminary Exercises, and Review.
Heading The rhythm patterns presented in each duet is stated in the heading. Careful reading of the heading will
help you understand the arrangement of the notes that form each pattern.
Written. Directly below the heading, the musical notation (and any alternate notations) of the rhythm pattern is
shown, with reference to a particular measure in the duet where that rhythm pattern may be found. Compare the
various alternate notations, one to another, to understand how notes of different duration are used in conjunction
with rests and ties to write the same rhythm pattern in different ways. Also, compare the notation of particular
measures in the duet to which you are referred. These comparisons will help you develop an understanding of the
manner in which the various alternate notations are used.
Played. This section explains the articulation of the rhythm patterns with regard to (1) the duration of the notes that
comprise the pattern, (2) the mafiner in which the notesare to beattacked and/or released, and (3) theaccentuation
of any particular tones within the pattern.
Preliminary Exercises. These exercises provide an initial approach to playing the patterns. A short heading is often
included as an aid to your understanding the design or purpose of the exercise.
Cue notes above the staff are used in two ways: (1) to illustrate the uneven division of the beat (these are written on a
one-line staff), or (2) as an aid to understanding the alternate notations of the pattern (these are written under a
bracket). Phonetics representing the sound of the articulations are included below the staff so that you can "chant"
each exercise, using "dah's" and "daht's."
Make a preliminary study of each exercise to make certain you understand the purpose of the exercise (check the
heading) and the way in which the patterns are notated (check the cue notes above the staff). Each exercise should
be practiced in three ways. First, listen to the recording while following the music. Second, "chant" the exercise,
using phonetics. Tap your toe to the beat while chanting. Careful attention to the articulations with regard to
emphasis and inflection will help you get the "feeling" of each figure. DO NOT SKIP THlS STEP. IT IS IMPORTANT
THAT YOU REPEAT THlS STEP UNTIL YOU HAVE THE PATTERN "SKIPPING" ALONG - REALLY SWINGING.
Lastly, play the pattern on your instrument. Again, repeat this step, matching your articulation to that on the
recording, until you have the figures "swinging."
Review. This section is used to alert you to the second and third appearance of a rhythm pattern in the duets.
Reference is made to a particular measure where the pattern may be found, and the duet in which the pattern first
appeared.
study in^ the Duets. Approach the duets in the same manner as the preliminary exercises. First, analyze the rhythm
patterns while listening to the recording. Second, practice chanting the phonetics while tapping your toe and
fingering the notes you are chanting on your instrument. Concentrate on the articulation. Again, this second step is
most important. REPEAT THlS STEP UNTIL THE FINGERING MOVES EFFORTLESSLY AND THE CHANTING
"SWINGS." Lastly, play the duet on your instrument, matching the articulation to that on the recording.
Practice Both Parts. Part I is on the left channel and Part II is on the right channel; the rhythm section is on both
channels. After you have Part I really "swinging," turn off the left channel and play Part I by yourself with Part II and
the rhythm section on the right channel. Practice Part II in a similar manner, turning off the right channel and playing
with Part 1 and the rhythm section after the figures are "swinging."
The Table of Contents forms an index of the first three appearances of a particular rhythm pattern in the duets, and
may be used as a guide to work on a particular pattern you feel needs practice.
Class Applications. The duets may be used for class instruction as the various parts -C treble clef, Bb, Eb, and bass
clef - may be played together.
5
TABLE OF CONTENTS
DUET PAGE
1 Quarter Notes, and Note Values Larger Than a Quarter Note ..............................................10
Duet 2, p. 14; m. 3;
lL* Duet3, p.17;rn.lO.
2 Series of Eighth Notes .........................................................................................................

12
Duet 4, p. 19; rn. 16;

4 D u e t , p.21;rn.3.
3 Series of Dotted Eighth/Sixteenth Notes ........................................................................... 16
1 4 Eighth Note Anticipations Followed by a Rest ...................................................................

18
!
Duet 6, p. 22; rn. 4;
Duet 7, p. 27; rn. 35.
Duet 15, p. 45; rn. 18;

Duet 18, p. 51 ; rn. 29
5 Tied Eighth Note Anticipations ..........................................................................................20

Duet 6, p. 23; rn. 22;
Duet 8, p. 29; rn. 5.
Duet 10, p. 33; m. 15;

Duet 15, p. 44; rn. 2.
6 Eighth Note Patterns Intermixed ........................................................................................

22
Review of Patterns Found in

Duets 2, 4, and 5.
7 Syncopated Quarter Note-Basic Pattern ............................................................................

24
Duet 8, p. 29; m. 22;

Duet 9, p. 31; rn. 32.
a Duet 15, p.45; m. 13- 14;

Duet 16, p. 46; m. 1.
a Duet 9, p. 3.1; m. 16;

Duet 29, p. 73; rn. 19.
8 Syncopated Quarter Note-with the Final Note of the Pattern Tied into a Quarter or
Larger Value Note ..........................................................................................................28
Duet 11, p. 35; m. 15-16;

Duet 12, p. 36; m. 3.
Duet 9, p. 31 ; m. 6;
- --J A. Duet 11, p. 35; rn. 26 - 27.
Duet 9, p. 31; rn. 23;

T
].+Duet 11, P. 35; rn. 23 - 24.
DUET PAGE
9 Syncopated Quarter Note-with a Quarter or Larger Value Rest Following the

Basic Pattern ................................................................................................................. 30
Duet 17, p. 49; rn. 13;

Duet 18, p. 50; rn. 1.
Duet 18, p. 50; rn. 1 - 2.
Duet 15, p. 44; rn. 6 - 7;

Duet18, p.51; rn.32-33.
n. Duet 18, p. 51; rn. 30-31;

Duet 27, p. 69; rn. 26
10 Syncopated Quarter Note-with an Eighth Rest Substituted for the Initial Eighth
Note of the Basic Pattern ................................................................................................ 32
Duet 12, p. 37; rn. 17;

Duet 15, p. 44; rn. 10.
a Duet 24, p. 63; rn. 3;

Duet 29, p. 72; rn. 2.
11 Syncopated Quarter Note-Expansion of the Basic Pattern by the Inclusion of

Two Quarter Notes ..................................................................................................... 34
Duet 14, p. 42; rn. 5;

