eee cD32. 33. CD Contents ‘Tuning Note A Tune: Gypsy Jazz Progression ~ Back-up Track Exercise 1.1: Seale Exercises Exercise 2.1: Inner Melody Exercise 2.2: Add Rhythms to the Inner Melody Exercise 3.1: Roots Exercise 3.2: Roots and Thirds Root, Third and Fifth Root, Third, Fifth and Seventh Arpeggio Etude Arpeggio and Scale Etude Minor 6 Arpeggios Etude with Minor 6 Arpeggios Exercise 4.3: Etude with Minor 6 Chords . Tune: Gypsy Jazz Progression with Minor 6 Chords ~ Back-up Track . Exercise 5.1: Chromatic Approach from Below . Exercise 5.3: Chromatic Approach from a Whole Step Above Exercise 5.4: The Tum . Exercise 55: Connecting Chord Tones Chromatically within each Chord Exercise 5.6: Etude on the Gypsy Minor Progression Exercise 6.1: Slow Slides Exercise 6.2: Quick Slide Etude Exercise 6.3: Grace Note Etude Tune: Avalon ~ Original Melody Tune: Avalon ~ Back-up Track Slow Tune: Avalon ~ Back-up Track Fast Exercise 7.1: Rhythmic Variation Exercise 7.2: Neighbor Tones and Turns Exercise 73: Getting Further Away from the Melody Exercise 8.4: Full Arpeggios «Exercise 8.5: Etude Combining the Melody with Arpeggios Exercise 9.1: Scales in Quarters Exercise 9.3: Combining Scales with the Melody 34 35, 36, 37, 38. 39, 40. 4 42. 43. 44, 45. 46. 47. 48. 49. 50. 35 56. 37. 38, 39, 61. 62. 63. Exercise 10.4: ‘Tune: Tune: Tune: Exercise 11.1: Exercise 11.2: Exot 113: Exercise 12.1: Exercise 12.4: Exercise 13.1 Exercise 13.2: Exercise 13.3: Exercise 13.4: Exercise 14.1: Exercise 14.2: «Exercise 15.1 Exercise 15.3: Exercise 15.5: Tune: Tune: Tune: Exercise 1644: Exercise 17.2: Exercise 18.3: Exercise 19.4: Exercise 20.1: Exercise 20.2: Exercise 21.4: Etude on Avalon ‘The Sheik of Araby ~ Original Melody The Sheik of Araby — Back-up Track Slow The Sheik of Araby ~ Back-up Track Fast Arpeggios on Sheik of Araby Chromatic Approach Notes on Sheik Combine the Melody with Arpeggios and Chromatics Inner Melody Scales and Inner Melodies The Augmented V Chord in Sheik Improvise Your Own augV Licks The $9 in Sheik Improvise Your Own V7+9 Licks $9 on the le Circle Back-up Track More $9 Licks on the Circle The Augmented V chord con the Circle Arpeggio Shape 1 Shape 2 on F7 Etude on Sheik After You've Gone — Original Melody After You've Gone — Back-up Track Slow After You’ ve Gone — Back-up Track Fast Improvise to a Back-up Track Etude with Arpeggio Shapes Etude Using Ideas Btude with Chord Additions Tritone Substitution in After You've Gone Make up Your Own Tritone Substitution Licks Etude with Anticipationsaa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this 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book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this 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book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.Exercise 15.4: Plugging in shape 2: After you become familiar with shape 2, try plugging it into your improvi- sation on Sheik. Use thythms and repeated notes to vary the arpeggio shape and improvise using other techniques from earlier lessons on the other chords. At first try to play the shape on every F7 chord to experience the sound. Here is a sample. Use track 36 and 37 for practice Bhe bs FT F7 7itude on Sheik: The following etude incorporates everything we have learned so far. On the following page is an analysis of every technique used in the etude below, including the page number where the technique was first introduced. be Bhs FT 7 bho pb cuir FT cnt Bhs FT Gaug? Gaug? c7 c7 OFT FT bs eD 68Analysis of etude: ‘Gr tes on ie beat Ses p36 F7 bs Melody variation see p25 “The Oth is emphasized nee 8 FT FT Bb6 be ‘Melody variatior Shape 2 see p. 66 arpeggio from the 9th BboD pb mr lo chromatic approach notes see p.18 _Octatoniescale see p.43 arpeggio from the 9th cmt FT pbs 7 b Sige elk Wigan emp can , the as 7 " pest 2 ae = SS SSS sci 7 aig wai Cian ss chord is listed as Bb6, see p.30 tones, see p.20 " a ee o7 Slides and phrasing, see p.21 larto shape | Gaug? Gaig? cr cr ‘Augmented V chord and melody variation Shape 4, see p63 » oF "7 bs « = 7 agmened V chord Shape emphasizing the 7,9 and 13 Shape emphasizing the 9 taj? with a chromatic passing tone, Ab ooSummary: Lesson 11-15 and The Sheik Of Araby At this point, your improvisation should have evolved from blanketing (using one scale in your improvisation) to chordal improvisation (emphasizing the chords of the accompaniment in your improvisation). Since you have advanced to chordal improvisation, you should be able to track the accompaniment. In other words, you should now be able to listen to the back-up only tracks and follow along with the chord progression without reading the chord charts. To accomplish this, play the actual arpeggio of each chord (lesson 11) to get an aural sense of chord functions (see page 30). ‘Try to determine the chord function (stable I chord or dissonant V chord that wants to resolve to [) simply by listening. Lesson 11 introduced the diminished and augmented chords and applied the chromatic approach technique to the new tune, The Sheik of Araby. Lesson 12 reviewed the inner melody approach and applied it to Sheik. ‘Two essential elements of swing and Gypsy jazz were introduced in lessons 13 and 15. In lesson 13 we altered the V chord. This is the first of two common elements of Swing and Gypsy jazz and is essential to learning to improvise in the style. Though many other alterations are possible, the two alterations most commonly used in Gypsy jazz are the Augmented V and the V7 with the flat 9 alteration. Lesson 14 covered @ new “chord block” by introducing the circle of fifths and applying the V chord alteration techniques of Lesson 13 to the circle of fifths Lesson 15 introduced the second essential element, arpeggio shapes. Swing and Gypsy jazz players use shapes more often than plain arpeggios. They can be confusing to beginning improvisers and require practice. At the end of lesson 15 is an analysis of an etude that utilizes all the techniques covered in the book so far. If you have a transcription book of swing or Gypsy jazz solos, try to analyze an actual solo looking for the elements of improvisation covered in this book. 0le After You’ve Gone Track 54: Original Melody a Track 55: Back-up track Slow Creamer/Layton % Track 56: Back-up track Fast Fo Fo Emo Fm Suggested listening: “After You've Gone" from Django Reinhardt, Djangology 49. RCA Bluebird mWLesson 16: How to Learn Tunes In this lesson we will structure various techniques used in the previous lessons into a method for leaming tradi- tional swing tunes. We will then use this method to learn to improvise over After You’ ve Gone. Here is a sequence I have found helpful: 1) Learn the melody (so well that you can sing it and play it from memory) 2) Learn the bass line (root motion of the chords) 3) Learn the mest important inner melodies 4) Experiment with improvisation 5) Analyze the chord progression 6) Improvise on the chord progression 7) Plug in effects such as altered V's, arpeggio shapes, chord substitutions etc. As you become proficient in tune analysis you may want to switch the above order and start by analyzing the chords. However, beginners should attempt to hear the sound of the melody and bass line before attempting analysis. After all, some of the greatest swing players did not know theory and improvised completely by ear. Each of the steps above have been covered in earlier lessons. Here is a review of previously learned techniques using After You've Gone following the sequence above. Step 1: Learn the Melody Exercise 16.1: Melody variation, Start by learning the melody to After You've Gone as it is written on the previous page. When you know it so well you can sing it and play it from memory, start varying the rhythm and adding occasional passing tones. Make up your own variation and practice it to tracks 55 and 56, Here is a sam- ple of melody variation using the first 16 measures of the tune,Step 4: Experiment with Improvisation te Track 57: Exercise 16.4: Improvise to a back-up track: Before looking at the chords theoretically, itis helpful {o just experiment with improvisation, especially if you can get a friend to play the chords or if a back-up track is available. Though you may play notes that do not fit the chords, you will leam a lot as Iong as you know the melody, bassline and inner melodies. Use tracks 55 and 56 and stay within the main key of the tune while incor- porating the melody and inner melody. Here is a sample that combines the melody and the inner melody with techniques from previous lessons. Fo Fo Fm FroStep 5: Analyze the Chord Progression Chord Blocks: The key to chord analysis is to look for blocks of chords. We have identified several blocks in the previous Jessons: The ii-V-1 in major, the V-i in minor and the dorninant circle of fifths, ‘The Major This is « full cadence which is seen thoughout the swing repertoire. In the key of C it looks like this: Dnt or ce cs w Though the full ii-V-I cadence never occurs in After You've Gone, the V-I part of the cadence happens frequently in both C major (m. 11-15 & 35-38) and F major (m. 16-18 & 39-2). Notice the C7 in the last two measures is only played if the tune is repeated. The C7 signals the modulation back to F major in the beginning of the tune. We use the corresponding major scale for improvisation on a ii-V-I or parts thereof. On all G7 and C6 chords we use the C major scale, and on C7 and F6 chords we use the F major scale. The Minor V-i: As in Avalon, After You've Gone contains several quick modulations to minor. We use eitherthe melodic or harmonic minor scales on both the V and the i. In measures 23 to 27, we find a quick modulation to D minor and in measures 30 & 31 an even shorter modulation to Am. Here are the two V-i minor chord blocks listed separatel Ambo Dm (D harmonic minor scale noes in Istposition change the Bbto a B for melodic mince) B70 Am ° ft (A harmonic minor scale notes in Ist position, change the Fto a F for melodic minor) The Dominant Circle of Fifths: As in The Sheik of Araby, After You’ ve Gone contains a short progression of dominant chords (m. 7-12). Since they do not signal a modulation, we analyze these from the key of C on the next page. Nonetheless, this is another example of a block of chords you should recognize. On the A7 and the D7 you will have to play mixolydian scales. On the G7 you are back in the key of C which automatically means you use the G mixolydian scale (see p. 59). ve (A mixolydian scale notes in Ist position) (D mixolydian scale notes in Ist position) DT ar or == wer (G minolydian scale notes in Ist position, same as C major) 16aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.te ‘Track 58: Exercise 17.2: Etude with arpeggio shapes. The following etude uses various arpeggio shapes throughout the chord progression for After You’ve Gone. After playing through the etude try plugging in as many shapes as you can using track 55 or 56. 1 FO F6 Fr FnéLesson 18: Working with Ideas Most of the previous lessons were designed to teach you to hear the melodies and chords associated with Gypsy jazz. Once you know a tune well and can improvise over it comfortably, itis time to try out some important musi- cal concepts. Improvising is like telling a story (for an introduction to musical stery telling in improvisation see Jazz Fiddle Wizard Junior 2, MB20726BCD). One key element in musical story telling is working with specific ideas. These ideas could be rhythmic and/or melodic. The difficult part is to be able to continue the same idea through the chord changes. Below are some examples. Exercise 18.1: Using a short melodic figure: In the following exercise a very short melodic fragment is intro- duced as the main idea. As an exercise, play the fragment as written through the first half of After You’ ve Gone using track 55 or 56. When the notation ends, continue improvising over the second half of the tune using the same basic melodic fragment, F6 F6 Fn Fn C6 cs ce cr (continue) Exereise 18.2: Write your own melodic fragment: Write out your own melodic fragment below, then try to use it throughout your improvisation on After You've Gone, F6 F6 m6 Fm (continue) 83te ‘Track 59: Exercise 18.3: Etude using ideas: In reality, you would never use the same melodic idea throughout an improvisation on a longer swing tune such as After You' ve Gone. The following etude uses a number of ideas that are then developed and abandoned only to be replaced with new ideas. 1 F6 F6 Fé Fms Dm Atbo Dm Fs, co who am PpLesson 19: Chord Additions At times, swing improvisers play on chords that are not listed in the progression. This technique requires the player to have full command of the original chord changes and to be able to emphasize those changes in improvi- sations. In the swing era, players mostly added the ii chord into V chords. During the following bebop and hard bop eras, players took this technique to new levels, but that is beyond the scope of this book. Adding the ii to V chords: When analyzing the chords to After You’ ve Gone, we noticed that the ii chord is missing from the ii-V-I cadences (measures 11-13 & 35-38). In reality, swing players often played on the ii chord even if it was not listed. This effect works on the V-I cadences going to I (C major in After You've Gone). It even works on the circle of fifths progression even though each V chord now is followed by a minor 7th chord with the same root (see below mea- sures 7-12). The ii chord added is the ii related to the V (Dm7 is added to G7, Em7 is added to A7 etc.). The ii7 contains the same notes as the 5, 7,9, 11 of the V chord. Exercise 19.1: Adding the ii chord to the V: Play the arpeggios of the tune and add ii chords to all dominant V chords. The following exercise lists each arpeggio. The added ii chords are listed in []. The chords are taken from the first half of After You've Gone. 1 F6 F6 Fm Fn 5 c6 co (E07) Ar 91am] pT (bm) Gr 13 C6 6 [Gm7} cr Exercise 19.2: Adding passing chords to the I: Another progression that is often added to repeated measures of the chord is listed below in [ ]. This progression would work in measures 13-16 and 37-40. Remember the C7/E is simply a C7 chord with an E in the bass. 6 [Dav] eb?) cme 85Exercise 19.3: Plugging in the extra chords: To lear to improvise over the added chords, I recommend fizst plugging the chords themselves into the full tune. Improvise over the sections where only slashes are listed but play the arpeggios where notated to learn to hear the new effect. Use tracks 55 and 56 for practice. 1 F6 F6 Frm6 Fab y Fo F6 Fa Fr 3 C6 exbo An AP a C6 (Dm eb) cme 86Lesson 21: Anticipating Chords Swing improvisers sometimes anticipate chords. That means they emphasize the chord tones of a chord a few beats early. You could also say that they play notes from the upcoming chord as a pick-up figure. Though the concept is quite simple, the execution is difficult and requires mastery of regular chordal improvisation, Here is how it works: As an example, we look at the first eight measures of the chord changes in After You've Gone: Fo Fe Fn Fab Here is an cxample of an improvisation that anticipates cach chord. In measure 2, the note Ab, which is the minor third of the upcoming Fm6, is played on beat 4, one beat early, In measure 4, the C maj7 chord (same category as the listed C6) is played starting on the "and" of 3. In measure 6, the major 3rd of the upcoming A7 chord is played on the “and” of 3. In the example below, the duration of the chords as they are implied by the melodic line is listed above the actual chords. Notice that the improvised line anticipates each chord change by about two beats. Chords emphasized in improvisation: Fo Fm6 co Chords in progression: F6 F6 Fmé Fm ‘Cinai7 arpegeio co Al C6 6 AT AT Could be either C6or + - AT arpeesio (His the wird of A7 a1Exercise 21.1: Anticipate each arpeggio by one beat: To learn to hear anticipations we initially play all the arpeggios in quarter notes but anticipate each chord by one beat. Use track 55 or 56 for practice and start the exercise when the verbal count says “four.” F6 F6 Fab Fm y FO F6 Fm6 Fm 92Exercise 21.2: Anticipate each chord by two beats: This exercise is exactly the same as exercise 21.1 except each chord is anticipated by two beats. Only the first half of the exercise is written out. Use track 55 or 56 for practice and start playing when the verbal count says "three." Fo F6 Fm6 m6 2 C6 ce C6 cr (continue) Exercise 21.3: Anticipate each chord by three beats: This exercise is exactly the same as exercise 21.1 excep! each chord is anticipated by three beats. Only the first half of the exercise is written out. Use track 55 or 56 for practice and start playing when the verbal count says "two." F6 Fo F m6 Em6 Co co co C7 (continue) 93te ‘Track 63: Exercise 21.4: Etude with anticipations: You should now be able to improvise and anticipate upcom- ing chords. You could start by adding rhythms to the arpeggios in the previous exercises, Use track 55 or 56 to try this, Below is an etude that incorporates chord anticipations and other techniques covered earlier in the book. 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