BLUES SCATITUDES Bob StoloffCover design by Bill Lessner and Erin Klauk Copyright © 2003 by Bob Stoloff Alle hts reserved. No part of this book may be reproduced or transmitted in any form or by any means. electronic or mechani- including photocopying, recording, or by any information storage and retrieval system, without writen permission from the publisher. Gerard and Sarzin Publish 146 Bergen Street Brooklyn, N.Y, 11217 Printed on acid-free paper in the United States of America ISBN 1-930080-01-8Introduction Musical Terms Chapter 1: Scat Syllables Syllable Articulation Excercises Chapter 2: Using Accents in 8th, Triplet and 16th Figures Eighth and Triplet Figures with Accents 16th Note Figures with Accents and Ties Chapter 3: Major and Pentatonic Scales Major and Pentatonic Scales 16-Bar Pentatonic Exercises Chapter 4: The Blues Scale Blues Scale Exercises 12-Bar Blues Exercises Chapter 5: Eight Blues Scatitudes Blues for the Bean Blues for Bootz Blues for Mr. Hardy Lord Paddington Blues Columbo Blues Blues for Kramer Blues for Mr. Mason Blues for Mon Ami What’s on the CD Table of Contentsa Introduction ee ‘Thank you for adding Blues Scatitudes to your music collection! In case you're wondering, the title was playfully created to represent a fusion of ‘hwo important musicianship skills presented in this, book: vocal improvisation (scat) and time feel interpretation (attitude). All serious musicians who are pursuing a career in voice should consider both, skills essential to their traini yg as performers. If ‘you want to learn to improvise using your voice, Blues S ind syllables to use and how to interpret them using ‘catitudes will demonstrate what note ceasy-to-challenging blues solos with different time feels. B improvisation was developed by a potpourri of sinning with Louis Armstrong, vocal both vocalists and instrumentalists. Today, the field. of vocal improvisation is represented by four genres: solo a cappella, voealese, free vocal improvisation and scat singing. Solo a cappella is limited to those with unusual vocal proficiency and is best exemplified by Bobby McFerrin. McFerrin is one of the few artists in the world, who can manage a one-man show with no accompaniment! Vocalese refers to actual text assigned to the melodie pitches of a solo that often tellsastory. There are many solo artists and groups who still use this technique including Jon Hendricks, Nneena Freelon, Kurt Elling, Manhattan Transfer and the New York Voices. Free vocal improvisation is unwritten, entirely spontaneous and unpremeditated. Best used as a learning tool for student Jazz vocal groups, this style is rarely performed live and is most successful when one singer initiates a repeated pattern (groove) which is then embellished with additional improvised motivie layers. The only group I know that performed this style of improvisation was Jazz Vocal Summit during the mid 80°s, Finally, scat singing is the application of syllables that have no particular meaning to melodic pitches that are improvised, Despite stylistic differences all these types of vocal improvisation require the skillful articulation of notes with syllables. Consider, for example, the contrasting styles ry vocalists Bobby MeFerrin, Al of contempor Jarreau, Jay Clayton and George Benson. Although their individual modes of expression differ, all four master improvisers learned how to “play” their voices like musical instruments without valves, strings, slides, bows or mallets! To articulate notes, whether in the Pop, Jazz, R&B or even classical idioms, each artist created his or her own vocabulary of vocal syllables. Choosing syllables is entirely subjective but to the masters of one can learn a lot by listeni seat beginning with Louis Armstrong and Ella Fitzgerald. Armstrong, like many other “instru vocalists” who followed, unconsciously used seat syllables that emanated from his trumpet style.Other scat singers who may not have played a horn most likely had a particular musical instrument in mind when they improvised. Ella, for example, often used trombone-like hand motions while seatting “du-wah” type syllables, McFerrin, a former Juilliard pianist, is still the master of using his entire body to support his vocal anti 's on stage! Blues Scatitudes is an excellent primer for scat singing, but keep in mind that the syllables prescribe are derived from my own musical experiences as a multi-instrumentalist who earned how to articulate rhythms and scales with sticks, valves and keys! Ialso listened to a lot of Ella's work, idolized Jon Hendricks and Dave Lambert for many years and had the opportunity to work with McFerrin for a minute in the group, Jazz Vocal Summit I want to emphasize the importance of spontaneous