Duet 15, p. 45: rn. 12.
Duet 14, p. 42; rn. 13 - 14;

-l' Duet 16, p. 47; rn. 13.
- ---l' 1 -4 , Duet 12, p.37; rn. 13- 14;

Duet 14, p. 43; rn. 21.
Duet 16, p.47; rn. 17-18;

Duet 26, p. 67; rn. 30.
12 Syncopated Quarter Note-with a Quarteror Larger Value Note Tied into the Initial
Eighth Note of the Basic Pattern ...................................................................................36
I
I--
1 I' ,, Duet 18, p. 51; m. 15- 16;
Duet 23, p. 61 ; rn. 1 - 2.
1. jnI
-- Duet 18, p. 51 ; rn. 14- 15;
Duet 23, p. 61 ; rn. 1.
13 Syncopated Quarter Note-with Eighth Rests Substituted for Both Eighth Notes in
the Basic Pattern ............................................................................................................38
Duet 17, p. 49; rn. 15;

A Duet 19, p. 53; rn. 15.
Duet 19, p. 53; rn. 19;

Duet 25, p. 65; rn. 6.
Duet 17, p.49; m. 13- 14;

.
I
Duet 27, p. 69; rn 19.
7
DUET PAGE
14 Syncopated Quarter Note-Expansion of the Basic Pattern by the Inclusion

of Three or More Quarter Notes .....................................................................................
40
-I'JJJJ.+
- Duet 22, p. 59; m. 18 - 19.
-J J ' j
V
,
I', Duet 18, p. 51 ; rn. 20.
15 syncopated Quarter Note-Expansion of the Pattern with an Eighth Rest Substituted

for the Initial Eighth Note by the Inclusion of Two Quarter Notes ............................... 44
., --J'J Duet 18, p. 50; m. 8;

Duet 27, p. 69; rn. 7 - 8.
16 Syncopated Quarter Note-Expansion of the Basic Pattern Followed by a Quarter

or Larger Value Rest by the Inclusion of Two or More Quarter Notes ........................... 46
)J t) Duet 19, p. 53; m. 14.
Duet 19, p. 52; m. 1 - 2;

- Duet 22, p. 59; m. 22 - 23.
17 Syncopated Quarter Note-Expansion of the Pattern with Eighth Rests Substituted

for Both Eighth Notes by the Inclusion of Three Quarter Notes .................................. 48
Duet 22, p. 59; m. 26;

Duet23, p.61; rn.20.
18 Syncopated Ouarter Note-Expansion of the Pattern with a Quarter or Larger Value

Note Tied into the Initial Eighth Note by the Inclusion of Two Quarter Notes .............50
Duet 19, p. 52; m. 2 - 3;

1. -J'JJ
- l',
, Duet 23, p. 61 ; m. 17.
19 Syncopated Quarter Note-with a Ouarter or Larger Value Note Tied into the
lnitial Eighth Note of the Basic Pattern and the Final Eighth Note Tied into
a Quarter or Larger Value Note .....................................................................................52
-1. - -,,
j-n
-
Duet 22, p. 59; m. 24 - 25;
Duet 27, p. 69; rn. 10.
Duet 24, p. 63; m. 6;

J. -J y j. Duet 28, p. 71; m. 31.
20 Even Eighth Notes in Latin American Music .....................................................................54
Various rhythm patterns

from previous duets.
DUET PAGE
21 Even Eighth Notes in Jazz- Rock Music .............................................................................56
Various rhythm patterns

from previous duets.
22 Eighth Note Triplets .........................................................................................................

58
Duet 23, p. 61 ; m. 3;
Duet 24, p. 63; m. 15.
23 Kickbeat Patterns .............................................................................................................60
Duet 24, p. 63; m. 21;

k Duet 25, p. 65; m. 26.
24 Kickbeat Patterns ..............................................................................................................

62
),?, ,, Duet 25, p. 65; m. 22;
Duet 26, p. 67; m. 18;

I
1
- d. I
R Duet 27, p. 68; m. 2.
25 Charleston Patterns ...........................................................................................................

64
1 )) Duet 28, p. 70; A.1.

.( I
I
Duet 29, p. 72; rn. 1.
Y
Duet 27, p. 68; rn. 2;

-I. b ) Duet 28, p. 71 ; rn. 16.
26 Charleston Patterns ...........................................................................................................66
1'11
V I
1 Duet 27, p. 68; m. 1.
27 Punctuation .......................................................................................................................68
Duet 28, p. 71 ; m. 20;

.,
I -
-h ) Duet 29, p. 73; m. 14 - 15.
Duet 29, p. 73; rn. 21.

DUET PAGE
28 Individual Eighth Note Anticipations ................................................................................70

J
h Duet 29, p. 73; m. 20.
k .
I I
r -8 Duet 29, p. 73; m. 31.
29 Quarter Note Triplets ........................................................................................................ 72

- 3 7
J-J-J+-
30 Eighth Note Triplet Patterns with Ties and/or Rests .......................................................... 74
RELATED TOPICS
Accented upbeat eighth notes, 32,63 Cutoffs,

last note of the phrase tied to an
eighth note, 24
Alternate notations of the same
rhythm pattern, 24
Eighth note anticipations, 18
Articulation marks,
accents, 16, 24 Even eighth notes
sforzando-piano, 16 Jazz- Rock music, 56
staccato, 10 Latin American music, 54
tenuto, 10 Pickups into the first beat of a phrase, 63
Balance of parts, 12 Omission of clef signs and key signatures, 18
Conflicting rhythms, playing, 20 Slur as a phrase mark, 20
Cutoffs, 10
last note of the phrase followed
by a rest, 12
DUET 1
Quarter Notes, and Note Values
Larger than a Quarter Note
Written
(Part I, measure 101, $- (I, rn. 31, * (I, m. 1)
Played
Quarter notes that have no articulation marks are usually played 'short' (separated from the
surrounding notes) with the tone stopped by the tongue (tongue 'daht'). Quarter notes marked tenuto
( 1) are played 'long' (held for their full value) and legato tongued (tongue 'dah').
Note values larger than a quarter note are usually played long and legato tongued.
Cutoffs
The final note in a phrase is usually stopped a t the beginning of i t s last beat to provide (1) an
exact cutoff point, and (2) space for a breath. See, for example, rn. 4 in the Preliminary Exercise below.
Preliminary Exercise
Important: Make sure you follow the directions found on page 4 when playing the exercises
below and the duet that follows.
FIRST TIME
DUET 2
Series of Eighth Notes
Written
J L -* 11, m. 11
Played
The rhythmic basis of jazz is an uneven division of the beat in which the eighth note on the
downbeat receives two-thirds of the beat and the eighth note on the upbeat on-third of the beat. That is,
3
a is played ffi , or
3
; This change from the traditional even division of the beat in which
each eighth note receives one-half of the beat is used in playing all eighth note patterns.**
' Legato tongue each eighth note as smoothly as possible (tongue dah-da). Although unmarked
eighth notes are usually legato tongued, individual eighth notes that are marked staccato (see rn. 19)
should be played short (tongue daht).
Balance of Parts
Background parts should be played a t a somewhat softer dynamic level than the melody.
For example, Part I I in Duet 2 should be played somewhat softer than Part 1 in measures 1-8 even though
the same dynamic level ( d )is indicated in the parts. Harmony parts written in the same rhythm as the
melody (see m. 9-14) should also be played a t a softer dynamic level than the 'lead' part. Converselv,
Part I in these instances should take the lead, playing a t a louder dynamic level than the harmony part.
Always listen to the other parts. Be aware of the. role your part plays in relation to them and adjust your
playing accordingly.
Cutoffs, continued
I f there are no rests a t the end of a phrase, the final note, as was stated in Duet 1, i s usually
stopped a t the beginning of i t s last beat. For example, the cutoff in m. 21 of Duet 2 i s made a t the start
of the fourth beat of the measure.
"The slash mark is used to show that a note, rather than a rest, falls on the beat following the two eighth
notes.
**Even eighth notes are treated in later duets.
I f the l a s t note of the phrase, however, is followed by a rest, hold the note full value and
cutoff at the start of the rest. The cutoff, for example, of the whole note in m. 10 i s at the beginning of
the first beat of m. 11.
If the first case (m. 21), the 'early' cutoff not only provides an exact cutoff point, but also
important, leaves space for a breath. In the second instance (rn. lo), the rest provides a breathing space
so that the note may be held full value. Holding this note through to the rest maintains tension or 'life'
in the musical line. Just as important, cutting the tone off exactly on the rest places emphasis on the
cutoff (the first beat of m. Il),
'setting up' (or providing a dynamic preparation for) the rhythmic figure
that starts on the following beat.
Preliminary Exercises
1. Uneven division of the beat.
(PLRYED d ~ gsame?
2. Eighth notes on successive beats.
j amr M nfld DR b ~ ddA DRi Dfl Dill 3R MI( DC\ DAH DA DflW bRW DRd DFl 184 DFI MHf n~d
3. Staccato eighth notes; notes tied into eighth notes.

THE SMOOTHIE
The Smoothie -2
16 DUET 3
Series of Dotted EighthISixteenth Notes
Written
n ., (I,
Played
Play the dotted eighthlsixteenth pattern with the same uneven division of the beat used
with the series of eighth notes in Duet 2. Give the dotted eighth note two-thirds of the beat and the
3.
sixteenth note one-third of the beat. That is, fl ' =both being played a. Use a legato
tongue articulation on both notes (tongue dah-da).
Another articulation is occasionally used in which the dotted eighth note i s played staccato.
This articulation is used in the recording on the D.S.
Accents
I n addition t o staccato and tenuto marks (m. 2), several different accents are found in jazz
A
music. Notes marked -& are accented and played long (held full value). Notes marked L are
-
accented and played short (separated). Both types of accents are found in m. 10. Another type of
accent, written by combining two dynamic marks, i s the sfp or sfzp, indicating a loud accent (sf or s f ~ )
followed immediately by a sudden drop t o a softer volume level (p). This last type of accent is often
combined with a crescendo, as in m. 14.
1. Uneven division of the beat.
t ' - - . - - --- -- - - -- - - - -- - .
B Q ~ IDPlu ~ C DI B H D~ A ADR DRA DCI ~ C DP.DPIH
I D~HT nn PAH a4 DRH nAK nod PR-DPUDCIDRADCID C ~ W
2. Alternate articulation with staccato dotted eighth note; accents.

DAHTIS DAH VAY
DUET 4
Eighth Note Anticipations* Followed by a Rest
Written
n,( I , "3. 5)
As before, use an uneven division of the beat, giving the downbeat eighth note two-thirds of
the beat and the upbeat eighth note one-third of the beat.
Play the downbeat eighth note long and the upbeat eighth note short (tongue dah-daht).
Inexperienced players tend to rush through the downbeat eighth note, arriving at the upbeat eighth
note too soon. Make sure you hold the downbeat eighth note a full two-thirds of abeat.
Clef Sians and Kev Sionatures

Much of the music you encounter will be written by copyists who only include clef and key
signatures on the first staff of each page. Duet 4 and a number of subsequent duets have been written
in this manner so that you may become accustomed to reading music of this type.
Note that the eighth note anticipations in Exercise 1 'feel' differently (and receive a slightly
different emphasis or inflection) than those in Exercise 2, as different beats of the measure (strong
versus weak) are anticipated.
1. Anticipation of the first and third beats.
2. Anticipation of the second and fourth beats.
in jazz. For example

4
4 '' in traditional music might be written
in jazz, the last note 'ant~cipating'the third beat of the measure.
~
'Notes that are written on the beat in traditional music are often 'anticipated' (written a half beat earlier)
POP IT!
DUET 5
Tied Eighth Note Anticipations
Written
I , m. 5 , (I, m. 71
Played
-
3
Use an uneven division of the beat. In this instance, is played -J&
As with the pattern in Duet 4, care must be taken not to rush through the downbeat eighth note, arriving a t
the tied upbeat eighth note too soon. Be sure to hold the downbeat eighth note a full two-thirds of a beat.
When this rhythm pattern is written on the first or third beat, the second notation ( ) u.
is sometimes found. Here, a dotted quarter note i s wqitten instead of an eighth note tied to a quarter note
( & instead of ), Play both notations the same way.
Playing Conflicting Rhythms

-
A t the end of m. 6, Part II anticipates the first beat of the msasure: Part I, in conflict with this,
plays directly on the downbeat of m. 7. The player of Part I must be careful to place his note exactly on the
first beat of the measure and not be influ'enced by the anticipation in Part II. These rcles are reversed in the
following measure. Here, Part II must be careful not to be influenced by the anticipetior? in Part I. If you
have difficulty playing conflicting rhythms, practice chanting the parts using phonetics.
The Slur as a Phrase Mark

Long slurs in jazz are regarded as phrase marks tind do not affect the articulation of the notes;
that is, eighth notes are still legato tongued, quarter notes are played short, etc. Measures 3-8 (which are
slurred) and measures 21-26 (which are not slurred) are played the same.
1. Anticipation of the first and third beats.
--
--- - - - - - - ---
a~ aad D ~ H oa!lf
. ~ DM D C \ H
D R PA n~cl~ R C I . , D R ~ (DP,Dad netff
2. P,r?ticipationcf the second and fourth beats.
l~\d.( DRd Dil D M DflH - D M DAH, Dkrl bed, 1 4 MII 3r\ ~ f l da~,d, bbd bttl bal 344
.-T~E st+rnG
(~~n3ca >
lu - ' -
SLIP 'N SLIDE 21
DUET 6
Eighth Note Patterns Intermixed
Written
-.J& -J3+(I, m. 5).
(I, rn. 71, (11, m. 21)
Played
Review the 'Played' sections of Duets 2, 3, and 5. Short slurs are usually played as written,
i.e., slurred.
Accents 4
Quarter notes marked with both a 'rooftop' accent and a staccato dot ( J- ) are usually
accented and played very short (I, rn. 13).
Preliminarv Exercise
Eighth note patterns intermixed; accents.
One M o r e Time - 2 23
DUET 7
Syncopated Quarter Note -- Basic Pattern
Written
--LU+(I, m.81, I ,0 , +
-A (1 m. 27-28)
There i s no standardize0 way of notating jazz rhythm patter~is--arrangersoftensnotatethe same
pattern in different ways. Although the three patterns above look different, they are usually played the
same.
Alternate notations of the same musical phrase are used in different places in the duets, so you
may become familiar with the various ways in which the patterns are notated. Measures containing these
alternate notations are cited to show how notes of different duration, rests, and ties are used to write the
same pattern in diffekent ways., Compare, for instance, Part I, m. 10 with I, m. 29, noting how tile rhythm
i s written. ' ~ l s ocompare 11, m. 9-12 with 11, m. 28-31; 1, m. 20 with I, m. 24; and I, m. 32-33 with I, m.
36-37.
Played
- -
The syncopated quarter note i s played short and the eighth riotes long (tongue dah-daht-dah).
S 3
Use an uneven division of the Seat, the written Fatiern.-- being played ] ) > ;.
All the notations are played the same. The first notation ( 1- usually occurs
when the pattern starts on the first or third beat of the measure. See. for exampie, !, m. 8, beat three and
I, m. 20, beat one.
In the second notation, ( ), the syncopated quarter, note is written as two tied
eighth notes (1) to allow the rhyihm pattern to cross the bar- iine separating two measures (I m. 13, the
pattern beginning on beat 4), or (2) in order to allow the measure l o 'be divided into two equal halves
(1 i, m. 9, beat 2).
The third notation ( ! ) ic similar to the pattern studied in Cuet 4 -- Eighth
Note Anticipatibns FJllowedCbya Rest ( .

The patterns diife- in that, whereas 8 rest of any
length could follow the eighth note anticipation in Duet 4, the third notation of the syncopated qtlarter
note pattern leaves room for only an eighth rest ( ).
Cutoffs, continued
When the last note of a phrase is tiedinto ati eighth note which is fqllowed by a r e s t ( & - b + )
cutoff exactly on the eighth note; in this instance, cutoff at the start of the fourth beat. In m. 27 of the
duet, the cutoff i s on the eighth note at the start of the second beat.*
'An exception to this occurs when the chord changes on the tied eighth note. This note must then be
sustained long enough for the chord to 'sound'.
Review the directions found on page 4 under 'Preliminary Exercises' before playing the
exercises below.
1. With the pattern beginning on beats 1 or 3. Compare m. 2 with m. 3 and m. 5 with rn. 6.
2. With the pattern beginning on beats 2 or 4. Compare m. 2, 3, and 4, one t o another.
3. With the pattern beginning on various beats of the measure. Analyze the various alternate
notations before playing.
S A M E LICK-DIFFERENT LOOK
Same Lick-Different L o o k - 2
DUET 8
Syncopated Quarter Note -- with the Final Eighth Note of the

Basic Pattern Tied into a Quarter or Larger Value Note
Written
Compare m. 1-3 with m. 32-34, and m. 5-9with m. 24-28. In the tnlra notatlon above (and
in several subsequent duets), alternate notations appear in which an eighth note tied to a quarter note is
written as a dotted quarter note.
Played
Preliminarv Exercises
--
1, Compare m. 1 with m. 2. Compare m. 2 with m. 4.
2. Different notations of the same pattern beginning on various beats of the measure.
Compare m. 1-4 with m. 5-8. -
n-, (I, m. 5). from Duet 5; -(I, m. 221, from ~ u e7.t

Skippin' - 2
?b 17 1fi 19 20
n
4
I 1 111 r\ w
+*kt +7-'+-
v
¶f L.1
'"I
l I II
. ' Y I a
t u r l
I
DUET 9
Syncopated Quarter Note -- with a Quarter or Larger

Value Rest Following the Basic Pattern
Written
( I , A. 5 , (I, rn. 13-14), ! !-' 7' (I, m. 22)
Compare m. 13-14 to m. 17-18. Compare rn. 5, 22, and 26, one to another. Compare
m. 28,30, and 34, one t o another.
Played T 7
I
1. Compare rn. 1 to rn. 2, and rn. 3 .to m. 4. Compare rn. 5, 6, and 7, one to another. Use an
uneven division of the beat.
.,h .
il
- -
A'
I
I
A
h
A'
- I
I
w 'L
n~
11.A --
'
L
I1
1 '
Il
'
u
I A
f
I I
I
'/ '
A
ff
A
rl
I
n
[ I
A ' A
I
I
-
A
I I
I
I
U ,
I
I
4.
/
A
2. Various notations of the .same pattern, begirining on different beats of the measure.
Compare rn. 1-3 with m. 5-8.
Reliew
- --p J. (I, m. 6) and the alternate notation r](I, (I.. 23) from Duet 8.
-.(I, rn. 16). an alternate notation of &from Duet 7.

TWO SHORT-NOT TOO SHORT
DUET 1 0
Syncopated Quarter Note -- with an Eighth Rest Substituted

for the Initial Eighth Note of the Basic Pattern
Written
&
.. (I, m. 41,.+&Q+ (11. m. 5)
Played
DAM bd
Syncopated quarter notes that have no articulation marks (see above) are usually played short.
Those marked 1 - are played long and legato tongued (11, m. 5 and 6). Those marked
are played long and accented (I, m. 27-28).
When playing accented upbeat eighth notes (I, m. 'i-2), reverse the normal tonguing pattern
(tongue da-dah rather than dah-da). Use a push with the breath and diaphratn rather than a tongue accent
on the upbeat eighth note.
.-
1. Compare m. 1 to m. 2. Use uneven beat division.
2. Both notaticns o f the pattern beginning 9n variousbeats. Compare the articalatior, found
in m. 1 to that found in m. 5. Also compare m. 2 withm. 6 (notation) and m. 3-4 with m. 7-8
3. Accented upbeat eighth notes.
Review
(I, rn. 15), and alternate notation o f fl+ from Duet 5.
THE F R O N D E s C E N C E O F FALL
DUET 1 1
Syncopated Quarter Note -- Expansion of the Basic Pattern
by the Inclusion of Two Quarter Notes
Written
JLLb+ (1, m. 1). 'I r-n = (I, rn. 51, -n-b J b #, (1, rn- 1-2)1
Compare the notation of rn. 1 with rn. 5, rn. 7-8 with rn.. 11-12, and rn. 17 with rn. 19.
-.
Played
DRd ~RM
bb~U< BII
1. Compare rn. 1 to rn. 2, rn. 2 to rn. 4, and rn. 5 to rn. 7.
Compare rn. 1 with rn. 3.
(I, rn. 15-16), n +

Review
JJ-h-
alternate notations of the same pattern from Duet 8.
rn. and rn.
ITTLE BLO
A Little Minor Blooze -2
DUET 1 2
Syncopated Quarter Note -- with a Quarter or Larger Value Note
Tied into the Initial Eighth Note of the Basic Pattern
Written
I 1 b (1, m. 1-21, &('I m. l)
Played
r-
-
B
R
3
,
I
I
Id
1. Compare rn. 1 to m. 2. Use an uneven beat division.
2. Both notations of the pattern played consecutively.
-
D R ~ DR'H
Review
-
- --
DA D R ~
an alternate notation of
with m. 27 1
- -- I DBK
31 ~ A IDB
,
(I, rn. 17 and 42) from Duet 10;
?A A ?
1,
-,I
DRHT
- -
41 D R
from Duet 11. Compare m. 3 ( %)
A OLsIAN
H M'IK
-
na n d ~
n- ), (I, m. 13-14),
A 01' ian - 2 37
DUET 13
Syncopated Quarter Note -- with Eighth Rests Substituted

for Both Eighth Notes in the Basic Pattern
Written
'J (1, m. 51, I, . 9, i4SLf (1.m. 24)
Compare the notation of m. 5, 9, and 24, one t o another.
Played
-p ;,,
1. Exercise with eighth restsreplacing eighth notes. 'Play' these eighth rests (silently in your
mind) so that you don't rush the figure, arriving at the syncopated quarter note too soon.
2. Different notations of the pattern beginning on various beats of the measure. Compare
m. 1-4 with m, 5-8.. 'Play' (think) the eighth rests.
RESTIN, FORE AND AFT

Restin', F o r e and Aft - 2 39
DUET 1 4

by the Inclusion of Three or More Quarter Notes
Written
Pattern expanded to include three quarter notes: (1, m. 71,
-J J p- n ! (I, rn. 23-24), A- b, (I, m. 15-16). Compare these three

notations, one to another.
Four quarter notes: hj A 8 \

1 4-
;I m . 9 - 1 0 - b
(I, rn. 33-34).
Six quarter notes: (I, m. 37-38).
Played
Although quarter notes in this and other patterns are usually played short, an alternate
articulation i s sometimes used in which the last quarter note in a series of syncopated quarter notes is
played long. This articulation i s used in rn. 31, 33-34, and 37-38.
T T T T
(usual articulation)
- - - -r\
naH onHc DnAr
3
)8
3
h R ~ f 30
8
9 3
I (alternate articulation)
C v
DRd DMf ~ R W ( DflA

1. Usual articulation, uneven division of the beat.
I ,
n
,
I I I
, 6
I n I I
7 ,
h
.l , 6 . ,
R n l
L
v -
A
I II
A'
--L-
I
I A
I I
-
A A .
v I - -
3. Alternate articulation with the last quarter note of the series played long.
Review
u ( l , m . 5 ) , p-n ; (I, m. 13-14), and
(I, m. 21 ), alternate notations of the same pattern from Duet 11.
SAY IT AGAIN, VIRGINIA D.
Say I t Again, Virginia D. - 2
44 DUET 15
Syncopated Quarter Note -- Expansion of the Pattern with an

Eighth Rest Substituted for the Initial Eighth Note
by the Inclusion of Two Quarter Notes
Written
.
I
(I, m. 8,'and rn. 18-19)
Played T.
8 b # J > b 8
DAM ' W1f
P r e l i m i n a ~Exercises
AR '
a~k at
- ,
~ R W n k
- .
aR;H a i ~ A H T a i ~ DA;K m
- I)RII- 3ll;K DTH -.
Review
b ) Jj.4 - I (I, m. 6-7) from Duet 9; (I, m. 10) from Duet 10;
-.
(I; m. 12) from Duet 11.
TWO BROTHERS
.,.
- . ..
,.
..,. ./. . '. . ... a ,
8,' ,'.. m. . . ,
/, : I :., ,. ,
./ ' , : . .'. . .
I: .,.; :: .." .. . ,-
:
. ,'.. . . . . .
(I,.,.. '
' .
. ,. .. . . .. . .
I . .
.' I
. , ,
.
~,..L..I;>~.,. ..
:. . . . . . . . :. ... . . .
Two Brothers - 2 45
Il
DUET 16
Followed by a Quarter or Larger Rest by the
Inclusion of Two or More Quarter Notes
Written
b l -
)>d y (I, m. 31, -n? J-1 Y
U
(I, m. 5-61 -ndJj jAjd 7
Played
---
3 9 3
-J-J++'+
1. Compare rn. 1 to m. 2, rn. 3 to m. 4, and m. 2 to m. 4.
2. Both notations of the pattern.
Review
a, (I, m. 1 ), an alternate notation of .
h from Duet 7;
-n
) ; (I, rn. 13) and
same pattern from Duet 1 1.
- 5 ' 1 1 - (I, m. 17-18), alternate notations of the
TWO OTHERS
Two O t h e r s - 2 47
DUET
Syncopated Quarter Note -- Expansion of the Pattern with

Eighth Rests Substituted for Both Eighth Notes
by the Inclusion of Three Quarter Notes
Written
J . (I, m. 6)
Played 7 7
nflH4 DOH< D A ~ '

Even Eighth Notes
A series of eighth notes that lead into a climax, or the beginning of a melody or phrase, that
are marked with accents (m

>>>>
or
A A A A
) or with tenuto marks (a)

are played 'evenly', i.e., with each eighth note receiving one-half of the beat. In this instance, the notes
are marked 'even' eighths (I, m. 4, 8, and 23). As they are accented, they would be (as with accented
quarter notes) played short.
-
1. With eighth rests replacing the eighth notes.
2. Even and uneven eighth note patterns. Each of the even eighth notes receives one-half
of the beat.
~eviek
and , alternate notations of the same pattern from
Duet 13 (1, rn. 13-14, m. 15); (I, rn. 13) from Duet 9.
CHA-DA!
-
I Mu- - I
- - LI
II'
I I I 1 I
I
I
I I
DUET 1 8
Syncopated Quarter Note -- Expansion of the Pattern

with a Quarter or Larger Value Note Tied
into the Initial Eighth Note by the
Inclusion of Two Quarter Notes
Written
I . J-? j j,! , an alternate notation of ,
-
') ? 'j (1, m. 5)
Played - 7 j T - 5
1 1 j *h t b '
u i BRIK i n < ' ar '
Prelirninarv Exercise
1. Compare rn. 1 with m. 2, and rn. 2 with m. 3.
Review
1 .I
I
'd ,' and --n/ , alternate notations of the same pattern from
Duet 12 ( 1 , m. 14-15); -+and J j J)-

' / , alternate notations of the
same pattern from Duet 14 (1, m. 16 and 20); b ,' from Duet 15 (1, rn. 8). Compare
-
the rhythm pattern in rn. 5 with that in rn. 8.
M ~ Q E ~ MSEd ~ 6 BLEU SKIES

Bleu S k i e s - 2
DUET I S
Syncopated Quarter Note -- With a Quarter or Larger Value Note

Tied into the Initial Eighth Note of the Basic Pattern
and the Final Eighth Note Tied into
a Quarter or Larger Value Note
Written
J.
- -1
(I, rn. 5-6) and J , I. (I, m. 22-23), alternate notations of
-- ! k;
I
. Compare rn. 5-6 with m. 22-23.
-
Played
Prelirninarv Exercises
Compare rn. 1 with rn. 2; also compare rn. 4-5 with rn. 5-6.
-
Review
(I, rn. 2-3) from Duet 18; b! >-fi ! 7 (I, rn. 14) and
-h l Jh.4
- I (I, m. 1-2). alternate notations of the same pattern from Duet 16; and A
(I, m. 15) and Y bdb ,,! (I, rn. 19), alternate notations of the same pattern from Duet 13.
JUST FOR JACK

flnaca~€l~
J u s t f o r Jack - 2 53
Even Eighth Notes in Latin American Music
Written
A variety of rhythm patterns from previous duets are used to illustrate the even eighth note
articulations found in Latin American music.
Played
An even division of the beat is used, as opposed to the uneven beat division used in jazz.
Series of eighth notes are played with each note receiving one-half of a beat (&'), rather than
7
the uneven beat division recommended in previous duets ( -& ). Syncopated quarter note
patterns are also played evenly. For instance,

-3- -3-
u, i s played (wen beat
division), not 1 > ) bl_ (uneven beat division).
Note values larger than a quarter note are held full value. Eighth notes may be played
staccato or legato tongued and held full value. In Duet 20, staccato ( 1 or tenuto
( 1
- - - - ) marks are used to indicate the desired articulation.
Patterns in which eighth notes and quarter notes are intermixed may be played with eighth
notes long and quarter notes short as in previous duets, or an inverse articulation in which the eighth
notes are played short and the quarter notes long. Thus, may be played
!:) :) ! !/ or, using an inverse articulation, .-

- - . In either case, even beat
division i s observed. The desired articulations are marked in Duet 20.
Both tenuto and staccato eighth notes are used in rn. 1-4; regular and inverse articulations
are used in m. 58. Compare m. 5 with m. 7. Use an even division of the beat with all patterns.
- n - . - - . . - - - - ,
Mil MKl &< DR'M GII BRi INN bRd DPII DRM anur a ~ d 1 MH ldg.( Md i d lad DM
EBUAL OCTAVO
Eguel Octavo -2
DUET 2 l
Even Eighth Notes in Jazz-Rock Music
Written
A variety of rhythm patterns from previous duets are used to illustrate the even eighth note
articulations found in Jazz-Rock music.
Played
As in the previous duet on Latin American music, two styles of articulation are used in
playing Jazz-Rock music. In the first style, which is more often found, eighth notes are played short and
quarter notes long ( - / ), In the second, the opposite articulation is used in
which (as in jazz) the eighth notes are played long and the quarter notes short I i In 1 f 1.
Even subdivision of the beat is used in both styles, ,and accent marks, slurs, etc. retain the same meaning
as in previous duets.
In the duet below, m. 7-22 are played with short eighth notes and long quarters the first
time, and with long eighth notes and short quarters on the repeat.
Compare the articulation of the first line to that of the second line.
BRIGHT EYES
Bright Eyes - 2 57
DUET 22
Eighth Note Triplets
Written
& (1. m. 2)
Played
Eighth note triplets are given the same duration as in traditional music; i.e., each note of
the triplet receives one-third of a beat. Each eighth note in the triplet is usually legato tongued. An
alternate articulation, used especially in faster tempi, involves slurring the three notes that make up the
triplet.
&
Triplets mixed with eighth note anticipations; use an uneven division of the beat when
playing the eighth note anticipations.
Review
&(1, m. 26) from. Duet 17; --n'bfl
(I, rn. 24-25) from
~ ~ e t l 9 ; 4 - ? J- Y ,' (I, m. 22-23) from Duet 14.
BARBARA'S BLUES
Berbera'e Blues -2 59
DUET 23
Kickbeat Patterns
Written*
&(I, m. 5). (I, m. 9). Compare m. 16 with m. 18 and m. 23
with m. 25.
Played
Accent the dotted quarter note, sustaining it for i t s full value. Inexperienced players, in
their desire to accent the kickbeat, often rush through the eighth rest, arriving at the dotted quarter
note too soon. To avoid this, concentrate on the rest that precedes the kickbeat note a full
two-thirds of a beat. By mentally emphasizing this rest, you will achieve a strong, accurately placed
accent on the kickbeat.
-7
hi -
Preliminarv Exercise
Compare the first three measures, one to another. Mentally emphasize the rest that
precedes the kickbeat note, giving it a full two-thirds of a beat.
Review
I
'U
8 ,' (I, m. 1-2) and - ,
I (I, m. I), alternate notations of the
--
same pattern from Duet 12;
(I, m. 3) from Duet 22.
- (I, m. 20) from Duet 17; and a- 3
"The kickbeat notations shown here are similar to the notations of those syncopated quarter
note p'atterns in which the last eighth note of the pattern is tied into a quarter note in that both
notations contain a dotted quarter note on the upbeat. (See Duet 8 which contains the pattern
h JP
- notated and Duet 19 which presents the pattern -&
notated w. .) The patterns differ in that, in the case of the syncopated quarter note
patterns, the dotted quarter note i s the second of two consecutive syncopated notes while, in the
kickbeat pattern, this configuration of two consecutive syncopations is not found.
JERSEYgSBOUNCE
DUET 24
Kickbeat Patterns
Written*
. i - (I, m. 51, -&&+(I, m. 8).
C-\
Played 3
Kickbeat note preceded by an eighth note (m. 2, 5, and 7); kickbeat note preceded by a tied
eighth note (m. 3 and 6). Note that tied eighth note anticipations are found on beat 3, m. 2 and beat
1, rn. 6. Use uneven beat division.
Review
&,
(I, m. 23), kickbeat pattern from Duet 23; .
kickbeat pattern but a syncopated quarter note pattern from Duet 19;
kickbeat pattern but a tied eighth note anticipation from Duet 5: &
- !. fl
A.
-! !* , [I, m. 6) not a
(I; m. 81, not a
(I, m. 15) from Duet
22; -(I,> > > m, 1-21 from Duet lo; &!?? (1, m. 4 ) from Duet 17. Compare
the notation of the syncopated quarter note pattern in m. 5 with that of the same pattern in rn. 9.
"The kickbeat notation in which the dotted quarter note is preceded by a tied eighth note
( ) is similar t o the notation of the syncopated quarter note pattern found in Duet 8
( + a - ). The two patterns differ in that, in the syncopated quarter note pattern, the dotted
- ~
quarter i s the second of two consecutively syncopated notes, while, in the kickbeat pattern, this
configuration of two consecutive syncopations is not found.
The kickbeat pattern in which the dotted quarter note i s preceded by an eighth note ( &)
is similar to the notation of the tied eighth note anticipation found in Duet 5 in which the anticipatory
eighth note i s written as a dotted quarter note ( nr/ notated L), especially in those instances
in which the dotted quarter note is followed by note values rather than rest values. The tied eighth note
anticipations can be distinguished from the kickbeat in music that contains articulative markings as the
dotted quarter note would be shown accented. In those instances in which the articulation i s not marked,
the determination of the category of the pattern, and hence the accentuation, if any, is left to the
discretion of the player and the manner in which he views the dotted quarter note within the context of
the phrase. In ensembles, the phrasing of the lead player should be followed.
KICKIN' I T A R O U N D
SLJIUG
~ O ~ E&PPM
64
DUET 25
Charleston Patterns
Written
J+J+ (I, m. I , -/ C! / , 111.( . m.
] , )9 m. 101, 1 7 ?A' Y
(I, m. 6).
-
Played
J
~ R H < 'nau;
or or &AH, nd14.r
1. Variations of the Charleston Pattern, beginning on the first beat of the measure. Compare
m. 1 with m. 2, m. 5 with m. 6, and m. 9 with m. 10.
--
pdd4 Plrl bid,
--
bAd DC\ 3Ah<
-
Md,
--
DflH 'Dfl ~ R i f
--
IRd
- --
Dad bAi
2. Charleston patterns beginning on the third beat of the measure.
' 1 ' - - . --
nRM DArl DO DOHDAd DRd,
--.
DRH 2 i DAlf
-
DAti - - -24 D I I H ~ PA-H -
I)(ld
a
Review
(I, m. 6) from Duet 13; ( I , m. 26) from Duet 23;
--
.-
(I, m. 22) from Duet 24.
CHARLIE JACK
DUET 26
Charleston Patterns
Written
). -
.h (I, m. 5 , . 7 Am ! (I, m. 24).
Played
With the pattern beginning on the first beat of the measure in m. 2 and 3, and the third beat
of the measure in m. 6 and 7. Compare m. 1 with m. 2 and rn. 5 with m. 6.
Review
I 1. 8
(I, m. 18) from Duet 24. Compare m. 1 with rn. 30.
/V
SEPTEMBER'S S O N G
September's Song - 2 67
Punctuation
-
Written*
&(I,m.5),-II,m. 15). 6(1,mm.23)
-*
Played -?
~AY(
Compare m. 1 with m. 2, m. 2 with m. 3, m. 5 with m. 6, gnd m. 6 with m. 7. Mentally
, ' emphasizing the rest preceding the punctuation will help to accurately place these notes. Arrows point
to these rests in the exercise below.
Review
1. b-n -1 (I, m. lo), not a Charlestow or kickbeat pattern, but a syncopated
quarter note pattern from Duet 19; !' -! ; (I, m. I), a Charleston pattern from Duet 26;
(I, m. 20), a Charleston pattern from Duet 25.
*The notation of the punctuation pattern i s similar to that of the syncopated quarter note
pattern found in Duet 13 in which an eighth rest is substituted for both eighth notes in the basic pattern
( . . In the syncopated quarter note pattern, the quarter note is followed by an eighth rest
which is then followed by a note value (.&), In the punctuation pattern, the quarter
note i s followed by a quarter or larger rest value (&-I.
SIPPIMISSI M U D
~ P P E Q A ~S
E L ~ I ~h0l400
~G
-
Sippimissi Mud - 2
h ,
D U E T 28
Individual Eighth Note Anticipations
Written
(I,
-
rn. 7).
(I, m. 91,-4' !' d
(I, m. 5),&(ltm- 11) -'. '"
v-
Played
- - h
+A+-
3 3
Jlb, or J-d
- DAM -
>bAl-
-A Or
Mil,
Compare m. 1 with m. 2, and m. 2 with m. 3. Accurace placement of the syncopated note
will be aided by mentally emphasizing the downbeat preceding the anticipation. In the first line of the
exercise below, an arrow points to this downbeat. Note that, to find the downbeat eighth note, the dotted
quarter note should be regarded as a quarter note tied to an eighth note, as is shown above the staff.
-.
- ~nd, 1tw.r ned nsd, DRK Mil- mwf -

Review
u
I -
J (1, m. 20),punctuation from Duet 27.
MELODY FOR MICHELE

Melody f o r Michele - 2 71
DUET 29
Quarter Note Triplets
Written - 3 l
J L -(I, m. 5)
Played
Quarter note triplets are given the same duration as in traditional music; that is, each note i s
held for two-thirds of a beat.
-3-
Compare m. 1, 2, and 3, one to another. Note the breakdown of the uneven beat division in
line 2.
Review
y )-) , (I, m. 14-15), from Duet 27; (1, m. 31) from Duet 28.
LULL-A-BY1 N' RHYTHM

Lull-A-Byin' Rhythm - 2 73
DUET 30
Eighth Note Triplet Patterns
-
with Ties and/or Rests
Written
(I, m. 31, b
1 (I, m. 161, mL (1, m- 91,
-
Played
The triplet patterns shown abwe are to be played as written.
a+b rR
la1 3R
nru DA buf Dn1 1 PIUI,
3
- BdH DR
Compare m. 1 with m. 2, and m. 2 with m. 3.
Review
- = d h25;
(I, m. 4). Charleston pattern from Duet . ] (1, I
..6). a
syncopated quarter note pattern from Duet 12.
TR IPLI CAT10 N
Triplication -2 75

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TENOR SAX

The New Method for Learning to

How This Text Can Help You

Why Jazz Music Is Difficult to Read

How the Text Was Written

2 Series of Eighth Notes .........................................................................................................

Duet 4, p. 19; rn. 16;

3 Series of Dotted Eighth/Sixteenth Notes ........................................................................... 16

1 4 Eighth Note Anticipations Followed by a Rest ...................................................................

Duet 15, p. 45; rn. 18;

5 Tied Eighth Note Anticipations ..........................................................................................20

Duet 10, p. 33; m. 15;

6 Eighth Note Patterns Intermixed ........................................................................................

Review of Patterns Found in

7 Syncopated Quarter Note-Basic Pattern ............................................................................

Duet 8, p. 29; m. 22;

a Duet 15, p.45; m. 13- 14;

a Duet 9, p. 3.1; m. 16;

Duet 11, p. 35; m. 15-16;

Duet 9, p. 31; rn. 23;

9 Syncopated Quarter Note-with a Quarter or Larger Value Rest Following the

Duet 17, p. 49; rn. 13;

Duet 18, p. 50; rn. 1 - 2.

Duet 15, p. 44; rn. 6 - 7;

n. Duet 18, p. 51; rn. 30-31;

Duet 12, p. 37; rn. 17;

a Duet 24, p. 63; rn. 3;

11 Syncopated Quarter Note-Expansion of the Basic Pattern by the Inclusion of

Duet 14, p. 42; rn. 5;

Duet 14, p. 42; rn. 13 - 14;

- ---l' 1 -4 , Duet 12, p.37; rn. 13- 14;

Duet 16, p.47; rn. 17-18;

Duet 17, p. 49; rn. 15;

Duet 19, p. 53; rn. 19;

Duet 17, p.49; m. 13- 14;

14 Syncopated Quarter Note-Expansion of the Basic Pattern by the Inclusion

15 syncopated Quarter Note-Expansion of the Pattern with an Eighth Rest Substituted

., --J'J Duet 18, p. 50; m. 8;

16 Syncopated Quarter Note-Expansion of the Basic Pattern Followed by a Quarter

)J t) Duet 19, p. 53; m. 14.

Duet 19, p. 52; m. 1 - 2;

17 Syncopated Quarter Note-Expansion of the Pattern with Eighth Rests Substituted

Duet 22, p. 59; m. 26;

18 Syncopated Ouarter Note-Expansion of the Pattern with a Quarter or Larger Value

Duet 19, p. 52; m. 2 - 3;

Duet 24, p. 63; m. 6;

20 Even Eighth Notes in Latin American Music .....................................................................54

Various rhythm patterns

21 Even Eighth Notes in Jazz- Rock Music .............................................................................56

Various rhythm patterns

22 Eighth Note Triplets .........................................................................................................

23 Kickbeat Patterns .............................................................................................................60

Duet 24, p. 63; m. 21;

24 Kickbeat Patterns ..............................................................................................................

),?, ,, Duet 25, p. 65; m. 22;

Duet 26, p. 67; m. 18;

25 Charleston Patterns ...........................................................................................................

1 )) Duet 28, p. 70; A.1.

Duet 27, p. 68; rn. 2;

26 Charleston Patterns ...........................................................................................................66

Duet 28, p. 71 ; m. 20;

Duet 29, p. 73; rn. 21.

28 Individual Eighth Note Anticipations ................................................................................70