The Jamming

Book
compiled by
Andrea Vicari

A book with parts for Bb, Eb, C

and Bass all in One!
 CONTENTS PAGE 43. Georgia B b
All tunes are presented with parts for Bb, 44. Eb
Eb, C and bass. Bass clef melody is provided 45. C
and where appropriate there are separate 46. Bass
piano parts. 47. Modes in treble clef
48. Modes in bass clef
1. C Jam Blues & Sonnymoon B b 49. So What Bb
2. Eb 50. Eb
3. C 51. C
4. Bass 52. Bass
5. Billies Bounce Bb 53. Milestones Bb
6. Eb 54. Eb
7. C 55. C
8. Bass 56. Bass
9. Fly me to the moon Bb 57. Bass clef melody
10. Eb 58. Wayne’s Thang bass melody
11. C 59. Bb
12. Bass 60. Eb
13. Honeysuckle Rose 61. C
14. Eb 62. Bass
15. C 63. Canteloupe Island Bb and Eb
16. Bass 64. C and Bass
17. Scrapple from the Apple Bb 65. Piano
18. Eb 66. Bass clef melody
19. C 67. Watermelon man Bb and Eb
20. Bass 68. Piano and Bass
21. Autumn Leaves Bb 69. C melody and bass clef melody
22. Eb 70. Mercy, mercy mercy Bb & Eb
23. C 71. C and bass
24. Bass 72. (Cold duck time) Bb and Eb
25. St Thomas Bb and Eb 73. Piano
26. C and Bass 74. Bass
27. Someday my Prince will come Bb 75. M o r n i n g Bb
28. Eb 76. Eb
29. C 77. C melody
30. Bass 78. Bass melody
31. Purple Gazelle Bb 79. Piano
32. Bb harmony 80. Bass
33. Purple Gazelle Eb 81. | got Rhythm Bb
34. Eb harmony 82. Eb
35. Purple Gazelle C 83. C
36. C harmony 84. Bass
37. Purple Gazelle Bass 85. R h y t h m - a - n i n g Bb
38. Bass clef harmony 86. Eb
39. Don’t know Why Bb 87. C
40. Eb 88. Bass
41. C 89. Manuscript
42. Bass 90. Manuscript
1

C Jam Blues
Bb swing

q = 120
D7 G7 D7
   
              
  

G7 D7
  
             
  

A7 G7 D7
  
             
  

Sonnymoon for Two

Sonny Rollins


C7                     
F7 C7
  

   
     C7            
F7
  

G7    
                  
F7 C7
 
 2

Eb
C Jam Blues
swing
q = 120
D7
A7
        
A7

         

D7
     
A7

          

D7
  
E7
  
A7

          

Sonnymoon for Two

Sonny Rollins

  
G7 C7 G7
                   
 

    
C7 G7
                   

D7
    
C7 G7
                  

3

C part C Jam Blues

swing
q = 120
C7 F7 C7
  
            

  

F7 C7
              
   

G7 F7 C7
              
   

Sonnymoon for Two

Sonny Rollins
Bb7 Eb7 Bb7

                       


Eb7 Bb7

                       


F7 Eb7 Bb7

                       

 4

Bass C Jam Blues

swing

q = 120
F7
C7
       
C7

        

F7 C7

    
 

 
    

F7
 G7
   
C7

          

Sonnymoon for Two

Sonny Rollins

 Bb7 Eb7 Bb7

                       


Eb7 
     
Bb7
                   

F7
 Eb7
     
Bb7
                 

5

Bb
Billies Bounce C.Parker
G7 C7 G7
    3

                            
      

Bm7 G7 E7(b9)
 C7
              
   
      
      
D7
            G7
Am7
          
      


G blues scale
     
  

Bag's Groove Milt Jackson

A7
          
 

   

D7 A7
        
      

E7 D7 A7
         
      


A blues scale
  
    
 6
Eb

Billies Bounce
C.Parker
3
D7 G7 D7
                    

               

D7 F#m7
            B7(b9) 
 
 
G7 
         
         

A7

Em7
         D7
          
           

D blues scale

   
    


Bag's Groove Milt Jackson

E7
              
   

A7 E7

           
  


B7 A7 E7

           
 





E blues scale

      
7

C part Billies Bounce

C.Parker
F7 Bb7 F7
                             
3
  
       

Bb7 F7 Am7 D7(b9)

                 
              

 
Gm7
       F7
C7
             
         
F blues scale

  
     

Bag's Groove
Milt Jackson
G7
            
 

   


C7 G7
         
      


D7 C7 G7

            
    


G blues scale
  
    
 8

Bass clef
Billies Bounce C.Parker

F7 Bb7 F7
                  3     

              

F7 Am7 D7(b9)
Bb7 
                  

  
      

      C7      F7
Gm7
 


               

F blues scale

   
   

Bag's Groove
Milt Jackson

 
G7
       
     
 

C7 G7
          
 
 

C7

D7
        
G7
 
  
 


G blues scale
     

9

Bb
Fly Me to the Moon is made up from the primary triads of Bb major.They are arranged in a cycle of 5ths
which creates both major and minor II V I progressions.

Fly Me to the Moon

Gm7 Cm7 F7 Bbmaj7 Bb7
    
     
 
 3
         
 
 
5 Ebmaj7b Am7b5 D7b9 Gm7 G7
    
                
  

9 Cm7 F7 Bbmaj7 Gm7

   

       
 

13 Cm7 F7 Bbmaj7 Am7b5 D7b9

         
     

17 Gm7 Cm7 F7 Bbmaj7

      Bb7
               
 
   

21 Ebmaj7b Am7b5 D7b9 Gm7 G7

    
                
  

25 Dm7b5 G7b9

Cm7 F7
 
            


29 Cm7 F7 Bbmaj7 Am7b5 D7b9


             
 10

Eb
Fly Me to the Moon is made up from the primary triads of Ab major.They are arranged in a cycle of 5ths
which creates both major and minor II V I progressions.

Fly Me to the Moon

Dm7 Gm7 C7
            Fmaj7 F7
    
3
   
 
5 Bbmaj7b Em7b5 A7b9 Dm7 D7

                
    

9 Dm7
 
Gm7 C7
     
Fmaj7


   

13 Gm7 C7 Fmaj7 Em7b5 A7b9

              

17 Dm7 Gm7 C7
            Fmaj7 F7
        
 

21 Bbmaj7b Em7b5 A7b9 Dm7 D7

 
               
    

25
 
Gm7
 
C7
    
Am7b5 D7b9


    

29

Gm7
    
C7
  
Fmaj7

Em7b5 A7b9
   
11

Fly Me to the Moon is made up from the primary triads of Ab major.They are arranged in a cycle of 5ths
Piano which creates both major and minor II V I progressions.

Fly Me to the Moon

Fm7 Bbm7 Eb7 Abmaj7 Ab7
 
        3 
     
    
   

5 Dbmaj7b Gm7b5 C7b9 Fm7 F7


     
        

     
   

9 Bbm7 Eb7 Abmaj7 Fm7


     
      



13 Bbm7 Eb7 Abmaj7 Gm7b5 C7b9


          
      

17 Fm7 Bbm7 Eb7 Abmaj7

  Ab7
         
     
    
  

21 Dbmaj7b Gm7b5 C7b9 Fm7 F7


     
        
 
     
   

25 Bbm7 Eb7 Cm7b5 F7b9

  

            


29 Bbm7 Eb7 Abmaj7 Gm7b5 C7b9

  
             
 12

Bass
Fly Me to the Moon is made up from the primary triads of Ab major.They are arranged in a cycle of 5ths
which creates both major and minor II V I progressions.

Fly Me to the Moon

Fm7 Bbm7 Eb7
        
Abmaj7 Ab7
           
 
 3 

5 Dbmaj7b Gm7b5 C7b9 Fm7 F7

            
   
      
 

9 Fm7
    
Bbm7 Eb7
     
Abmaj7

  

13 Bbm7 Eb7 Abmaj7 Gm7b5 C7b9

            
  

17 Fm7 Bbm7 Eb7

        
Abmaj7
      Ab7

    
      

21 Dbmaj7b Gm7b5 C7b9 Fm7 F7

            
        
    

25
  
Cm7b5 F7b9

    
Bbm7 Eb7
   
    

29

Bbm7
    
Eb7
   
Abmaj7 Gm7b5 C7b9
     

13

Bb part
Honeysuckle Rose is in the key of G major and has a simple II V I sequence in the first section. The middle 8
is a string of dominant sevenths to land back to the home key of G.