improvisation and encourage students not to think too much about what syllables to use. Blues Scatirudes purposely uses an instrumental approach to articulation, as [have discovered that well-constructed syllable combinations are the stepping-stones. toward creating one’s own vocabulary. Use the written syllables in this book asa learning tool but don’t be afraid to invent your own! And if you ever think your syllables are boring check out the simplicity of Chet Baker’s scat! While Jazz. is still the choice idiom for many aspiring scat singers, itis important that career-minded music considera palette of contemporary musical styles for their vocal improvisations. This might include Pop, Rock, R&B, Gospel, Country, Bluegrass, Hip Hop, Ska, Folk, Cajun, Latin and the list goes on! ‘True, scat singing originated from Jazz but it can also be performed in any style by simply interpreting the beat with a “straight” or “swing” feel. In fact, all contemporary music styles fall into only three categories of beat subdivision straight 8th (or 16th), swing 8th (or 16th) and 12/8 (or triplet feel). Straight or “even” feel indicates that 8th notes should be interpreted exactly as written. Swing feel indicates that a group of two 8th notes should be performed as follows: 4-1) 12/8 can be written as such or “with a 12/8 feel” can be indicated in common (4/4) time as a triplet groove for the rhythm section. The word “feel” means “interpreted as” or “sounds like.” It’s really a shorthand way to write rhythms without all the little 3's above the notes. Indicating straight and swing beat subdivisions is essential when writing rhythm section parts, Rhythm players need to know what patterns to play in order to establish th musicians the most important consideration in “groove” or “time-feel” of a song. For these selecting a drum beat, bass line or piano/guitar comping pattern is how the quarter note is interpreted. That’s why the best rhythm parts indicate style, tempo and feel, Here are some good examples of clear groove indications for rhythm section: Pop: medium straight 8th Rock ballad: straight 16th feel Slow R&B: swing I6ths Bright Jazz: swing 8th shuffle 50s Rock ballad: 12/8 feel Style indications are helpful but sometimes confusing when you consider hybrid grooves likePop-Rock, Jazz-Funk or Country-Swing. Itis best to further identify the style with a particular decade and artist if possible. The groove can also be altered by changing the back-beat or harmonic rhythm. Both can be accomplished without rewriting a single note on the page! Half-time feel, for example, means rhythm players should continue reading the chord changes at the same rate of speed but play slower groove patterns (0 create the effect of playing at half the tempo. In most contemporary grooves the back-beat is played by the snare drum on beats 2 and 4 in one measure of common time (a normal back-beat cycle consists of 2 snare hits). In halt time feel, however, the snare hits occur only on beat 3 of each measure so it takes 2 measures 10 at cycle! On the other hand, complete the back-t half-time means the harmonic rhythm is cut in half while comping patterns are reduced so that the whole song, thythm and melody, is performed exactly half as ncluding the groove, harmonic fast as the original tempo. ‘There are other indications in Scatitudes that change the groove including stop-time, broken- time, 2-beat feel, walking and shuffle feel. The rhythm scetion players choose appropriate accompaniment patterns to create each feel. To avoid confusion, all of these time feel descriptions are listed on a separate page preceding the lead sheet. There are two recorded versions of each scatitude which employ a different sequence of time feels. The purpose of including these groove variations is to provide alternate solo interpretations for each song. The thythm section accompaniment is MP-3 formatted in order to include a variety of versions of each blues including vocal melody (sung by myself and Christy Bluhm), instrumental melody and accompaniment without melody. All tracks are in the key of C because of range considerations, but you can easily transpose to any key of choice by using a sound processor such as Sony Superscope. Bob Stoloff Boston, 2003Musical Terms back-beat accented snare or kick drum beats on 2and4 in 1 measure of 4/4 time. In half time feel beat 3 is accented only. broken-time an approach to playing a time feel where the rhythm section implies the pulse and feel without directly stating it by using comping patterns that are “broken up” and sometimes rhythmically ambiguous. There is a steady underlying pulse. Broken time is common in contemporary Jazz styles but can also be found in the R&B and Rock idioms. count-off meter, tempo and beat subdivision that rhythmically set up tune one or two measures “outside” the tune (before the actual form of the song begins). double-time feel a variation of the original time feel. The harmonic rhythm stays the same but the thythm section creates the effect of sounding twice as fast by playing a 2-har comping pattern over I measure of time half-time feel a variation of the original time feel in which the harmonic rhythm stays the same but the rhythm section creates the effect of sound: ing half as fast by stretching a I-bar comping pa tem over 2 measures of time. In Pop and Latin feels, the most significant change is implemented by the drummer who switches the emphasis from a strong back-beat (2 and 4) to one back-beat on beat 3 of every measure. stop-time rhythmic figures that interrupt the groove while the harmonic rhythm continues Rhythm players suspend their patterns when play- ing stop-time figures written inside or above the measure. time slashes representations of beats of time ac- cording to the time signature. 4/4 time would have 4 slashes; 3/4 time, 3 slashes, while 6/8 would have 6 slashes, 2-beat feel written in 4/4 time but interpreted with swing eighth notes (triplet feel). 2-beat feel is used to deseribe Jazz. and Country-Swing styles only. Bass plays mostly half notes with strong triplet ‘embellishments, ride cymbal pattern is a more ab- breviated triplet pattern and piano uses light trip- Jet comping with a lot of stylistic ace walking used mostly in Jazz and Country-s styles. The bass plays embellished quarter notes, drummers use a typical swing pattern on the ride cymbal and pianists intensify their comping with more excited triplet feel using stylistic accents.CHAPTER | Scat Syllables While spontaneous syllables are ultimately best for scat singing there are specific musical elements to consider for those in training who are tying to develop a scat vocabulary. The first and most important conside! on for syllables is the use of vowels, My suggestion is to start with short sin “tuba me” and long, "Tong “eas as in “flute.” To articulate these vowels use consonants B, D, W and Y. For melodic seat where there isa sequence of different notes I recommend, plicing a's and u’s on the lower notes and e’s on the higher pitches. Also useful are long “a (pronounced “aye”) and long “o” (pronounced “oh”) especially on sustained pitches. I added an “h” after vowel “o” (e.g., boh and doh) to avoid any confusion with the short vowel pronunciation, ‘To represent the “oo” vowel I decided to use vowel "as insyllable “di similarly, added the letter 'y” to vowel “a” (e.g., “way") to make sure it is not pronounced with the short “ah” sound, The short quarter note is pronounced with the written vowel but rhythmically reduced to about an 8th note duration. It is similar to staccato but a bit longer and marked with a small upside-down Vocally this is achieved by lifting the tongue to the roof of the mouth or closing the throat, | used to spell these notes with a “t" or “p" ending (e.g.. “bop” or “dut") but my students would pronounce the extra consonant as an additional thythm making the quarter sound like two 8th notes! ‘Two scat syllables I like to use are “dn” and “dl.” Both are unaccented and do not contai specific vowel. “Dn is pronounced with an almost silent“d” and more of the “n” sound. This syllable works best with rhythmic figures in slow to I and is perfect for fast scat lines. Another favorite medium tempos. “DI” also leans more on the Of mine is the syllable “dwe.”SYLLABLE ACTICULATION Exercises INTROOUCING THE SHORT aLACTER NOTE i 0 on oo oy on on10INFROOUCING BTH NOTES WITH ACCENTS oat ——— +f —| pig ag eg ett Oh Ok OA OR oh YO Oh Bh Ok SA 0 sh OBA at aa etal al aeluot a art eg ae ag INTRODUCING SYLLABLE "ON" A ee t t Sar Et = a oe : aoe ea aaae oO wk a | aS 00 ON Oh OY ON Oh AY CN OU EN Ch OD ON OY CN Ch OY EN OU CN OU ON OH INFRDOUCING SYLLABLE WAT A A 2 aa Baa | zg £ 00 £4 00 ON OA 90 A OU ON ok 90 $A DY ON Ob BSA OU ON Ob Y A £ = 80 YA 90 ON OD 90 YA 00 ON OD 80 YA QU ON OU YA OV ON OY YA OD ON OH11-Bae Exercises eee aoe ase CY f —y So = YY) SS SS te Oh ko #0 Oko 9 0 Ok pane aaa a 02 1 aN =| LM | MNO MOO eee —. sen = pee are Peper ete ee | E - + eo > > - > wre > soma Aon Hoe AHHH WHE INTROOUCING THE TIE oh OU AY Ok 00 OAY #0 OA 00 OY OY $4 00 ON OY fA DY OMY Oh OY OA SA OUD $kOA fA OD ONY fA DU OY RCD CA UY A JS : oy Oh 80 CA QU EN 0 Dh HY 00 Oh $A. 0D ORCA 0 OHIWTeOUEING THE DOTTED auAETER NOTE == Ce A + —F s+ gat 00 0h = 90 ON OU ON $A 90 ON OD Oh © UYINf@COUCING THE TRIPLET “OU-lWE-YA" SA === Sy feowegere| (00 0N00 WEYA O0.CNODWE YA ODE YADDON OO WE YADUEN OA OD WE YA DD ON Oh 0 ON OU WE YA CA OU OK ