Bebop Mandolin:

Target Notes and Chromatic Approaches

© 2010 by Pete Martin

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 Bebop Mandolin:
Target Notes and Chromatic Approaches
Table of Contents

Introduction ...................................................................................................................3

Chapter 1 Examples of Target Notes .........................................................................7

Chapter 2 Targeting Thirds ....................................................................................... 9
Chapter 3 Sevenths As Target Notes ......................................................................... 27
Chapter 4 Targeting Alterations ................................................................................ 45
Chapter 5 Other Targets ............................................................................................ 67
Chapter 6 Diatonic Approach Notes ......................................................................... 71
Chapter 7 Chromatic Approach Notes ...................................................................... 78
Chapter 8 4 Note Chromatic Approaches ................................................................. 88
Chapter 9 How To Practice Targets and Chromatic Approaches .............................. 98
Chapter 10 Targets and Approaches - Charlie Parker ................................................. 116
Chapter 11 Targets and Approaches - Other Players .................................................. 123
Chapter 12 Clifford Brown ......................................................................................... 130
Chapter 13 Confirmation Solo by Clifford Brown ......................................................140

Appendix
Appendix 1: Chord Spellings ........................................................................................148
Appendix 2: Notes Names On The Mandolin Fingerboard .......................................... 150
Appendix 3: Two Octave Major Scale Note Names and Numbers ...............................151
Appendix 4: Blank Fingerboard Chart ..........................................................................152
Appendix 5: Pdf Books by Pete Martin and Materials For Further Study ....................154
 Introduction
Any strong melody, composed or improvised, needs good structure and a look to what
is happening next. It is also important in music to have places we look forward to going. The
act of moving toward these places gives the music more logic to the players and the listeners. It
keeps interest by hearing how the music gets that point, then moves to the next of these points
in time progressively.
In a melody or improvised solo, there needs to be notes that connect that melody to the
chords being played. This helps bond the melody and chords together in a logical way that
sounds pleasing to most listeners.
We can think of these notes as Target Notes (indicated by an “X” throughout the
text). Used well, these are notes toward which we are constantly moving, and cement together
the melody and chords into an appealing sound. When soloists use target notes, they give the
solo “forward motion” and a logic that keeps the listener involved in the solo.
While these target notes can be any note that sounds good to the soloist, they are usually
Chord Tones (notes that make up the chord). It just makes sense to do this. The rhythm sec-
tion is playing chords. If the melody plays a note of that chord, they come together and sound
harmonious. If too many non-chord notes are played by the soloists they sound disjointed, as if
they don’t belong together.
This book will teach you how to hear and use these target notes and how we use other
notes (Approach Notes) to link these together musically. There will be examples and
etudes (exercises) to train your ear, mind and hands to get these sounds into your improvising.
This sound is a large part of the bebop and post bop sound of the 1940s and 50s. Clifford
Brown was the master of this approach. We will look at his and other musicians’ examples of
how they used these devices to create interesting and exciting solos.

Special Thanks to:

The author wishes to thank Greg Glassman for sharing his knowledge of Jazz and pa-
tience in attempting to teach me to play the music. Thanks to Larry Brandon, Brad Weiss,
Frank Dodrill, Jack McKellar, Clark Hess, Vicki Martin for proof reading and feedback; to all
my Jazz playing friends and students; to Carol for love, support and guidance. And of course,
thanks Mom!!


 Chapter 1
Examples of Target Notes
Be sure you have read the introduction before continuing to this chapter. Target notes are
usually chord tones. All target notes are marked with “X” throughout the book. Often the first
note of a chord change is the target note. This is the case in Example 1, which shows a line go-
ing from G7 to CMaj7. The target note, marked in the music notation with an “X”, is G, the fifth
of the CMaj7.

Example 2 shows the same chord progression with the root note C being the target.

Example 3 shows a target note of B on a G7 chord and a target note of E on the CMaj7
chord. Both of these targets are thirds.



Target notes can be used effectively to play a line through a progression of chords. Play
Example 4.

Our first target note is B, the third of the G Maj7 chord. The next target is F, the flat sev-
enth of the G7 chord. The next target is E, the third of the C Maj7. C#, the root of C#dim is the
next target. Finally, the last target note is B, the third of a G Maj7.

The notes that define the coloration of the chord are thirds, sevenths and alterations (such
as flat or sharp fifths and ninths). Roots and non-altered fifths are fairly neutral sounding, mean-
ing they don’t have much of the chord definition in their sound. Major, minor and dominant
chords all have roots and fifths, but have very different functions as chords.
Because of this coloration found in thirds, sevenths and alterations, improvisers will get a
lot of mileage from their use as target notes in a solo. Because of this, every improviser should
regularly practice hitting these target notes. We will start this process in chapter 2.


 Chapter 2
Targeting Thirds
As noted in Chapter 1, good target notes are thirds, sevenths and alterations. Let’s start
the study of how to apply target notes to solos using thirds.
It is important to get the sound of a third in your mind. Play a B note, and then play a G7
chord. Can you clearly hear the B, the third of the G7 chord? Play the G7 chord and sing the B
aloud. Now play an E note, then play a CMaj7 chord. Can you hear that E is the third? Sing E
while playing a CMaj7 chord.
Example 5 has the thirds of both of these chords.

It doesn’t matter in what octave you place the notes, a third is a third. In example 5, each
third is in a different octave. We can make a musical line go down to a lower third, or go up to
a higher third. Both are effective.
One more thing before we start practicing. It is very important to learn everything in
ALL keys. Eventually you will need knowledge of all keys to become a fluid jazz improviser. I
will write the first few etudes (an etude is a study designed to perfect a particular musical skill)
in all keys. After that you are on your own to practice in all keys.

Learn where the thirds are for a V7 - I Maj7 chord

progression in all keys as shown in etudes 1 – 12.


10
11
12
13
 If you have weak keys, keep practicing those keys until you know where the thirds are
located. It is essential you can “see” and “hear” these target notes while playing a solo. In that
way, you can play them in places where they help your solo sound more musical. This type of
repetitive practice is the first step in that process.

Do NOT go any farther in this book until you can quickly

identify and play the thirds presented in Etudes 1 – 12.

Now that you are comfortable finding thirds on major and dominant seventh chords, put
this into your improvising. In the key of C, one possible way is shown in example 6, seen on
the next page.

14
 One can play a more sparse solo than example 6. Example 7 offers a simpler solo in the
key of Ab.

15
 In your solo, try to interweave places where the solo is more active and places where the
solo is sparse. A great strategy is to start sparse and build to more intense, active phrases.