Honeysuckle Rose
Fats Waller
Am7 D7 Am7 D7 Am7 D7 Am7 D7
   
         

5 Gmaj7 Em7 Am7 D7 Gmaj7 (E7)


          


9 Am7 D7 Am7 D7 Am7 D7 Am7 D7

   
         

13 Gmaj7 Em7 Am7 D7 Gmaj7


          


17 G7 [F#dim/G] [Gº] G7 C7

              
 

A7 [G#dim/A] [Aº] A7 D7
        
21
    
  

25 Am7 D7 Am7 D7 Am7 D7 Am7 D7

   
        
   

29 Gmaj7 Em7 Am7 D7 Gmaj7

    
       
 14
Eb part

Honeysuckle Rose is in the key of D major and has a simple II V I sequence in the first section. The middle 8
is a string of dominant sevenths to land back to the home key of D.

Honeysuckle Rose

         
Em7 A7 Em7 A7 Em7 A7 Em7 A7
     

5 Dmaj7 Bm7 Em7 A7 Dmaj7 (B7)

         
  


         
9 Em7 A7 Em7 A7 Em7 A7 Em7 A7
     

13 Dmaj7 Bm7 Em7 A7 Dmaj7

         
  

           
17 D7 [C#dim/D] [Dº] D7 G7
    
 

21
 
E7 [D#dim/E]

[Eº]
 E7 A7
         
      

25
    
Em7 A7 Em7
 
A7 

Em7 A7
  
Em7
 
A7
    

29 Dmaj7 Bm7 Em7 A7 Dmaj7

    
       
15

C part
Honeysuckle Rose is in the key of F major and has a simple II V I sequence in the first section. The middle 8
is a string of dominant sevenths to land back to the home key of F.

Honeysuckle Rose
Fats Waller
Gm7 C7 Gm7 C7 Gm7 C7 Gm7 C7
 
      
        

5 Fmaj7 Dm7 Gm7 C7 Fmaj7 (D7)

        
  

9 Gm7 C7 Gm7 C7 Gm7 C7 Gm7 C7

 
      



     


13 Fmaj7 Dm7 Gm7 C7 Fmaj7

           

17 F7 [Edim/F] [Fº] F7 Bb7

              
 

21 G7 [F#dim/G] [Gº] G7 C7
              


25 Gm7 C7 Gm7 C7 Gm7 C7 Gm7 C7

 
      



     


29 Fmaj7 Dm7 Gm7 C7 Fmaj7

           
 16
Bass clef
Honeysuckle Rose is in the key of F major and has a simple II V I sequence in the first section. The middle 8
is a string of dominant sevenths to land back to the home key of F.

Honeysuckle Rose
Fats Waller

 Gm7
C7 Gm7
 C7 

Gm7 C7 Gm7
 
C7
   


   


5 Fmaj7 Dm7 Gm7 C7 Fmaj7 (D7)

         
  

9
 Gm7
 C7 Gm7
 C7 

Gm7 C7 Gm7
 
C7
      

13 Fmaj7 Dm7 Gm7 C7 Fmaj7

           


           
17 F7 [Edim/F] [Fº] F7 Bb7
    
 

21
 
G7 [F#dim/G]

[Gº]

G7

C7
         
  

25
Gm7 C7 Gm7
 C7 

Gm7 C7 Gm7
 
C7
     
   

29 Fmaj7 Dm7 Gm7 C7 Fmaj7

           
17

Bb part
Scrapple is based on the chords of Honeysuckle Rose with a different cycle of 5ths for the middle eight.
The melody is pure bebop-quite complex, ornate and chromatic.

Scrapple from the Apple

Charlie Parker
Am7 D7 Am7 D7b9
      3

               
    

5 Gmaj7 Am7 D7 Gmaj7 Am7 Bm7 E7

  
3
  3  
                   


9 Am7 D7 Am7 D7b9

     
3

               

    

13 Gmaj7 Am7
Gmaj7 D7 G Am7
  3
         
3
        

17 B7 E7

                

21 A7 D7

                

25 Am7 D7 Am7 D7b9

     3
                  
    

Gmaj7 D7 Am7
29
  Am7
3
  
Gmaj7 G
           
3
        
 18

Eb part
Scrapple is based on the chords of Honeysuckle Rose with a different cycle of 5ths for the middle eight.
The melody is pure bebop-quite complex, ornate and chromatic.

Scrapple from the Apple

Charlie Parker
Em7   3  
       
Em7 A7 A7b9
          
      

 Em7 A7
                      
 Dmaj7 Em7
5

Dmaj7
3
3 F#m7 B7
 

Em7 
                    
9 Em7 A7 A7b9 3
 
       

13

Dmaj7  Em7
 A7
    
Dmaj7 Em7
 D
       
3  3
     
   

17 F#7 B7

                

21 E7 A7

                

Em7   3  
       
25 Em7 A7 A7b9
          
      

29
Dmaj7  Em7
 A7
    
Dmaj7 Em7 D
      
3
          
3 
  
19

C part
Scrapple is based on the chords of Honeysuckle Rose with a different cycle of 5ths for the middle eight.
The melody is pure bebop-quite complex, ornate and chromatic.

Scrapple from the Apple

Charlie Parker
Gm7 C7 Gm7 C7b9
      3   
 
                 
  

5 Fmaj7 Gm7 C7 Fmaj7 Gm7 Am7 D7

3         3
                     

9 Gm7 C7 Gm7 C7b9

            3
    
          
  

13 Fmaj7 Gm7 C7 Fmaj7 Gm7 F

  
3
      
3
   
             


17 A7 D7
                

21 G7 C7
                

25 Gm7 C7 Gm7 C7b9

            3    
                

29 Fmaj7 Gm7 C7 Fmaj7 Gm7 F

  
                         
3 3


 20
Bass clef

Scrapple is based on the chords of Honeysuckle Rose with a different cycle of 5ths for the middle eight.
The melody is pure bebop-quite complex, ornate and chromatic.

Scrapple from the Apple

Charlie Parker
Gm7   3
     
Gm7
 
C7
 
         
C7b9
      

 

5

Fmaj7  Gm7
 C7
 
3
  
Fmaj7 Gm7
 
Am7
  D7
   
      
3        
 

Gm7   3  
9 Gm7
        
C7
   C7b9
       
    

13
  3 
Fmaj7  Gm7
 C7
  3  Fmaj7
  Gm7 F
            


17 A7 D7
               


21 G7 C7
               


Gm7  
25 Gm7
 
C7
      
C7b9
 
3
         
  
    


29
Fmaj7  3   Gm7
 C7
  3  Fmaj7
  Gm7 F
            

21

This classic tune is made up of major and minor II V I sequences in the home key and it's relative minor..
Bb part

Autumn Leaves
(or Les Feuilles Morts)
A Joseph Cosma
Dm7 G7 Cma7 Fma7
  
    
        

6 Bm7(b5) E7(b9) Am7  A7 

     
    

A
10 Dm7 G7 Cma7 Fma7
  
        

14 Bm7(b5) E7(b9) Am7 Am7

       
 

B
18 Bm7(b5) E7(b9) Am7  A7 
           


Dm7 G7 Cma7 Fma7

22
     
   
 Am7 F#7 
C
Am7
Abm7 Gm7
 C7
26 Bm7(b5) E7(b9) Am7
       
  

F7


30 Bm7(b5) E7(b9) Am7
 
A7

    
  
 22

This classic tune is made up of major and minor II V I sequences in the home key and it's relative minor..
Eb part

Autumn Leaves
(or Les Feuilles Morts)
A Joseph Cosma
Am7 D7 Gma7 Cma7
 
     
  
  
  
6 F#m7(b5) B7(b9) Em7  E7 

       
   
A
10 Am7 D7 Gma7 Cma7

       
  

14 F#m7(b5) B7(b9) Em7 Em7


      
  

 E7 
B
18 F#m7(b5) B7(b9) Em7

           


22 Am7 D7 Gma7 Cma7

      
   

 Em7 C#7 
Em7  G7 
C Ebm7 Dm7
26 F#m7(b5) B7(b9) Em7
  
      

C7
30 F#m7(b5) B7(b9) Em7 E7

     
 
  

23

C part This classic tune is made up of major and minor II V I sequences in the home key and it's relative minor..

Autumn Leaves
(or Les Feuilles Morts)
A Joseph Cosma
Cm7 F7 Bbma7 Ebma7
    
         
  

6 Am7(b5) D7(b9) Gm7  G7 

      
   

A
10 Cm7 F7 Bbma7 Ebma7
  
        

14 Am7(b5) D7(b9) Gm7 Gm7


         

 G7 
B
18 Am7(b5) D7(b9) Gm7

  
         

22 Cm7 F7 Bbma7 Ebma7

        
 
 Gm7 E7 
26
C
Am7(b5) D7(b9) Gm7
Gbm7 Fm7
Gm7
 Bb7

       
  

Eb7
Am7(b5) D7(b9) Gm7

30 G7

         

 24

This classic tune is made up of major and minor II V I sequences in the home key and it's relative minor..

Bass clef part Autumn Leaves

(or Les Feuilles Morts)
A Joseph Cosma

Cm7 F7 
Bbma7  Ebma7
        

   
 


Am7(b5) D7(b9) Gm7  G7 
 
6

       
A
10 
Cm7 F7 
Bbma7  Ebma7
       
 

 
Am7(b5) D7(b9) Gm7 Gm7

14
   
  

B
Am7(b5) D7(b9) Gm7  G7 
  
18
 


  




   
 
22 Cm7 F7 Bbma7 Ebma7
  


 Gm7  Bb7 
Gm7 Gbm7 Fm7 E7


C
26 
Am7(b5)    D7(b9)
    
Gm7
 


Eb7

  
30
 
Am7(b5)
  D7(b9)
  Gm7

G7
  

25

This calypso piece moves quickly through the chords of D major, using the sequence
of I, IV, III, VI, II, V, I. There are some dominant seventh chords introduced
which makes the pull towards the chord II stronger. (see bars 2,6,9.) The ending
uses the major III chord and a diminished seventh.

Bb part

St Thomas
Sonny Rollins
D6 G F#m7 B7 Em7 A7 D6
        
  
    
      
    

D6 G F#m7 B7 Em7 A7 D6
   
                  

D7 C7 B7 Em7 A7
    
 
7
    
D6 F#7 G G#dim D/A A7 D6
           
  

Eb
St Thomas
Sonny Rollins
A6
             

A6 D C#m7 F#7 Bm7 E7
 

      

    C#m7
  F#7  
     
A6 D Bm7 E7 A6
  
      

A7 G7 F#7 Bm7 E7
        
  

  A6

A6 C#7

D D#dim

A/E
  E7
 
     
 26

This calypso piece moves quickly through the chords of C major, using the sequence
of I, IV, III, VI, II, V, I. There are some dominant seventh chords introduced
which makes the pull towards the chord II stronger. (see bars 2,6,9.) The ending
uses the major III chord and a diminished seventh.
C part

St Thomas
Sonny Rollins
C6 F Em7 A7 Dm7 G7 C6
   
     

 
           

C6 F Em7 A7 Dm7 G7 C6
 
                  

C7 Bb7 A7 Dm7 G7
   
     
7

C6 E7 F F#dim C/G G7 C6
        
    

Bass St Thomas
Sonny Rollins
C6
  F
 
C6 Em7
  A7
     

Dm7 G7


           

 F   Em7  A7  
     
C6 Dm7 G7 C6
  
  
      

C7 Bb7 A7 Dm7 G7
        
 
  C6
C6 E7
F F#dim

C/G
  G7
 
     
 27
This well known 3/4 tune can be played as a ballad or a medium swing. The bass can create different rhythmic
grooves by playing h., then q.q. and finally qqq per bar. (Save last one for solos)

Bb part Some Day my Prince will Come

3/4 swing Churchill arr. Andrea Vicari

Cma7 E7 [F#7] Fma7  A7(b9)


       

Dm7 A7(b9) D7 G7

5
     
 

9 Em7
  
D#dim  Dm7
 G7
 
 

13 Em7
  
D#dim  Dm7

G7



17 Cma7 E7 [F#7] Fma7  A7(b9)

      

Dm7 A7(b9) D7 G7

21
     
 

Gm7 
C7  Fma7 
F#dim

  
25
   


29 Cma7/G Dm7/C G7 Cma7 [G7]

   
  
 28

This well known 3/4 tune can be played as a ballad or a medium swing. The bass can create different rhythmic
grooves by playing h., then q.q. and finally qqq per bar. (Save last one for solos)

Eb part Some Day my Prince will Come

3/4 swing Churchill arr. Andrea Vicari

Gma7 B7 [C#7] Cma7 E7(b9)

 
       
5

Am7 E7(b9) A7  D7

        

9 Bm7 A#dim Am7 D7

      
 

13 Bm7 A#dim Am7 D7

     


Gma7 B7 [C#7] Cma7 E7(b9)


17

      

21

Am7 E7(b9) A7  D7

        

25
 
Dm7

G7

Cma7 C#dim
 
     


29 Gma7/D Am7/G D7 Gma7 [D7]


      
29
This well known 3/4 tune can be played as a ballad or a medium swing. The bass can create different rhythmic
grooves by playing h., then q.q. and finally qqq per bar. (Save last one for solos)

C part Some Day my Prince will Come

3/4 swing Churchill arr. Andrea Vicari


Bbma7 D7 [E7] Ebma7
 G7(b9)

        

5 Cm7 G7(b9) C7 F7
      
   

9 Dm7
   
C#dim
 Cm7

F7

   

13 Dm7
  
C#dim
 Cm7

F7

 

17

Bbma7 D7 [E7] Ebma7
 G7(b9)

       

21 Cm7 G7(b9) C7 F7
      
   

Fm7 
Bb7  Ebma7

Edim

 
25
     
 

29 Bbma7/F Cm7/Bb F7 Bbma7 [F7]

       
 30

This well known 3/4 tune can be played as a ballad or a medium swing. The bass can create different rhythmic
Bass grooves by playing h., then q.q. and finally qqq per bar. (Save last one for solos)

Some Day my Prince will Come

3/4 swing
(play h. bass notes and then q for solos) Churchill arr. Andrea Vicari
melody for reference
Bbma7 D7 [E7] Ebma7 G7(b9)
         

G7(b9)
5 Cm7
  
  
C7
 
F7

  

9 Dm7 C#dim Cm7 F7

      
  

13 Dm7 C#dim Cm7 F7

      


Bbma7 D7 [E7] Ebma7 G7(b9)

 
17
     


  
G7(b9)
21 Cm7
 C7

F7
    

25 Fm7
   
Bb7

Ebma7 Edim
 
     


29 Bbma7/F Cm7/Bb F7 Bbma7 [F7]

       
31

This fun tune was made famous by Duke Ellington and also Chris McGregor and the blue notes. The harmony
is made up of major and minor II V Is and moves away from the home key, especially in the middle section.

Bb Tune Purple Gazelle

(or Angelica) Duke Ellington

 
F^ Gm7 C7

                   

F^ Gm7 C7
5
     

             
 
F^ Am7(b5) D7(b9) Gm7 Bbm7 Eb7
    
9

         

 
13 F^ C7 F[7]


            gliss   
 
                    
Bbm7

F^
17 Eb7   
      
5 5
Bbm7 Gm7
        Eb7
C7
                  
21

   
5
25 F^ Gm7 C7

                

F^ Gm7 C7
29
      

            
 
F^ Am7(b5) D7(b9) Gm7
    
33
  
     

36 Bbm7 Eb7 F^ C7 F[7]

     
        
gliss

 
 32
Bb part harmony Purple Gazelle
(or Angelica) Duke Ellington arr Andrea Vicari

 
F^ Gm7 C7

        
           
F^ Gm7 C7
5
     

             
 
Gm7
9 F^ Am7(b5) D7(b9) Bbm7 Eb7

               

 
gliss
 
F^ C7 F[7]
        
13


     


                    
Bbm7 F^

17 Eb7

      
5 5
Bbm7 Gm7
        Eb7
C7
                  
21

   
5

25 F^ Gm7 C7

                 

F^ Gm7 C7
29
      

            
 
Gm7
33 F^ Am7(b5) D7(b9)
    
        

gliss
    
Bbm7 Eb7 F^ C7 F[7]
     
36

      

33

This fun tune was made famous by Duke Ellington and also Chris McGregor and the blue notes. The harmony
is made up of major and minor II V Is and moves away from the home key, especially in the middle section.
Eb saxophone
Purple Gazelle
(or Angelica) Duke Ellington arr. Andrea Vicari

       
C^ Dm7 G7
      
      
C^      Dm7
    
5 G7

          
9
    
C^ Em7(b5)

A7(b9)     
Dm7 
Fm7 Bb7

  

 
C^ G7 C[7]
13
        

gliss
     

Fm7 Bb7 C^
                 
17

            
   
5 5
21 Fm7 Bb7 Dm7 G7
                

          
5
25
    
C^
 Dm7
    
G7

    

  
 
 Dm7
    
29 C^ G7
 
      
   

33 C^
     Em7(b5)
 A7(b9) 
Dm7
   
 

36 
Fm7 Bb7 C^ G7
    C[7]
      gliss
 
   
 34

Eb Saxophone harmony Purple Gazelle

(or Angelica) Duke Ellington arr. Andrea Vicari

       
C^ Dm7 G7
      
    
 
5 C^   Dm7 G7

             
   
9 C^ Em7(b5) A7(b9) Dm7 Fm7 Bb7
      
       

 
C^ G7 gliss
13 C[7]
         
  
     

Fm7 Bb7 C^
               
17
        
     
5 5

21 Fm7 Bb7 Dm7 G7

               

          
5

25 C^ Dm7 G7
             
  
29 C^  Dm7 G7
    
       
    

33 C^ Em7(b5) A7(b9) Dm7

           


C^ G7 gliss
36 Fm7 Bb7 C[7]
            
     
35

This fun tune was made famous by Duke Ellington and also Chris McGregor and the blue notes. The harmony
is made up of major and minor II V Is and moves away from the home key, especially in the middle section.

C part Purple Gazelle

Medium Latin (or Angelica) Duke Ellington arr. Andrea Vicari

  
Eb^ Fm7 Bb7

                     
Eb^ Fm7 Bb7
   
5
                
  
9 Eb^ Gm7(b5) C7(b9) Fm7 Abm7 Db7
      
          

 
13 Eb^ Bb7 Eb[7]
 


   
gliss
          

Abm7 Eb^
17
 

5  Db7

5

                  
  
 
Abm7 Db7 Fm7 Bb7
21
 

5               
    
   

25 Eb^ Fm7 Bb7

                  

Eb^ Fm7 Bb7

 
29
    
                

33 Eb^ Gm7(b5) C7(b9) Fm7

     
         

36 Abm7 Db7 Eb^ Bb7 Eb[7]

      
gliss
          
 36
C part harmony Purple Gazelle
(or Angelica) Duke Ellington arr Andrea Vicari

   
Eb^ Fm7 Bb7

        
           
Eb^ Fm7 Bb7
   
5
            
        
Fm7
9 Eb^ Gm7(b5) C7(b9) Abm7 Db7
     
           

 
Eb^ Bb7 gliss
Eb[7]
    
13
      
  
   

Abm7 Eb^
      Db7
              
17
 
       
5 5
Abm7 Bb7      
Fm7
21
     

Db7
       
      
       
5

25 Eb^ Fm7 Bb7


                  

Eb^ Fm7 Bb7

 
29

   
               

Fm7
33 Eb^ Gm7(b5) C7(b9)
     
         

Eb^ Bb7 gliss

Abm7 Db7 Eb[7]
36
          
        

37

This fun tune was made famous by Duke Ellington and also Chris McGregor and the blue notes. The harmony
is made up of major and minor II V Is and moves away from the home key, especially in the middle section.

Bass clef part Purple Gazelle

Medium Latin (or Angelica) Duke Ellington arr. Andrea Vicari

         
Eb^ Fm7 Bb7
      
      
5 Eb^ 
   
 
 Fm7 Bb7
      
      
  

   
Abm7

Eb^ Gm7(b5) C7(b9) 
Fm7  Db7
      
9

  

 
Eb^ Bb7 Eb[7]
13
           gliss

     


Abm7
 Db7     Eb^
       
17

            
   
5 5
Abm7
       
Fm7
          
Db7 Bb7

21
 
              
5
25
      
Eb^
 Fm7
    
Bb7

    

29 
 
 Eb^
   
Fm7 Bb7
           
 

  
Eb^ Gm7(b5) C7(b9) 
Fm7
    
Abm7 Db7
    
33

  

Eb^ Bb7 Eb[7]

37
            gliss   
  

 38
Bass part harmony Purple Gazelle
(or Angelica) Duke Ellington arr Andrea Vicari

         
Eb^ Fm7 Bb7
         
   
5 Eb^ 
 
 
 
 Fm7 Bb7
     
          
Fm7
9 Eb^ Gm7(b5) C7(b9)
     Abm7

Db7
          


 
Eb^ Bb7 gliss
13 Eb[7]
          

      

Abm7 Db7 Eb^

               
17
  
     
5 5
Abm7 Fm7
Db7
     Bb7
                     
21

 
5

25 Eb^ Fm7 Bb7

                 


29 
Eb^
    
Fm7 Bb7
         
   

Fm7
33 Eb^
      
Gm7(b5)

C7(b9)
    
 

Eb^ Bb7 gliss

Abm7 Db7 Eb[7]
  
36
           
    
39 Recorded by Norah Jones and also Pat Metheny, this attractive music has functional harmony, moving from
the home key in the very first bar to the subdominant in the second bar. It winds up back in the home key
by the fourth bar. Note how the melody moves down in 3rds in the first part of the tune.

Bb part
Don't Know Why
Rock Ballad Norah Jones/Jesse Harris/arr.a.vicari
q=80

Cma7 C7 Fma7 E7 Am7 D7 G7sus4 Cma7


            
  
    
      

5 Cma7 C7 Fma7 E7 Am7 D7 G7sus4 Cma7


       
    
  
    
      

1. 2.
9 Am7 D7 G7sus4 Cma7 Am7 D7

                    
        

13 Gma7 Am7 D7

              
  

17 Gma7 Cma7 C7 Fma7 E7

      
            


21 Am7 D7 G7sus4 Cma7 Cma7 C7 Fma7 E7

                  
        

25 Am7 D7 G7sus4 Cma7 Am7 D7 G7sus4 Cma7

         
 
  
    
       
 Recorded by Norah Jones and also Pat Metheny, this attractive music has functional harmony, moving from 40
the home key in the very first bar to the subdominant in the second bar. It winds up back in the home key
by the fourth bar. Note how the melody moves down in 3rds in the first part of the tune.

Eb part
Don't Know Why
Rock Ballad Norah Jones/Jesse Harris/arr.a.vicari

     
q=80 Gma7 G7 Cma7 B7 Em7 A7 D7sus4 Gma7
  
                   
  

5
   
Gma7 G7 Cma7 B7 Em7 A7 D7sus4 Gma7
   
               
     

1. 2.
   
9 Em7 A7 D7sus4 Gma7 Em7 A7
         
           

   
13 Dma7 Em7 A7
       
     

17
 
Dma7 Gma7 G7 Cma7 B7

              
  

21
 
Em7 A7 D7sus4 Gma7 Gma7 G7 Cma7 B7
    
                     
  

25 Em7 A7 D7sus4 Gma7 Em7 A7 D7sus4 Gma7

              
          
41 Recorded by Norah Jones and also Pat Metheny, this attractive music has functional harmony, moving from
the home key in the very first bar to the subdominant in the second bar. It winds up back in the home key
by the fourth bar. Note how the melody moves down in 3rds in the first part of the tune.

C part Don't Know Why

Rock Ballad Norah Jones/Jesse Harris/arr.a.vicari

q=80

  
Bbma7 Bb7 Ebma7
        
D7 Gm7 C7 F7sus4 Bbma7

                 
    

5

Bbma7
   Bb7   Ebma7 
D7 Gm7 C7 F7sus4 Bbma7

    
              
   

1.
     C7
2.
9
 
Gm7 C7
  
F7sus4 Bbma7 Gm7
  
             

13 Fma7
 
Gm7      
C7
   
      

17 Fma7
    Bb7
Bbma7 Ebma7 D7

       
      


21

Gm7 C7
 
F7sus4 Bbma7 Bbma7
   Bb7 Ebma7

D7

                    


25 Gm7 C7 F7sus4 Bbma7 Gm7 C7 F7sus4 Bbma7

            
               
 42
q=80 Norah Jones/Jesse Harris/arr.a.vicari
Don't Know Why
Bass melody Rock Ballad

             
Bbma7 Bb7 Ebma7 D7 Gm7 C7 F7sus4 Bbma7

          
  

Bbma7 Bb7 Ebma7 D7 Gm7 C7 F7sus4 Bbma7
   
      
          
     
1.Gm7 2.

      
C7
   
F7sus4 Bbma7
     C7
Gm7

             

   
Fma7 Gm7 C7
         
    

   
Fma7 Bbma7 Bb7 Ebma7 D7

            
 

Gm7 C7 F7sus4 Bbma7 Bbma7 Bb7 Ebma7 D7

            
          
   
Gm7 C7 F7sus4 Bbma7 Gm7 C7 F7sus4 Bbma7
             
         


Don't Know Why

Bass line

  Bbma7 Bb7  
Ebma7 D7 Gm7 C7 F7sus4 Bbma7 Bbma7 Bb7
 D7
Ebma7 Gm7 C7 F7sus4 Bbma7
            
1. 2.

  Gm7 C7 F7sus4 Bbma7

 Gm7    C7    Fma7    
           


  Gm7    C7    Fma7   

  
Bbma7 Bb7

Ebma7

D7
          

 
F7sus4 Bbma7 F7sus4 Bbma7
 D7
Gm7 C7 F7sus4 Bbma7 Bbma7 Bb7 Ebma7 Gm7 C7 Gm7 C7

             
43 Georgia is a well known jazz standard and although it is firmly in the home key (major) the chords are made more colourful
with the use of dominant sevenths. (see bar 2,5 and 7.) The middle eight is in the key of the relative minor..

Bb part Georgia
slow swing/gospel like Hoagy Carmichael
Gma7 F#m7(b5) B7(b9) Em7 Em7/D C#m7(b5) Cm6
              
    

5 Bm7 E7 Am7 D7 Bm7 E7 Am7 D7(#5)

            
   

9 Gma7 F#m7(b5) B7(b9) Em7 Em7/D C#m7(b5) Cm6

   
          

13 Bm7 E7 Am7 A9 D7 Gma7 F#m7(b5) B7(b9)

       
   

17 Em7 Am7 B7 Em7 C7 Em7 Am7 B7 Em7 A7

             
            

Em7 F#m7(b5) B7(b9) Em7 F#7 Bm7 E7 Am7 D7

   
21
       
         

25 Gma7 F#m7(b5) B7(b9) Em7 Em7/D C#m7(b5) Cm6

             
   

29 Bm7 E7 Am7 A9 D7 Gma7 [Am7 D7]

    
  
   
 Georgia is a well known jazz standard and although it is firmly in the home key (major) the chords are made more colourful
with the use of dominant sevenths. (see bar 2,5 and 7.) The middle eight is in the key of the relative minor.. 44
Eb part Georgia
slow swing/gospel like Hoagy Carmichael
Dma7 C#m7(b5) F#7(b9) Bm7 Bm7/A G#m7(b5) Gm6
      
           

5 F#m7 B7 Em7 A7 F#m7 B7 Em7 A7(#5)


              


9 Dma7 C#m7(b5) F#7(b9) Bm7 Bm7/A Abm7(b5) Gm6


             

13 F#m7 B7 Em7 E9 A7 Dma7 C#m7(b5) F#7(b9)

   
       


17 Bm7
    
Em7 F#7 Bm7 G7 Bm7

Em7 F#7
  E7 
Bm7

  
   
       


     F#m7
F#7(b9) Bm7 C#7 B7 Em7 A7
21 Bm7
    
C#m7(b5)
     
  
  

25 Dma7 C#m7(b5) F#7(b9) Bm7 Bm7/A Abm7(b5) Gm6

    
           

29 F#m7 B7 Em7 E9 A7 Dma7 [Em7 A7]


          

45 Georgia is a well known jazz standard and although it is firmly in the home key (major) the chords are made more colourful
with the use of dominant sevenths. (see bar 2,5 and 7.) The middle eight is in the key of the relative minor..

C part Georgia
slow swing/gospel like Hoagy Carmichael
Fma7 Em7(b5) A7(b9) Dm7 Dm7/C Bm7(b5) Bbm6

                 

5 Am7 D7 Gm7 C7 Am7 D7 Gm7 C7(#5)

          
    

9 Fma7 Em7(b5) A7(b9) Dm7 Dm7/C Bm7(b5) Bbm6


             

13 Am7 D7 Gm7 G9 C7 Fma7 Em7(b5) A7(b9)

  
  
     

17 Dm7 Gm7 A7 Dm7 Bb7 Dm7 Gm7 A7 Dm7 G7

           
             

21 Dm7 Em7(b5) A7(b9) Dm7 E7 Am7 D7 Gm7 C7

           
         

25 Fma7 Em7(b5) A7(b9) Dm7 Dm7/C Bm7(b5) Bbm6

                

29 Am7 D7 Gm7 G9 C7 Fma7 [Gm7 C7]

  
  
    
 Georgia is a well known jazz standard and although it is firmly in the home key (major) the chords are made more colourful
with the use of dominant sevenths. (see bar 2,5 and 7.) The middle eight is in the key of the relative minor..
46
Bass Georgia
slow swing/gospel like Hoagy Carmichael

 
Fma7 Em7(b5) A7(b9) Dm7 
Dm7/C Bm7(b5) Bbm6
             

5 Am7
 
D7    
Gm7 C7 Am7
 D7 
Gm7    C7(#5)
    

9
 
Fma7 Em7(b5) A7(b9) Dm7 
Dm7/C Bm7(b5) Bbm6
    

    

13 Am7
 
D7  
Gm7 G9 C7 Fma7 Em7(b5) A7(b9)
       

17 Dm7 Gm7 A7 Dm7 Bb7 Dm7 Gm7 A7

  G7  
Dm7
             
  
    

E7 
21 Dm7 Em7(b5) A7(b9) Dm7
     Am7  D7  Gm7 C7
          
 

25
 
Fma7 Em7(b5) A7(b9) Dm7 
Dm7/C Bm7(b5) Bbm6
            

29 Am7
 
D7  
Gm7 G9 C7 Fma7 [Gm7 C7]
      
47
MODES
Treble clef
Ionian mode ( fits chords- maj7, 6)

    
   

Dorian mode ( fits chords- m7)

      
 

Phyrgian mode ( fits chords- m7b2)

   
    

Lydian mode ( fits chords- maj 7+11)

   
    

Mixolydian mode ( fits chord- dominant 7)

    
   

 
Aeolian mode ( fits chords- m7b6)

   
  

 
Locrian mode ( fits chords- m7b5)

   
  
 48
MODES
Bass clef
   
  
Ionian mode ( fits chords- maj7, 6)
 

Dorian mode ( fits chords- m7)

    
   

Phyrgian mode ( fits chords- m7b2)

    
   

Lydian mode ( fits chords- maj 7+11)

     
  

Mixolydian mode ( fits chord- dominant 7)

    
   

Aeolian mode ( fits chords- m7b6)

    
   

Locrian mode ( fits chords- m7b5)

     
  
49

So What is a classic modal tune based on the dorian mode. It moves up a semi tone
for the middle section and then back to the original key for the last 8 bars.
It is a different concept to the standard jazz tunes in that there are no functional
chords (II, V, I e.t.c.) and the improvising although easier, needs a more creative approach.
Try exploring ranges, dynamics, motivic development and rhythm.
Bb part
So What Miles Davis

q = 96 swing
 
Em7
 
     
    
  
 

  
6

         
   

Fm7
    
10

  
      
    

     

14

 
      
    

18
 Em7  
      
    


22
 
  
 

  
 


 So What is a classic modal tune based on the dorian mode. It moves up a semi tone 50
for the middle section and then back to the original key for the last 8 bars.
It is a different concept to the standard jazz tunes in that there are no functional
chords (II, V, I e.t.c.) and the improvising although easier, needs a more creative approach.
Try exploring ranges, dynamics, motivic development and rhythm.

Eb part

So What Miles Davis

q = 96 swing
   
Bm7
   
         
 

    

6

         
 

Cm7
    
       
10

  
 



14
       
           
 

 Bm7    

18

        
 

     

22

       
 
51 So What is a classic modal tune based on the dorian mode. It moves up a semi tone
for the middle section and then back to the original key for the last 8 bars.
It is a different concept to the standard jazz tunes in that there are no functional
chords (II, V, I e.t.c.) and the improvising although easier, needs a more creative approach.
Try exploring ranges, dynamics, motivic development and rhythm. Miles Davis

C part q = 96
Dm7
So What
    swing 
         
   
 
         
   
Ebm7
 51

            
      
 
           
     
Dm7
 
        
    
   
     
 
 

Bass clef melody
So What

Dm7    
         
 
     
       
 
 
 Ebm7         
 

    
            
 
Dm7
   
        
 

     
      
 
 52
So What is a classic modal tune based on the dorian mode. It moves up a semi tone
for the middle section and then back to the original key for the last 8 bars.
It is a different concept to the standard jazz tunes in that there are no functional
chords (II, V, I e.t.c.) and the improvising although easier, needs a more creative approach.
Try exploring ranges, dynamics, motivic development and rhythm.
Bass
So What Miles Davis
q = 96 swing
Dm7
               
            
  
      
2.

            
1.
 Dm7
       
 
Ebm7

                    
        
 
       
         
      

Dm7

               
      
 
      
      

SOLOS (Bass walks on solos)

       

Dm7
 

       

 Dm7

 Ebm7                              

                                
 Dm7
(After last solo to take it back to the top)

  
   
Dm7
  

FORM AABA
53
q = 200
Milestones
Bb Part Fast Swing
Miles Davis
Am7 (A dorian)
 
         
        

     
5

          
 

      

9 Am7

               

       

Cm7
13
 
          
   
       
Bm7 (B aeolian)
17
     
        

Cm7
21
 
      
   
        

Bm7
25
     
    

    

Bbm7
29
 
    
    
   
   
  

33 Am7
       
(A dorian)

            
   
37

          

 

     
 54

q = 200 Milestones
Miles Davis
Eb Part Fast Swing
 
Em7
         
(E dorian)


 
 

         

   


  
5
  
 
  
 

        

  

Em7
      
9
  
    
      
    


Gm7
    
13
 
          

 
 
(F# aeolian)
17 F#m7
       
 
      

21
   
   
   Gm7 
          

25 F#m7
        
         

29
       Fm7
      
    
  

       

Em7 (E dorian)
        
33

    
 

  
37
         
 

    

55
C part
Milestones
q = 200 Miles Davis
Fast Swing
 Gm7
      
       
(G dorian)

 
       
 

5
     
 

          


9 Gm7
   

    
    
         

13

     
   Bbm7

             
  
(A aeolian)
17 Am7
     
     
   

Bbm7
21
 
         
    
    

25 Am7
     
     
   

Abm7
29
 
          
    
    
 
33 Gm7 (G dorian)

                

         
37

           
      
 


 Milestones uses the Dorian mode in the first section and the Aeolian mode in the middle. The head must be
played tightly with the articulation for a really driving swing tune! 56

Bass
Gm7 (G dorian)
Milestones Miles Davis
Fast Swing

               
q = 200
     
Walking bass in quavers

5
        

   

   


9 Gm7

               
    

13 Bbm7
               
   

Am7
17
                   

21 Bbm7
                  

Am7
25
   
                

29 Bbm7
                   

33 Gm7
               
(G dorian)
    

37 Gm7
        

   

   

 57

q = 200 Milestones
Miles Davis
Trombone Fast Swing
 
Gm7
            
(G dorian)

       
 

  
5
       

   








Gm7
           
9
   
       
 
Bbm7
    
13
           

 
   
Am7
  
(A aeolian)
17
       
       

21
    
   
   Bbm7 
         


25 Am7
     
     

    

29
       Abm7
        
   
 

       

Gm7
         
33
 (G dorian)

 
 

  
37
         








 Bass clef melody Wayne's Thang 58
Funky Kenny Garrett arr. Andrea Vicari
q=160 on cue

          
Intro Em7
       
  
  

3

Cma9(#11)
 
7
           
3
FINE 2ND X
B7(#5) Em7

11
              

3

 
15 1. to tune


   

19 2.
Em7 Cma9(#11) D7sus4
    
solos

      
suggested scales
23 Em7  
          

27 Cma9(#11)

               


B7(#5)
   
31

       

   

 
 
    
35

         
1. Em7


  
2. Em7
    
39

           
Cma9(#11) D7sus4
59 This piece has a simple chord sequence going from chord I to chord VI and then chord V. However the rate of change is
slow (every four bars) and it feels more like a a modal tune. The groove is quite funky in the head and the start of the
solos- a change to walking bass and more of a swing feel can create rhythmic interest. (Kenny Garrett does this
on his album 'Triology'). Note in the solo section the blues scale of the home key fits all chords.

Bb part Wayne's Thang Kenny Garrett arr. Andrea Vicari

q=160 Funky
on cue

   Intro          
F#m7 3

           

7 Dma9(#11)
   
3 
       
 
C#7(#5) F#m7
  
11
3
               

  
15 1. To Tune


    


19 2.
F#m7 Dma9(#11) E7sus4
    
solos

  
suggested scales
23 F#m7
 
               


27 Dma9(#11)
                

C#7(#5)

31

                

 
1. F#m7

35
 
   
           


2. F#m7

39
 
           
Dma9(#11) E7sus4

   
 This piece has a simple chord sequence going from chord I to chord VI and then chord V. However the rate of change is
slow (every four bars) and it feels more like a a modal tune. The groove is quite funky in the head and the start of the 60
solos- a change to walking bass and more of a swing feel can create rhythmic interest. (Kenny Garrett does this
on his album 'Triology'). Note in the solo section the blues scale of the home key fits all chords.

Eb part Wayne's Thang

Funky Kenny Garrett arr. Andrea Vicari
q=180 on cue

   Intro          
C#m7
   
   
 
 
3
Ama9(#11)
         
7

     
3
FINE 2ND X
G#7(#5) C#m7
        
11
       
 
3

  
15 1.
to tune
     


19 2.
C#m7 Ama9(#11) B7sus4
    
solos

      
suggested scales
23 C#m7  
           


27 Ama9(#11)
                
G#7(#5)
    
31

            
 1. C#m7     
35

           



  
2. C#m7
    
39

           
Ama9(#11) B7sus4

61 This piece has a simple chord sequence going from chord I to chord VI and then chord V. However the rate of change is
slow (every four bars) and it feels more like a a modal tune. The groove is quite funky in the head and the start of the
solos- a change to walking bass and more of a swing feel can create rhythmic interest. (Kenny Garrett does this
on his album 'Triology'). Note in the solo section the blues scale of the home key fits all chords.

Wayne's Thang
C melody Funky Kenny Garrett arr. Andrea Vicari
q=160 on cue

   Intro        
Em7
3 
    
 


  

Cma9(#11)

7
   
3

        
FINE 2ND X
B7(#5) Em7
 
11
 3
        
 
   


 
15 1.
 to tune


    

19 2.
 Em7 Cma9(#11) D7sus4
    
solos

 
suggested scales
23 Em7

         
 
    
27 Cma9(#11)

                
31 B7(#5)

            
   

 
35
 1. Em7    
             


39 2. Em7
              
Cma9(#11) D7sus4
    
 Wayne's Thang 62
Kenny Garrett arr. Andrea Vicari
q=160 Funky/swing

        
Intro
 
  
 
Bass Guitar    

   
on cue
 
3 Em7
      
7 
Cma9(#11)
 
       
FINE 2ND X
B7(#5)
11
      
Play an E!
          

 
    
     
15 1.
         
to tune
  
Em7

      
      D7sus4   
19 2. Cma9(#11)
    
Em7
   
solos

       
Maintain groove and then optional swing
23
 
           
Em7


Cma9(#11)
 
     
27

           
B7(#5)
31
   
           

   


  Em7    
35

             
1.

      
2.
 C ma9(#11)
     
39
    
   
Em7 D7sus4

   
 Canteloupe Island is one of Herbie Hancock's most famous compositions. There are three different chords
63 and the groove is maintained with a set piano and bass pattern.

Bb part
Canteloupe Island
Herbie Hancock
Funky
Gm7
                   
   

Eb7
  
             
    

 

Em7
 
  
 
  
      

     

Gm7
     

Eb part Canteloupe Island

Herbie Hancock
Funky

Dm7
         
            

 
           
Bb7
 
    

 
Bm7
    
          
  

Dm7
     
 Canteloupe Island is one of Herbie Hancock's most famous compositions. There are three different chords 64
and the groove is maintained with a set piano and bass pattern.

C melody Canteloupe Island

Herbie Hancock
Funky
Fm7
 
                     
  

Db7
   
              
    


Dm7
 

   
   
    


     


Fm7
          

Bass Canteloupe Island

Funky
   
Fm7
     
             
  

   
    
Db7
              
       

play Dm7 or for added interest try Ab13

Dm7
            
    

 
Fm7
  
   
   
   
            
 65

intro- 4 bars of Fm7 Canteloupe Island Herbie Hancock

Fm7 Funky
    
              
   
      
Piano
    
  
3
      
      
      
     
  
    
   
  
5 Db7
      
      
    

   
    
   
     
         
7

      
            
            
 
    
      
9
   
  Dm7   
     
    

    
     
11
   
  play Dm7 orfor added interest

try Ab13

     
    

    
     
13
   
 Fm7
   
              
 
          
 

   

  
   
15
    
               
     
 
    
   
   
 Canteloupe Island is one of Herbie Hancock's most famous compositions. There are three different chords 66
and the groove is maintained with a set piano and bass pattern.

Bass clef melody

Canteloupe Island
Herbie Hancock
Funky
        
Fm7
   
          

  
Db7
              
     


 
  
Dm7
             
    

Fm7
      

This tune is quite similar to Canteloupe Island with the groove having a set bass and piano
figure. The sequence is a 16 bar blues.

Watermelon Man
Groovy Herbie Hancock

  
   
F7
    
 

  
   
Bb7 F7
    
 

C13 Bb13 C13 Bb13

                
   
     

C13 Bb13
   F7
            
    
67

This tune is quite similar to Canteloupe Island with the groove having a set bass and piano
Bb part figure. The sequence is a 16 bar blues.

Watermelon Man
Herbie Hancock
Groovy
G7
    
      

C7
    
G7
       

D13 C13 C13

D13  
                     
  

C13
D13
    
G7
          
  


Eb part

Watermelon Man Herbie Hancock

Groovy
D7
    
      
G7 D7
   
    
     
G13 G13
A13 A13
            
   
       

A13 G13 D7
      
     
  

 

 This tune is quite similar to Canteloupe Island with the groove having a set bass and piano 68
figure. The sequence is a 16 bar blues.

Watermelon Man
Piano Herbie Hancock
Groovy
F7
 
                   
               

                
Bb7 F7

                       
            
          

  

 
     
C13 Bb13 C13 Bb13
          

  

   
            
            
  
 
 
    
          
   
C13 Bb13 F7
     
   
       
  
  
  

       
            
       


Bass Watermelon Man Herbie Hancock

  F7    Groovy  
           
    



       F7  
Bb7
         
     
C13 Bb13
        
Bb13
   
               
C13 Bb13
          F7 
   
  
     

69
This tune is quite similar to Canteloupe Island with the groove having a set bass and piano
C melody figure. The sequence is a 16 bar blues.

Watermelon Man
Herbie Hancock
Groovy
F7
      
     

Bb7 F7

     
      

C13 Bb13 C13 Bb13

             
       
     

C13 Bb13
      F7
        
    

q = 100 Mercy Mercy

Bass clef melody Jo Zawinul

Bb7 Bb7
       
Eb7 Eb7
        

Bb7 Bb7
             
Eb7 Eb7
     
  

        
Bb7
              
    
        
  
F7sus4 Bb7 F
   



               


  Gm F Gm F Gm

Cm7
   
Dm7   
            
 70
q = 100 Mercy Mercy
Bb part Jo Zawinul

C7  C7 
             
F7 F7
  

 
C7
     
F7 C7        
F7
    

                

        

C7
    
  

 
C7

        
G7sus4 G
    
        

 Am  G Am  G
Dm7 Em7
      Am
 
         
      
 

Eb part
Mercy Mercy Jo Zawinul
q = 100
G7 G7

    C7      
C7
          
G7 G7

  
C7
  
C7
    

   


                    
G7
  
      
G7
  
D7sus4 D
    
                 

Em D Em
Am7
  
 

     D
 
Em

     
Bm7

       
 71
Mercy Mercy Jo Zawinul
Piano
q = 100 Bb7 Bb7
 Eb7 Eb7
       
  
       
Bb7 Bb7
  Eb7
 
Eb7
      
        
Bb7
            
         

  

           
F7sus4 Bb7 F
  
  
      
 
            


Cm7
  
Dm7

Gm
 
F Gm
   
F Gm

       
          
19
Mercy Mercy
Jo Zawinul
q = 100 Bb7 Eb7
         Bb7   Eb7

    
Bass
 
        

Bb7 Eb7
         Bb7   Eb7

               
 
Bb7
                         
                       
F7sus4
Bb7
    
     
                         

F Cm7 Dm7 F Gm F Gm Gm 
                  
       
    
 72
Bb saxophone Confit de Canard Eddie Harris

   
intro (or really Cold Duck Time)
 
q=120
 
  
    
 
   G7   
  
G7 head C7 C7
          
       

     

To coda on repeat Ebma7
 G7     
  
  
G7 C7
    C7  
            

       
G7
 
CODA  
Ebma7 Fma7
   
   
        

  
G7
 Ebma7 Ebma7
 
Ebma7 Fma7
         
Fma7

         
pno fill.....................................................
    
CODA
Ebma7 Ebma7

 
G7 G7
   
Fma7
    
pno fill..................................................... 

  
  

         

Eb saxophone Confit de Canard

(or really Cold Duck Time)
   
q=120 Eddie Harris

      
intro
   

  
D7 G7 D7 G7
            
            
head
   
Bbma7
D7
 G7
 D7
  
            
To coda on repeat
           G7 
      
 
Bbma7 Cma7 D7
            
  
CODA
          

Bbma7 D7  pno fill..................................................... Bbma7 Bbma7 Cma7

   
 
Cma7

      
   
                

 pno fill..................................................... Bbma7 Bbma7
D7 Cma7 
D7

     
    
   
    
    

 
   

 
 
73
Confit de Canard
C melody (or really Cold Duck Time) Eddie Harris

     
q=120

intro

         
Piano F7
          
                   


   F7
F7 Bb7 Bb7
5

              
head
   
            
Pno.
          
             


To coda on repeat 
  F7
Dbma7
9

F7 Bb7
Bb7
   
          
       


Pno.
     
           

 
Ebma7
13

Dbma7  
F7 Piano fill/solo break

    
          
     
Pno.
 
      

      

 Dbma7
Dbma7 Ebma7
coda 17
  F7
 

pno fill.....................................................
  
         
 
 
    
Pno.
 
Dbma7 Ebma7 Dbma7
21
  F7
 
 pno fill.....................................................
Pno.        
       
 
 

 
Dbma7 Ebma7
25
 
F7

  
      
  
Pno.
  
 Confit de Canard Eddie Harris
74

           
Bass q=120 F7 (or really Cold Duck Time)

                 
 

         
F7 Bb7 F7 Bb7

            
  
F7 Bb7 F7 Dbma7 To coda on repeat 
Bb7 Dbma7
     
              


  
Dbma7 Ebma7 Dbma7
F7
 CODA
     
 Ebma7
      
Dbma7 Ebma7 Dbma7 Dbma7
F7
                
 
Dbma7 Dbma7 Ebma7
F7 F7
               
 
Bass melody
Confit de Canard Eddie Harris

      
q=120 intro
 
(or really Cold Duck Time)
    
  
  F7   
F7 Bb7 Bb7
   
head          
        
     
To coda on repeat
Dbma7
F7
 Bb7
 F7    Dbma7 Bb7
      
               
    

   
 Dbma7 Ebma7
 
  F7
  
CODA
         
 
Dbma7 Dbma7 Dbma7
 
Ebma7 Ebma7
 
F7 pno fill.....................................................
 
   
                

 Dbma7 Dbma7 Ebma7

 F7
   F7
 
pno fill.....................................................
               
 
75
Morning
Clare Fischer
Bb part Latin

Dm7(b5)
     F7  
q = 120
    G7(#5)
 Cm7  F7   Dm7(b5) G7(#5) Cm7

          

6 Fm7 Bb7 Ebmaj7 Abmaj7 Dm7(b5) G7(#5) Cm7 F7 1st X only

    
       
      

      

C7(#9)
10 Fm7

          
3
 Bb7 Gm7

              
Ebmaj7 Ab7   3


    
   

14

Fm7

    
C#7 Bb7    C7  
   
    
     

  

18
 
Dm7(b5) G7(#5)

Cm7
 F7 
  
Dm7(b5)
G7(#5) Cm7
F7 
        
    

22 Fm7 Bb7 Ebmaj7 Abmaj7 Dm7(b5) G7(#5) Cm7 F7

     
TO CODA
     
   
      

 CODA on cue

26
 
Dm7(b5) G7(#5)
 
Cm7 F7 Fill
C#maj7 Cm7
 Fill
       
      

 76
Morning
Clare Fischer
Latin
Eb part
Am7(b5)
q = 120 D7(#5) Gm7 C7 Am7(b5) D7(#5) Gm7 C7
                     
     

6 Cm7 F7 Bbmaj7 Ebmaj7 Am7(b5) D7(#5) Gm7 C7 1st X only

      
          
    
 

G7(#9)
10 Cm7 F7 Dm7
            3  3   Bbmaj7 Eb7
         
     

14 Cm7 F7 G#7 G7
         
               




18 Am7(b5) D7(#5) Gm7 C7 Am7(b5) D7(#5) Gm7 C7

            
   
   



22 Cm7 F7 Bbmaj7 Ebmaj7 Am7(b5) D7(#5) Gm7 C7 TO CODA

      
   
          


 CODA on cue

26 Am7(b5) D7(#5) Gm7 C7 G#maj7 Gm7

   Fill  Fill

     
        
 
77
Morning
C melody Latin
Clare Fischer

Cm7(b5)
q = 120
    F7(#5)

Bbm7 Eb7
 
Cm7(b5)
  
  
F7(#5)

Bbm7
   
Eb7
            

6 Ebm7 Ab7 Dbmaj7 Gbmaj7 Cm7(b5) F7(#5) Bbm7 Eb7 1st X only
 
  
                
  

Bb7(#9)
10 Ebm7 Ab7 Fm7
                        
3 Gb7 3
 
Dbmaj7
        

14
 
Ebm7
    
B7 Ab7
   Bb7
 
  
                


18 Cm7(b5)
  
F7(#5) Bbm7 Eb7   
Cm7(b5)
F7(#5) Bbm7 Eb7 

 
            
 

22 Ebm7 Ab7 Dbmaj7 Gbmaj7 Cm7(b5) F7(#5) Bbm7 Eb7

     
TO CODA
    
   
  
   

 CODA on cue

26 Cm7(b5) F7(#5) Bbm7 Eb7 Bmaj7 Bbm7 Fill

    Fill 
             

 78
Morning
Clare Fischer
Latin
Bass melody
Cm7(b5)
q = 120 F7(#5) Bbm7 Eb7 Cm7(b5) F7(#5) Bbm7 Eb7
                     
    

6 Ebm7 Ab7 Dbmaj7 Gbmaj7 Cm7(b5) F7(#5) Bbm7 Eb7 1st X only
                  
    
 
Bb7(#9)
10 Ebm7 Ab7 Fm7
                       3    Dbmaj7 
3 Gb7
     

14 Ebm7 Ab7 B7 Bb7

                   
  
   

18 Cm7(b5) F7(#5) Bbm7 Eb7 Cm7(b5) F7(#5) Bbm7 Eb7

               
     
 

22 Ebm7 Ab7 Dbmaj7 Gbmaj7 Cm7(b5) F7(#5) Bbm7 Eb7 TO CODA

                
   

CODA on cue

Cm7(b5) F7(#5) Bbm7 Bmaj7 Bbm7 Fill

   
26 Eb7
 Fill 
           
  
 Clare Fischer
79
Morning
Latin
q = 120 A Cm7(b5) F7(#5) Bbm7 Eb7 Cm7(b5) F7(#5)

              
                   
Piano 
           
      
4 Bbm7 Eb7 Ebm7 Ab7 Dbmaj7 Gbmaj7

                    
           
Pno
            
     
7 Cm7(b5) F7(#5) Bbm7 Eb7 

    
To CODA after last A
      
                 
Pno    
           
   
9
B Ebm7 Ab7 Dbmaj7 Gb7 Fm7 Bb7(#9)
  
                      
                  
Pno     
               

         
13 Ebm7 Ab7 B7 Bb7 Repeat A once
 
         
         
 

         




Pno
            
          
CODA FORM AABA
on cue
 17 Cm7(b5) F7(#5) Bbm7 Eb7 Bmaj7fill......
 
Bbm7

             
fill......

     

           

Pno 
           
     
 80
Bass
Morning
Clare Fischer
Latin

q = 120 Cm7(b5) F7(#5) Bbm7 Eb7 Cm7(b5) F7(#5) Bbm7 Eb7 Ebm7
               
        

5 Ab7 Dbmaj7 Gbmaj7 Cm7(b5) F7(#5) Bbm7 Eb7

             
      
    

9 Ebm7 Ab7 Dbmaj7 Gb7 Fm7 Bb7(#9)

               
         

13 Ebm7 Ab7 B7 Bb7

           
           

17 Cm7(b5) F7(#5) Bbm7 Eb7 Cm7(b5) F7(#5) Bbm7 Eb7 Ebm7

              
        

To coda last X
21 Ab7 Dbmaj7 Gbmaj7 Cm7(b5) F7(#5) Bbm7 Eb7
          
        
    


25 Cm7(b5) F7(#5) Bbm7 Eb7 Bmaj7 Bbmin7
             
   

FORM AABA
81
I Got Rhythm is the basis for many tunes. These are known as tunes on 'rhythm changes'.
The first 16 bars have chords I,VI,II,V, and the middle eight is a sequence of dominant
sevenths moving through the cycle of 5ths.

Bb part I got rhythm

Gershwin
C Am7 Dm7 G7 C Am7 Dm7 G7
      
        

C Am7 G7 C G7 C
5 Dm7
 
      
        

E7
 
9 A7
      
     

13 D7 G7
        
     

17 C Am7 Dm7 G7 C Am7 Dm7 G7

      
       

Tune only
1.
C Am7 Dm7 G7 A7
21
    C    
   
      

Solos only

2.
Dm7 G7 C G7 C
 
25 Dm7
              
 82
I Got Rhythm is the basis for many tunes. These are known as tunes on 'rhythm changes'.
The first 16 bars have chords I,VI,II,V, and the middle eight is a sequence of dominant
sevenths moving through the cycle of 5ths.

Eb part I got rhythm

Gershwin

  
G Em7 Am7 D7 G Em7 Am7 D7
        
   

 
 D7   G   
G Em7 D7 G

5 Am7
   
    

B7         
 
9 E7
  
 

13

A7      D7   
     


  
G Em7 Am7 D7 G Em7 Am7 D7

17
       
   

Tune only

  1.
  
21
 
G Em7

Am7
 
D7
  G     E7
   

Solos only

2.
25 Am7 
 
D7   G D7 G
  Am7
          
83
I Got Rhythm is the basis for many tunes. These are known as tunes on 'rhythm changes'.
The first 16 bars have chords I,VI,II,V, and the middle eight is a sequence of dominant
sevenths moving through the cycle of 5ths.

C part I got rhythm

Gershwin
Bb Gm7 Cm7 F7 Bb Gm7 Cm7 F7
        
       

5 Bb Gm7 Cm7 F7 Bb F7 Bb
  
              


9 D7
 
G7
         
   

13 C7 F7
         
     

17 Bb Gm7 Cm7 F7 Bb Gm7 Cm7 F7

        
      

Tune only
1.
21 Bb Gm7 Cm7 F7 G7
     

Bb 
      
    

Solos only

2.
25 Cm7 F7 Bb F7 Bb
  
Cm7
               
 84
I Got Rhythm is the basis for many tunes. These are known as tunes on 'rhythm changes'.
The first 16 bars have chords I,VI,II,V, and the middle eight is a sequence of dominant
sevenths moving through the cycle of 5ths.

Bass melody I got rhythm

Gershwin

  
Bb Gm7 Cm7 F7 Bb Gm7 Cm7 F7
            


 
5
  
Bb

Gm7

Cm7
  F7   Bb 
F7   Bb

  

9 D7       G7     
     

13 C7      F7   
    
 

  
Bb Gm7 Cm7 F7 Bb Gm7 Cm7 F7

17
     
    
Tune only

 Bb       
1.
G7
21 Bb Gm7

Cm7
 F7

     
Solos only

2.
25 Cm7  
F7   Bb
 Cm7 F7 Bb
           

Sample bass line for first 16 bars

29 Bb Gm7 Cm7 F7
    
    
85 This tune is based on 'rhythm changes'. It uses chord VI major as in bar 1 to make the pull to chord
II more effective. The melody is quirky, rhythmic and at times dissonant (clashy).

Bb part
Rhythm-a-ning T. Monk

C A7 Dm7 G7 C A7 Dm7 G7

 
 
             
  

C A7 C
5
   G7  
               
Dm7
       

9 E7 A7

                 
   

13 D7 G7
                 
   

17 C A7 Dm7 G7 C A7 Dm7 G7

                
  
 

C A7 C
21
 
G7
  
         
    
Dm7
      
 This tune is based on 'rhythm changes'. It uses chord VI major as in bar 1 to make the pull to chord 86
II more effective. The melody is quirky, rhythmic and at times dissonant (clashy).

Eb part
Rhythm-a-ning T. Monk

G E7 Am7 D7 G E7 Am7 D7
    
  
                 

G E7
  
 G 
     
5 D7
   
   
Am7
       
  

9 B7
     E7
                 
    

13 A7
     D7
      
              
  

G E7 Am7 D7 G E7 Am7 D7
17
  
   

  
           

G E7 G    
     
21 D7
Am7 
          
   
87 This tune is based on 'rhythm changes'. It uses chord VI major as in bar 1 to make the pull to chord
II more effective. The melody is quirky, rhythmic and at times dissonant (clashy).
C part

Rhythm-a-ning T. Monk

Bb G7 Cm7 F7 Bb G7 Cm7 F7
   
       
         
 

5 Bb G7 Bb
 
F7  
        
Cm7
            
 

9 D7 G7
        
     

         



13 C7 F7
             
           


17 Bb G7 Cm7 F7 Bb G7 Cm7 F7
   
     
         
 

21 Bb G7 Bb
 
F7  
        
Cm7
         

This tune is based on 'rhythm changes'. It uses chord VI major as in bar 1 to make the pull to chord 88
II more effective. The melody is quirky, rhythmic and at times dissonant (clashy).

Bass melody
Rhythm-a-ning T. Monk

Bb G7 Cm7 F7 Bb G7 Cm7 F7
  
  
  
                

Bb G7
  
 Bb 
      
5 F7
   
   
Cm7
     
  

9 D7
        G7
               
    

13 C7 F7     
            
       
   

Bb G7 Cm7 F7 Bb G7 Cm7 F7
17
 
   
   
            

Bb G7 Bb    
  
21 F7

      Cm7 
           
 