Start with two measures of V7, followed by 2 measures

of I Maj7. When improvising, make the first note of
each measure a third. If you have Band in a Box or other
play along software, enter this chord progression, have
it repeat many times and improvise along. Start with a
slow tempo, so you can think of where the next target is
located. As this gets easier, increase the tempo. Do this
in ALL keys.

16
 Probably the most often encountered chord progression in jazz is IIm7 V7 I. If you want
to play fluid jazz solos, you must be able to handle this set of chords comfortably in all keys.
Now that you’re comfortable finding thirds on major and dominant seventh chords, let’s add
thirds on minor seventh chords.
A minor seventh chord contains a flatted third. This will be one note (one half step)
lower than the third we found for major and dominant seventh chords.

Learn where the thirds are for IIm7 - V7 - I Maj7 chord

progression in all keys as shown in etudes 13 – 24.

17
18
19
 Just as before, if you have weak keys, keep practicing those keys until you know where
the thirds are located.

Do NOT go any farther in this book until you can quickly

identify and play the thirds presented in Etudes 13 – 24.

When you reach the point where you are comfortable finding thirds on minor seventh,
dominant seventh and major chords, put this into your improvising. Example 8 shows one pos-
sibility.

20


If you are having trouble getting the target notes in the right place, you can try the follow-
ing. Play only two notes of the scale into the target. In example 9, we ascend two notes to the
target.

21
In example 10, we descend two notes to the target.

We can ascend into one third, then descend into the next third. Example 11 takes the
chord progression to the common Miles Davis piece Tune Up and does just that.

22

Example 12 takes the chord progression of the two A sections of Exactly Like You and plays ascending
and descending into thirds at the beginning of each new chord.

23
 Example 13 takes the chord progression to the same section of Exactly Like You. It shows a possible
improvisation using thirds at the beginning of each new chord.

24
25


Find a number of tunes that use only IIm7 – V7 – I. Put their

progressions in Band in a Box and play at a comfortable tempo.
Play along:

1) Ascending and descending into thirds at the start of each

new chord.

2) Improvise but still place thirds at the beginning of

each new chord.

26
 Chapter 3
Sevenths As Target Notes
As noted in Chapter 1, good target notes are thirds, sevenths and alterations. You looked
at thirds in chapter 2. Now let’s start the study of how to apply target notes to solos using sev-
enths.
There are two types of seventh sounds in Jazz, the major seventh and the flatted (or domi-
nant) seventh. If you do not know the difference between these, you should study music theory
and better understand sevenths before reading this chapter.
It is important to get the sound of a seventh in your mind. Play an F note, and then play
a G7 chord. Can you clearly hear F, the (flatted) seventh of the G7 chord? Play the G7 chord
and sing the F aloud. Now play a B note, then play a CMaj7 chord. Can you hear that B is the
(major) seventh? Sing B while playing a CMaj7 chord.
Example 14 has the sevenths of both of these chords.

Learn where the thirds are for a V7 - I Maj7 chord

progression in all keys as shown in etudes 25 – 36.

27
28
29
30
31
 If you have weak keys, keep practicing those keys until you know where the sevenths are
located.

Do NOT go any farther in this book until you can quickly

identify and play the sevenths presented in Etudes 25 – 36.

Now that you are comfortable finding sevenths on major and dominant seventh chords,
put this into your improvising.

Start with two measures of V7, followed by 2 measures of

I Maj7. When improvising, make the first note of each
measure a seventh. Play along with Band in a Box. Start
with a slow tempo, so you can think of where the next
target is located. As this gets easier, increase the tempo.
Do this in ALL keys.

Now add sevenths on minor seventh chords. A minor seventh chord contains a flatted
seventh. This will be the same note as the seventh in the dominant seventh chord. Learn where
the sevenths are for IIm7 - V7 - I Maj7 chord progression in all keys as shown in etudes 37
– 48.

32
33
34
35
36
 Just as before, if you have weak keys, keep practicing those keys until you know where
the sevenths are located.

Do NOT go any farther in this book until you can quickly

identify and play the sevenths presented in Etudes 37 – 48.

When you reach the point where you are comfortable finding sevenths on minor seventh,
dominant seventh and major chords, put this into your improvising. If you have trouble getting
the target notes in the right place, do as we did in chapter 2. Play only two notes of the scale
into the target either ascending or descending. In example 15, we ascend or descend two notes
to the target.

Now it is time to use both thirds and sevenths as targets in improvising. Example 16
shows an improvisation using a few IIm7 – V7 – I Maj7 progressions.
37
 It has come time to try playing an improvisation to a real jazz tune. Improvise on the
chord progression to the common tune “All Of Me”. The chords are shown in example 17.

38
39
 If you need help to make this easier, write target notes using thirds and sevenths. Exam-
ple 18 shows thirds and sevenths used as target notes.

40
 After you have decided on your target notes, connect them to make your solo. Example
19 shows a solo using the target notes from example 18.
41


42
 Did you notice something new in example 19? In measures 14, 15, 25 and 27, we moved
the target note ½ beat ahead of the first beat of the new measure. In each of these cases the note
is tied into the new measure. Moving the target ahead and behind the first beat of a measure is a
common device we will look at later.

43
 Do NOT go any farther in this book until you can quickly
identify and play the sevenths presented in Etudes 37 – 48.

Find a number of tunes that use only IIm7 – V7 – I. Put

their progressions in Band in a Box and play at a comfortable
tempo. Play along:

1) Ascending and descending into thirds and sevenths at

the start of each new chord.

2) Improvise but still placing thirds and sevenths at the

beginning of new chord.

44
 Chapter 4
Targeting Alterations
Alterations to chords are commonplace in Jazz. We can alter fifths and ninths by raising
and lowering each a half step (b5, #5, b9, #9). While any chord can be altered, the most com-
mon chord to be altered is the dominant seventh. The chord known as an altered chord, such as
Calt or C7alt, alters the fifth to b5 and #5 and the ninth to b9 and #9! Another common chord is
the minor seventh with a flat fifth (a. k. a. half diminished).
Some tunes have chords with altered notes. A good example is the second chord in Duke
Ellington’s “Take The A Train”. This chord is a D7b5, also called a D7#11 (#11 and b5 are the
same note, Ab in the key of D). Look below at how this chord is constructed.

1 3 5 7
D7 chord = D F# A C

1 3 b5 7
D7b5 chord = D F# Ab C

We hear dominant seventh chords, such as D7, in all kinds of music. A dominant seventh
with a flatted fifth is an unusual sound most common in Jazz. The Ab note is the difference
between the D7 and D7b5 (D7#11) chord. Using this unusual sounding note as a target in Jazz
improvising makes a lot of sense. Example 20 shows this Ab note as a target in the first two
chords of “Take The A Train”.

45
 Another common use of an altered note is a minor II V I progression. Minor keys use
IIm7b5, or II half diminished as the II chord. V7b9, V7#9 or V7alt is used as the V chord.
ImMaj7 or Im6 is most often used as the I chord, although Im7 can work as well. This sound
became common place in the 1950s as Jazz moved into the hard bop era. Tunes like “Whisper
Not”, “Bohemia After Dark”, “Minority” and countless others use minor II V I.
If you have trouble understanding minor II V I sounds, it might help to study more mu-
sic theory. Mark Levine’s excellent book “Jazz Theory” dives into detail from pages 55 to 94,
looking at the chords and scales for improvising against these chords. I highly recommend that
every serious Jazz student study this!
Example 21 shows the first 5 measures of chord progression of “Minority”.

Notice the notes that fall on the beat in the C7b9 chord. They are C, Bb, Db, and Gb, the
1, b7, b9, and b5.

46
 Here are the scales I used for these chords.

CHORD SCALE NOTES

FmMaj7 F Melodic Minor F G Ab Bb C D E
Dm7b5 F Melodic Minor F G Ab Bb C D E
Gm7b5 Bb Melodic Minor Bb C Db Eb F G A Bb
C7b9 Db Melodic Minor Db Eb Fb Gb Ab Bb C Db
C7b9 C Altered Scale C Db Eb Fb Gb Ab Bb C

The Db melodic minor and the C altered scale are two terms that “mean” the same sound.
Unlike major II V I where we use the scale of I and everything fits nicely, in minor II V I most
players use three different scales.
As stated before, any note that sounds good to the soloist can be used as a target. Chord
tones are most common, the most colorful being the third, seventh and alterations. These target
notes are listed here:

CHORD TARGET NOTES

mMaj7 b3, 7
m7b5 b3, b5, b7
7b9, 7#9, 7b5, 7#5, Alt b9, #9, 3, b5, #5, 7

Look at the C altered scale.

1 b9 #9 3 b5 #5 7 1
C Altered Scale C Db Eb Fb(E) Gb Ab Bb C

All these notes are in a Calt chord. Because of this, any note of the altered scale is a
chord tone, thus can be a target note. Therefore, you need to learn all of them. We will do that
in every key in etudes 49 – 60. Due to its lack of color, we shall omit the root note as a target in
the etudes, just as we’ve done previously.

47
48
49
50
51
52
53
54
55
56
57
58
 Take these target notes and use them in solos. First, take a chord progression and find target notes.
Then make a solo using these target notes. This is shown using the chord progression of “Stella By Starlight”.

59
 Example 22 shows possible target notes in this chord progression.

60
61
 Example 23 shows a solo constructed from these target notes.

62
63


Look at the target notes in examples 22 and 23.

64
 Target Note in
Measure Chord Note Chord
1 Em7b5 Bb b5
2 A7b9 C# 3
3 Cm7 Eb 3
4 F7 Gb b9
5 Fm7 Ab 3
6 Bb7 F 5
7 EbMaj7 D 7
8 Ab7 Gb 7
9 BbMaj7 Bb 1
10 Em7b5 D 7
10 A7b9 C# 3
11 Dm7 F 3
12 Bbm7 F 5
12 Eb7 Db 7
13 FMaj7 D 6 (13)
14 Em7b5 D 7
14 A7b9 Bb b9
15 Am7b5 C b3
16 D7b9 C 7
17 G7#5 Eb #5
19 Cm7 Eb 3
21 Ab7#11 C 3
23 BbMaj7 D 3
25 Em7b5 Bb b5
26 A7b9 C# 3
27 Dm7b5 F 3
28 G7b9 F 7
29 Cm7b5 Gb b5
30 F7b9 Gb b9
31 BbMaj7 D 3

Notice how often the target note is a 3, 7 or alteration? While occasional 1, 5 and 6 (13)
are played, the bulk of the target notes are 3, 7 and alterations. They give the solo more color
than other notes.
In measure 4 a Gb note (the flat 9) is played against an F7 chord. You can improvise
notes of an altered dominant against a dominant seventh chord any time you hear it works.

65
1) Take a chord progression to a common Jazz piece
2) Write target notes
3) Improvise a solo using these target notes
4) Repeat using many different tunes

66
 Chapter 5
Other Targets

While the primary target notes in solos are thirds, sevenths and alterations, any note that
sounds good can be used. Other common target notes are roots, ninths, fifths, and sixths (thir-
teenths).
In example 24 the target is a root.

In example 25 the target is a ninth.

67
 In example 26 the target is a fifth.

In example 27 the target is a sixth (thirteenth).

Practice these target notes as you have all others up to this point. If needed, write out
target notes and improvise using these notes. Eventually you should strive to improvise without
use of a predetermined target. You’ll get good at hitting targets automatically, in the flow of the
musical line.

Example 28 shows an improvisation to the chord progression of “There Will Never Be Another
You” using many different target notes.

68
69
1) Take a chord progression to a common Jazz piece
2) Improvise a solo using any and all target notes
3) Repeat using many different tunes

70
 Chapter 6
Diatonic Approach Notes
Approach notes are used to get to target notes. There are many ways to approach
target notes. We can approach target diatonically or chromatically. Diatonic means using
only the notes of the key we are in. If that key is C, diatonic would mean only the notes C, D,
E, F, G, A and B, the notes of C major. Chromatic means any of the 12 notes in western
civilization music.
All exercises in chapter 6 use the key of C diatonically. All following examples have ap-
proach notes labeled “a” and target notes labeled “x”.
Approaches can be single or multiple notes. In example 29 we approach the target by us-
ing a single descending note.

In example 30 we approach the target using two descending notes.

71
 In example 31 we approach the target using five descending notes.

In example 32 we approach the target by using a single ascending note.

In example 33 we approach the target by using two ascending notes.

72
 We can ascend or descend into a target by any number of diatonic notes that sound good.
We can also use combinations of ascending and descending approach notes. Many Jazz teach-
ers call this surround because the target is surrounded with approach notes.
The most basic surround idea is one note above, one note below, then the target. This is
shown in example 34.

In example 35 we approach the target by one note below and one note above.

In example 36 we approach the target by two notes below and one note above.

73
 In example 37 we approach the target by two notes above and one note below.

In example 38 we approach the target using both ascending and descending notes. We
start two scale notes above the target, play one scale note below, one scale note above then ar-
rive at the target.

74
 Example 39 is the opposite of example 38. We start two scale notes below the target,
play one scale note above, one scale note below then arrive at the target.

Notice how Jazzy this line sounds. We are starting to get into Bebop territory here.
These ideas are all over in recordings of the 1950s.
We can extend this surround to many notes. Example 40 has a four note surround. We
start two scale notes above the target, descend one scale note, play two scale notes below the
target, then ascend the scale to the target.

Example 41 is the opposite of example 40. We start two scale notes below the target,
ascend one scale note, play two scale notes above the target, then descend the scale to the target.

75
 Example 42 is two scale notes above, two scale notes below, one scale note above, one
scale note below.

Example 43 is two scale notes below, two scale notes above, one scale note below, one
scale note above.

76
 There are too many of these diatonic surrounds to go into all of them, but you should now
have an idea of how they function. Make up a few of your own using however many notes you
wish.
How to practice diatonic approach notes? There is no one “correct” way to get this sound
into your improvising. below are some suggestions, feel free to modify them to suit your
needs.

1) Improvise 2 measures of G7 and 2 measures of

C Major (CMaj7 or C6). Select the target as the third
of the C major chord. Practice all approaches given
in this chapter (examples 29 – 43) into that target
(for instance, examples 29, 30, 31, 34, 35, 36, 37, 38,
39, 40, 41, 42 and 43 all show approaches into a third).
Repeat, selecting different target notes, i.e., root, third,
fifth, seventh, ninth, thirteenth. Repeat in all keys.

2) Improvise 2 measures of Dm7, 2 measures of G7 and

4 measures of C Major. Select a root target. Practice
all approaches given in this chapter into that target for
all 3 chords. Repeat selecting different targets.
Repeat in all keys.

3) Repeat as above with many different chord progressions

and targets in all keys.

4) Improvise common tunes using the above approach.

77
 Chapter 7
Chromatic Approach Notes

Last chapter we discussed approach notes, but only used diatonic approaches. We can ap-
proach targets diatonically, chromatically or a combination of both. Reviewing, diatonic means
using only the notes of the key we are in. Chromatic means any of the 12 notes in western civi-
lization music.
As shown in chapter 6, there are many ways to approach target notes. We will not look
at every conceivable combination, but will look at enough to give us an idea how the concept is
applied to improvisation.

One Note Approaches

Example 44 shows a chord progression of Dm7, G7 and Cmaj7. The target, a third on
each chord, is approached one half step from below.

Notice that sometimes this approach shown in example 44 results in diatonic notes (e to f
in 1st and 2nd measures) and non diatonic notes (the others).
Example 45 shows the same chord progression with each third approached from one half
step above.

78

Two Note Approaches
Example 46 is a two note approach. The first approach note is two half steps below and
the second approach note is a half step below the target.

Example 47 is a two half steps above, one half step above, then the target.

79
 Example 48 is a scale step above, one half step below, then the target.

Example 49 is a half step below, one scale step above, then the target.

80
 Example 50 is a half step above, one scale step below, then the target.

Example 51 is a scale step below, one half step above, then the target.

Example 52 is a half step above, one half step below, then the target.

81
 Three Note Approaches

Example 53 is a two scale notes above, one scale note above, one half step below, then
the target.

Example 54 is a two scale notes below, one scale note below, one half step above, then
the target.

Example 55 is a two scale notes above, one half step below, one scale note above, then
the target.

82
 Example 56 is a two scale notes below, one half step above, one scale note below, then
the target.

Example 57 is a two scale notes above, one half step below, one half step above, then the
target.

Example 58 is a two scale notes below, one half step above, one half step below, then the
target.
83
 Example 59 is one half step below, two scale notes above, one scale note above, then the
target.

Example 60 is one half step above, two scale notes below, one scale note below, then the
target.

Example 61 is two half steps above, one half step above, one half step below, then the
target.
84
 Example 62 is two half steps below, one half step below, one half step above, then the
target.

Example 63 is two half steps above, one half step below, one half step above, then the
target.

Example 64 is two half steps below, one half step above, one half step below, then the
target.
85
 Example 65 is one half step below, two half steps above, one half step above, then the
target.

Example 66 is one half step above, two half steps below, one half step below, then the
target.

Example 67 is three half steps below, two half steps below, one half step below, then the
target.
86
 Example 68 is three half steps above, two half steps above, one half step above, then the
target.

Chapter 8 will continue with 4 note approaches. In chapter 9, we will look at strategies
for how to practice approaches.

87
 Chapter 8
4 Note Chromatic Approaches

We continue our look at chromatic approach notes. Example 69 is three scale notes
above, two scale notes above, one scale note above, one half step below, then the target.

Example 70 is three scale notes below, two scale notes below, one scale note below, one
half step above, then the target.

Example 71 is three scale notes above, two scale notes above, one half step below, one
scale note above, then the target.
88
 Example 72 is three scale notes below, two scale notes below, one half step above, one
scale note below, then the target.

Example 73 is three scale notes above, one half step below, two scale notes above, one
scale note above, then the target.

Example 74 is three scale notes below, one half step above, two scale notes below, one
scale note below, then the target.
89
 Example 75 is one half step below, three scale notes above, two scale notes above, one
scale note above, then the target.

Example 76 is one half step above, three scale notes below, two scale notes below, one
scale note below, then the target.

Example 77 is two scale notes above, two half steps above, one half step above, one half
step below, then the target.
90
 Example 78 is two scale notes below, two half steps below, one half step below, one half
step above, then the target.

Example 79 is two scale notes above, two half steps above, one half step below, one half
step above, then the target.

Example 80 is two scale notes above, one half step below, two half steps above, one half
step above, then the target.
91
 Example 81 is two scale notes below, one half step above, two half steps below, one half
step below, then the target.

Example 82 is one half step below, two scale notes above, two half steps above, one half
step above, then the target.

Example 83 is one half step above, two scale notes below, two half steps below, one half
step below, then the target.
92
 Example 84 is three half steps above, two half steps above, one half step above, one half
step below, then the target.

Example 85 is three half steps below, two half steps below, one half step below, one half
step above, then the target.

Example 86 is three half steps above, two half steps above, one half step below, one half
step above, then the target.
93
 Example 87 is three half steps below, two half steps below, one half step above, one half
step below, then the target.

Example 88 is three half steps above, one half step below, two half steps above, one half
step above, then the target.

Example 89 is three half steps below, one half step above, two half steps below, one half
step below, then the target.
94
 Example 90 is one half step below, three half steps above, two half steps above, one half
step above, then the target.

Example 91 is one half step above, three half steps below, two half steps below, one half
step below, then the target.

Example 92 is two half steps above, one half step above, two half steps below, one half
step below, then the target.
95
 Example 93 is two half steps below, one half step below, two half steps above, one half
step above, then the target.

Example 94 is two half steps above, two half steps below, one half step above, one half
step below, then the target.

Example 95 is two half steps below, two half steps above, one half step below, one half
step above, then the target.
96
 Chapters 7 and 8 have only looked some possibilities of approaching target notes. This
set of examples is by no means complete, but it should give you an idea of how to find ap-
proaches. In the next chapter, let’s look at how to practice these to get this sound into your
improvising.

97
 Chapter 9
How To Practice Targets and
Chromatic Approaches
In previous chapters, we have looked at target notes and how to use approaches to those
target notes. We have seen many examples of approaches in chapters 6, 7 and 8. There is no
one correct way to practice these. This chapter will make some suggestions. Feel free to use
these or develop your own method of practicing.
Some approaches will sound better to each player than others. There should be plenty of
examples that sound good to you. If you don’t like a sound, don’t use it. I suggest listing which
of these you like and use these as the basis of your practicing.
Here are four ways you can practice targets and approaches. We will look at each later in
the chapter.

PRACTICE SUGGESTION ONE

1A) Select one chord out of a progression (for example, V7). Take a single target note in that
chord (such as the third of that V7 chord). Find a one note approach you like. Practice this in all
keys.

1B) Using the same progression and target as 1A above, find a two note approach you like.
Practice this in all keys.

1C) Repeat the same using a 3 note approach, all keys.

1D) Repeat the same using a 4 note approach, all keys.

1E) Do all of the above for each possible target note (R, 9, 3, 5, 13, 7 plus alterations).

PRACTICE SUGGESTION TWO

2A) Using a IIm7 V7 I Maj chord progression. Select a single target note for all chords in
that progression (such as the fifth). Find a one note approach you like into each target. Practice
this in all keys.

2B) Repeat the same using 2 note approaches, all keys.

2C) Repeat the same using 3 note approaches, all keys.

98
2D) Repeat the same using 4 note approaches, all keys.

2E) Do all of the above for each possible target note (R, 9, 3, 5, 13, 7 plus alterations).

PRACTICE SUGGESTION THREE

A) Select a chord progression to a common tune. Select a target note for all chords in that
progression. Find a one note approach you like into each target.

B) Repeat the same using 2 note approaches.

C) Repeat the same using 3 note approaches.

D) Repeat the same using 4 note approaches.

E) Repeat A, B, C, D in all keys.

PRACTICE SUGGESTION FOUR

A) Select a common chord progression segment (such as V7 - IMaj) found in many tunes.
Improvise one note approaches into target notes. Don’t preplan targets, improvise them and the
approaches.

B) Repeat the same using 2 note approaches.

C) Repeat the same using 3 note approaches.

D) Repeat the same using 4 note approaches.

E) Repeat A, B, C, D in all keys.

F) Expand the progression segment (such as IIm7 – V7 – IMaj) and repeat a through E.

99
 Lets look at these as practice etudes.

PRACTICE SUGGESTION ONE

1A) Select one chord out of a progression (for example, V7). Take a single target note in that
chord (such as the third of that V7 chord). Find a one note approach you like. Practice this in all
keys. Etude 61 shows 1A.

1B) Using the same progression and target as 1A above, find a two note approach you like.
Practice this in all keys. Etude 62 shows 1B).

100
1C) Repeat the same using a 3 note approach, all keys. Etude 63 shows 1C).

101
1D) Repeat the same using a 4 note approach, all keys. Etude 64 shows 1D).

102
 PRACTICE SUGGESTION TWO
2A) Using a IIm7 V7 I Maj chord progression. Select a single target note for all chords in
that progression (such as the fifth). Find a one note approach you like into each target. Practice
this in all keys. Etude 65 shows 2A).

103
2B) Repeat the same using 2 note approaches, all keys. Etude 66 shows 2B).

Repeat etude 66 in all keys.

2C) Repeat the same using 3 note approaches, all keys. Etude 67 shows 2C).

104
Play etude 67 in all keys.

2D) Repeat the same using 4 note approaches, all keys. Etude 68 shows 2D).

Play etude 68 in all keys.

2E) Do all of the above for each possible target note (R, 9, 3, 5, 13, 7 plus alterations).

PRACTICE SUGGESTION THREE
3A) Select a chord progression to a common tune. Here are the chords to the Charlie Parker
tune Confirmation.

105
3A) Select a target note for all chords in that progression. Find a one note approach you like
into each target. Etude 69 shows 3A).
106
107
3B) Repeat the same using 2 note approaches. Etude 70 shows 3B).

108
109
3C) Repeat the same using 3 note approaches. Etude 71 shows 3C).

110
111
3D) Repeat the same using 4 note approaches. The chord changes of Confirmation will not
allow 4 note approaches into every target note. Etude 72 shows 3D) using 4 note approaches
where possible.

112
113
3E) Repeat A, B, C, D in all keys.

Example 72 is not how a good solo sounds. Each player must use a number of musical
devices to make a solo interesting. Example 72 is just useful to get apporaches and target notes
into your improvising.
Practice suggestion four on your own. Use many different chord progression segments. If
you have trouble thinking of some, use a fake book for examples.

114
 PRACTICE SUGGESTION FOUR
A) Select a common chord progression segment (such as V7 - IMaj) found in many tunes.
Improvise one note approaches into target notes. Don’t preplan targets, improvise them and the
approaches.

B) Repeat the same using 2 note approaches.

C) Repeat the same using 3 note approaches.

D) Repeat the same using 4 note approaches.

E) Repeat A, B, C, D in all keys.

F) Expand the progression segment (such as IIm7 – V7 – IMaj) and repeat a through E.

Chose one or more of the practice suggestions in this

chapter (or one of yours) and practice targets and
approaches. Do these in all keys.

115
 Chapter 10
Targets and Approaches - Charlie Parker
Up to this point, we have looked at target notes and seen many possible ways to approach
those targets. In this and the next chapters, let’s look at how Jazz legends used them in their
improvisations.
Charlie (Bird) Parker is as responsible as anyone for how great Jazz players play today.
The improvisational language he developed is a great place to start your Jazz studies. In exam-
ple 96, his target is an A note, the fifth of a Dm7 chord. His approach is a half step above, two
half steps below, one half step below, then the target.

In example 97, Bird approaches the fifth of a G7 chord from D7 in exactly the same way.

In example 98, Bird targets the root of an F7 chord. His approach is simple, scale note
below, half step above.
116
 Example 99 shows Bird targeting the same root of an F7 chord. His approach is much
more elaborate than example 98. Two half steps below, one half step above, two half steps be-
low, one half step below, then the target.

The next few examples show chromatic approaches from above. In example 100 the tar-
get note is the flat seven of an F7 chord. Bird approaches it 4 notes chromatically from above.

117
 All of the notes in the first measure of Example 100 could be thought of as approaches to
the target, the flat 7 of F7. Descend the F major scale from D to G, then chromatically descend
to the target.

Example 101 is a classic Parker phrase. If you listen closely to any Bird solo, chances
are high you will hear this one. His target is C, the fifth of an F Major7 chord. His approach is
4 chromatic notes from above.

Also worth noting in example 101 is there is no chord change. Both measures are an F
Major7 chord. It is good practice to target and approach targets whether or not there are chord
changes.
Example 102 targets the note C, a flat third of an Am7 chord. Once again Parker ap-
proaches this with 4 chromatic notes from above.

118
 Parker uses a very typical bebop era approach in the first measure of example 102. The
chord changes in 102 are Bm7, E7, Am7. In the first measure, the notes that fall on the beat are
F, G#, E and D. Those 4 notes outline an E7b9 chord, not Bm7 to E7. Bop players often play
IIm7 V7 as just V7.
Example 103 targets the note D, a fifth of G7 chord. This basic approach is a scale note
below, half step above, then the target.

In example 103, the target is on beat two of the measure, not beat one. Having a target
note later in the measure creates a lot of forward motion in the solo. Against the G7 chord, ten-
sion is created by the notes C and Eb. That tension is nicely released when the note D is played.
Example 104 descends a long chromatic line from Bb to E, then one half step below, then
the target Eb, a fifth of an Ab7 chord.

119
 Example 105 is one half step above, two half steps below, one half step below, then the
target. This is a phrase I hear many great Jazz improvisers use.

Example 106 is the same as example 105 in a different key.

120
 In example 107, Parker approaches the target two scale notes above, one scale note
above, one half step above, one half step below, then the target. Also note the first 4 notes in the
G7 measure are notes from a G7 altered scale. This scale is the same as an Ab melodic minor
scale.

Example 108 is a wonderful surround example. Two scale notes above, two half steps
below, one scale note above, one half step below, then the target.

In example 109 the target is the note G, the fifth of a C7 chord. The approach is half step
above, two half steps below, one half step below, then the target.

121
 Example 110 is a very common Jazz sound. Thelonious Monk used this sound in his
great tune “Round Midnight”. Bird arpeggiates an Am7 chord into the third of a D7 chord.
This F# is the target and the approach is one scale note below, one scale note above.

122
 Chapter 11
Targets and Approaches - Other Players
Besides Charlie Parker, let’s look at approaches and target notes as played by other well
know Jazz musicians. In example 111, guitarist Wes Montgomery approaches a target of D on
a D7 chord by two scale notes above, one scale note above, two half steps below, one half step
below, then the target.

In example 112, Wes surrounds the target D note by the simple scale note above, one half
step below, then the target. This is our first example in ¾ time.

In example 113, guitarist Joe Pass uses three approach notes into the target note A, the
third of an F7 chord. The approach is two half steps below, one half step above, one half step
below, and then the target.

123
 In example 114, Pass plays a long line through common chord changes, targeting notes
on all the new chords he encounters.
The first target is D, the fifth of a Gm7 chord. The approach is half step above, half step
below, then the target.
The second target is E, the third of a C7 chord. The approach is scale note above, scale
note below, then the target.
The third target is C#, the sharp fifth of an F7 chord. The approach is scale note below,
scale note above, then the target.
The fourth target is F, the root of an Fm7 chord. The approach is one half step above,
then the target.
The fifth target is D, the third of Bb7. This Charlie Parker phrase is one half step above,
two half steps below, one half step below, then the target.

In examples 115, 116 and 117, Joe uses the same approach into targets over IIm7, V7
changes. In example 115, the target is B, the third of a G7 chord. The approach is two half
124
steps below, one half step above, one half step below, and then the target.

In example 116, the target is A, the third of a F7 chord. The approach is two half steps
below, one half step above, one half step below, and then the target.

In example 117, the target is E, the third of a C7 chord. The approach is two half steps
below, one half step above, one half step below, and then the target.

125
 Example 118 shows Pass using a scale approach into the target, which is an Eb, the root
of an Eb7 chord. The approach is two scale notes below, one scale note below, two scale notes
above, one scale note above, then the target.

There are two targets and approaches in example 119. Joe’s first target is C#, the sharp
fifth of an F7 chord. His approach is one half step above, two half steps below, one half step
below, then the target. The second target is F, the fifth of BbMaj7. This more unusual approach
is two scale notes above, three half steps above, one half step above, then the target. This line is
full of tension which is released by the sound second target note F.

126
 In example 120, saxophonist Sonny Stitt plays into two targets against the same FMaj7
chord. The first target is the root F (notice it is the second beat of the measure), approached by
scale note above and scale note below, then the target. The second target is C, the fifth of the
FMaj7 and the approach is the same, scale note above and scale note below, then the target.

In example 121, Stitt uses the same approach, scale note above and scale note below, into
a Bb note, the root of a Bb7 chord.

127
 Example 122 shows Stitt using a longer approach into an A note, the third of F7. The ap-
proach is scalar, then chromatic, a nice combination. Four scale steps above, three scale steps
above, two scale steps above, one scale step above, two half steps below, one half step below,
then the target.

In example 123, pianist Bill Evans uses one of the most common approach to target
phrases. I’ve heard this phrase in solos of all types of music. The target is E, the third of a C7
chord. The approach is three half steps above, two half steps above, one half step above, one
half step below, then the target.

128
 In example 124, Evans approaches two chord tones later in the measure than the chord
change. This creates tension that is resolved nicely when the target note is played.
The first target is B, the third of a G7. The approach is half step above, two half steps
below, one half step below, then the target.
The next target is E, the third of the C7. The approach is one scale tone above, three
scale tones above, two scale tones above, one scale tone above, then the target.

129
 Chapter 12
Clifford Brown
In his short life, trumpeter Clifford Brown had a huge impact on the Jazz scene. He was
not only an undisputed master of his instrument, his improvisations influenced almost all who
came after. Of the players I’ve studied, Brown developed targets and approaches more thor-
oughly than any other. In this chapter, we will look at examples of how he used these. In chap-
ter 13, we will analyze one of his solos on the Charlie Parker tune, Confirmation.
In example 125, Brown plays a simple approach to an A note, the root of an A7 chord.
The approach is one half step above, one half step below and then the target.

Brown was highly skilled in using approaches and target notes anywhere in a measure.
This fluidity made his solos unpredictable, giving the music a lot of forward motion by playing
notes in unexpected places. In example 126, we expect to hear the F note on the third beat of
the measure, but Brown surprises us and holds off the F until the fourth beat, placing a surround
in front of the F. The surround is a simple scale note above, scale note below and then the tar-
get.

130
 There are two ways to analyze the approach notes in example 127. The target for both is
the last note in the measure, Bb, the root note of BbMaj7. At first glance it may appear there are
two approach notes, one scale tone below, one scale tone above and then the target.

Brown’s ability to traverse long lines into targets was uncanny. A closer inspection of
example 127 shows a more sophisticated line with all the notes of the measure pointing toward
(approaching) Bb. This make the approach four scale tones above, three scale tones above, two
scale tones above, three scale tones below, two scale tones below, one scale tone below, one
scale tone above and then the target.

In example 128, Brown mixes scale and half step approaches to get to the target F note,
the root of an F7 chord.

131
 Example 129 is the same line as example 128 except against an Ab7 chord.

Example 130 has two targets, the third of an A7 (C#) and the third of a D7 (F#). Brown
plays the same phrase into both targets, two scale notes above, one scale note above, one half
step below and then the target. The notes E, G, and A at the end of the first measure are used to
connect the two phrases.

132
 In example 130, Brown used more than one target note in a phrase. In example 131, he
uses the first target as the first approach note into the second target!
The first target is an A note, the third of an FMaj7. He approaches this by half step
above, two half steps below, one half step below and then the target.
The second target is an F note, the root of an FMaj7. He approaches this by two scale
notes above, one scale note below, one scale note above and then the target. A very cool line
indeed.

Example 132 is another where the target is an approach to the next target. The first target
is an E note, the third of a CMaj7. Brown approaches this by half step above, two half steps be-
low, one half step below and then the target. The second target is a C note, the root of a CMaj7.
He approaches this by two scale notes above, one half step below, three half steps above and
then the target.

Example 133 is almost the same as example 132 and 131. The first target is an F note,
the third of a DbMaj7. Brown approaches this by one half step above, two half steps below, one
half step below and then the target.
133
 The second target is Db, the root of a DbMaj7. He approaches this by two scale notes
above, one half step below, one scale note above, one half step below and then the target.

In example 134, the target is an A, the third of F7. Brown approaches this by half step
above, scale step below and then the target. Once again he makes the target later in the measure
for a tension/release effect.

Example 135 is another where the target is delayed from the chord change. The target
note, Bb is the root of a Bb7 chord. It is delayed until beat 3 of the measure. The approach is
two half steps above, one half step above, one half step below and then the target.

134
 Example 136 targets C, the third of AbMaj7. The approach is two scale steps above, one
scale step above, two half steps below, one half step below and then the target.

Example 137 targets Gb, the flatted seven of Ab7. This simple approach is two half steps
above, one half step above and then the target.

135
 Example 138 is another of two targets, and the first target is the first approach to the sec-
ond target. The first target is Eb, the ninth of DbMaj7. The approach is three half steps above,
two half steps above, one half step above and then the target.
The second target is Db, the root of DbMaj7. The approach is scale note above, scale
note below and then the target.

Example 139 targets C, the fifth of F7. The approach is two scale steps above, one scale
step above, two half steps below, one half step below and then the target.

Compare examples 139 and 136. Do you see they are the same line, but fit two very dif-
ferent chord progressions? Being flexible with your knowledge goes a long way in being able
to improvise comfortably in a number of music situations.

In example 140, the first target is G, the third of Eb7. The approach is one half step
above, two half steps below, one half step below and then the target.
The second target is Eb, the fifth of AbMaj7. The target is scale note below, scale note
above, then the target.
136
 Brown was a master at fitting targets and approaches seamlessly together to make long,
elegant lines. Example 141 is a 6 measure line with 6 targets. Work out the approaches for each
yourself.

Example 142 has two targets. The first is F#, the third of D7. Brown approaches it with
a simple surround of a scale tone above and scale tone below.
The second target is D, the fifth of Gm7. The approach is two half steps below, one half
step below and then the target.

137
 In example 143, Brown targets the third of G7, the note B. The approach is two scale
notes above, two half steps below, one scale note above, one half step below and then the target.

In example 144, Brown targets the note G, the root of GMaj7. His approach is half step
below, two half steps above, one half step above and then the target.

138
 Example 145 is a very typical IIm7 V7 Jazz line. Brown arpeggiates an Am7 chord, re-
solving on an F# note, the third of D7. The approach to that F# target is scale tone above, scale
tone below and then the target.

139
 Chapter 13
Confirmation Solo by Clifford Brown
Brown recorded Charlie Parker’s “Confirmation” on February 24, 1954. The live record-
ing at Birdland in New York City features Art Blakey (drums), Lou Donaldson (alto sax), Hor-
ace Silver (piano) and Curly Russell (bass). The CD is called “A Night at Birdland, Volume 2”,
Blue Note 5038. It is also available on “The Complete Blue Note and Pacific Jazz Recordings
of Clifford Brown”.
Brown takes 4 choruses on the opening solo. I have marked out 49 targets and approach-
es, but could have done many more! Play through the solo and see how many more you can
find.
Brown’s target notes are not always the first note of the new chord. Many occur later in
the measure. One, the target in measure 32, is one beat before the new chord.
Three target notes are the first note of the next approach. Find these and play them.
Notice how Brown starts with simple approaches, then builds intensity as the solo pro-
gresses. There are many other devices he uses besides approaches and targets. He interjects
these with the target-approaches to give the solo variety and interest.
Listen to the recording, play through the solo and have fun studying Brown’s unique
style.
The very last note (F) is written one octave higher than played, so it is in the range of
normal mandolin tuning. Five string mandolin players can play it one octave lower.

140
141
142
143
144
145
146
147
 Appendix 1
Chord Spellings

Chord Type Symbol Spelling

Major X 1 3 5
Minor Xm 1 b3 5
Sixth X6 1 3 5 6
Major Seventh XMaj7 1 3 5 7
Dominant Seventh X7 1 3 5 b7
Minor Seventh Xm7 1 b3 5 b7
Diminished Xdim X° 1 b3 b5 bb7 (6)
Half Diminished XØ Xm7b5 1 b3 b5 b7
Minor Seventh Flat Fifth XØ Xm7b5 1 b3 b5 b7
Minor Sixth Xm6 1 b3 5 6
Minor Major Seventh XMaj7 1 b3 5 7
Suspended Xsus 1 4 5
Augmented X+ X#5 X+5 1 3 #5

Chord Extensions (9, 11, 13)

Ninth X9 1 3 5 b7 9
Eleventh X11 1 3 5 b7 9 11
Thirteenth X13 1 3 5 b7 9 (11) 13
Minor Ninth Xm9 1 b3 5 b7 9
Minor Eleventh Xm11 1 b3 5 b7 9 11
Minor Thirteenth Xm13 1 b3 5 b7 9 (11) 13
Major Ninth XMaj9 1 3 5 7 9
Major Eleventh XMaj11 1 3 5 7 9 11
Major Thirteenth XMaj13 1 3 5 7 9 (11) 13
These are just some, any chord can be extended

Chord Alterations (5, 9, 11, 13)

Sharp Nine X#9 1 3 5 b7 #9
Flat Nine X(b9) 1 3 5 b7 b9
Sharp Eleventh X#11 1 3 5 b7 9 #11
Sharp Thirteenth X#13 1 3 5 b7 9 (11) #13
Major Seven Flat Five XMaj7b5 1 3 b5 7
These are just some, any chord can be altered
The 5 main chord types are:
1. Major
2. Minor
3. Dominant Seventh
4. Diminished
5. Half Diminished

MAJOR: Major, Sixth, Major Seventh, Major Ninth, Major Eleventh, Major Thirteenth,
any of these with suspended or augmented, sharp eleven (flat five)

MINOR: Minor, Minor Seventh, Minor Sixth, Minor Major Seventh, any of these with
suspended or augmented (rare)

DOMINANT SEVENTH: Dominant Seventh, Ninth, Eleventh, Thirteenth, any of

these with suspended or augmented (common)

DIMINISHED: Diminished, Diminished Seventh

HALF DIMINISHED: Minor Seventh Flat Fifth

Any Major, Minor, or Dominant Seventh chord can have alterations, but these are most
common on the Dominant Seventh. These alterations are b5 and #5, b9 and #9, #11, b13 and
#13.
 Appendix 2
Mandolin Note Names

Fret String Name

# G D A E
1 G#/Ab D#/Eb A#/Bb F
2 A E B F#/Gb
3 A#/Bb F C G
4 B F#/Gb C#/Db G#/Ab
5 C G D A
6 C#/Db G#/Ab D#/Eb A#/Bb
7 D A E B
8 D#/Eb A#/Bb F C
9 E B F#/Gb C#/Db
10 F C G D
11 F#/Gb C#/Db G#/Ab D#/Eb
12 G D A E
13 G#/Ab D#/Eb A#/Bb F
14 A E B F#/Gb
15 A#/Bb F C G
16 B F#/Gb C#/Db G#/Ab
17 C G D A
 Appendix 3
Two Octave Major Scales

Two Octave Major Scale

One Octave 1 2 3 4 5 6 7 1 2 3 4 5 6 7 1
Two Octaves 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
Key of C C D E F G A B C D E F G A B C
Key of F F G A Bb C D E F G A Bb C D E F

Two Octaves 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
Key of Bb Bb C D Eb F G A Bb C D Eb F G A Bb
Key of Eb Eb F G Ab Bb C D Eb F G Ab Bb C D Eb

Two Octaves 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
Key of Ab Ab Bb C Db Eb F G Ab Bb C Db Eb F G Ab
Key of Db Db Eb F Gb Ab Bb C Db Eb F Gb Ab Bb C Db

Two Octaves 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
Key of Gb Gb Ab Bb Cb Db Eb F Gb Ab Bb Cb Db Eb F Gb
Key of B B C# D# E F# G# A# B C# D# E F# G# A# B

Two Octaves 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
Key of E E F# G# A B C# D# E F# G# A B C# D# E
Key of A A B C# D E F# G# A B C# D E F# G# A

Two Octaves 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
Key of D D E F# G A B C# D E F# G A B C# D
Key of G G A B C D E F# G A B C D E F# G
 Appendix 4
Blank Fingerboard Charts
 Appendix 5
PDF Books by Pete Martin
Download and try for free at:
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Bebob Mandolin: Target Notes and Chromatic Approaches

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your improvising. Music and tab.

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Mandolin and Fiddle Improvisation Using the Chord Tone Scale

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etc.), Music and tab.

Easy Music Theory For Fiddle and Mandolin

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Texas Style Fiddle Tunes for Mandolin

Tunes from this great fiddlin’ style arranged for mandolin players. Music and tab.

Oldtime Tunes for Fiddle and Mandolin, Volume 1

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Oldtime Tunes for Fiddle and Mandolin, Volume 2

50 less common fiddle tunes. Music and tab.

Texas Style Fiddle Transcriptions, Volume 1

21 note for note versions as played by top Texas style fiddlers. Music notation only.

Texas Style Fiddle Transcriptions, Volume 2

18 more note for note versions as played by top Texas style fiddlers. Music notation only.

Benny Thomasson Fiddle Transcriptions

17 tunes as played by the legendary Texas fiddler. Music notation only.
 Materials For Further Study
Chord Study
How To Comp: A Study of Jazz Accompaniment by Hal Crook
A comprehensive chord study text – highly recommended!!
http://aebersold.com/Merchant2/merchant.mvc?Screen=PROD&Product_
Code=HTC&Category_Code=PIAVOI

Hearin’ The Changes by Jerry Coker, Bob Knapp, Larry Vincent

How to learn chord changes by ear
http://aebersold.com/Merchant2/merchant.mvc?Screen=PROD&Product_
Code=HEAR&Category_Code=JERCOKBOO

Improvising Jazz by Jerry Coker

Especially good is appendix C and D where he looks at various chord progressions
common to the music
http://www.amazon.com/Improvising-Jazz-Fireside-Jerry-Coker/dp/0671628291

Music Theory
Jazz Theory by Mark Levine
A comprehensive theory text – highly recommended!!
http://www.shermusic.com/new/1883217040.shtml

General Jazz Information

http://www.jazzstandards.com/compositions/index.htm
A list of 1000 Jazz standards, ranked in order of importance.

Fake Books
The Real Book, Volumes 1-3
http://www.amazon.com/s/ref=nb_ss_b?url=search-alias%3Dstripbooks&field-keywords=real+
book&x=0&y=0

The New Real Book, Volumes 1-3

http://www.shermusic.com/new/0961470143.shtml
 Play Along Books and Software
Jamey Aebersold Play Along Recordings
http://www.aebersold.com
A ton of great suff here for all levels of players.

Band in a Box
http://www.band-in-a-box.com/
Play along software. Type in chords, pick a backup style (a lot of good Jazz styles) and it
generates the backup band. Change tempo, key, etc. Terrific and highly recommended!!!!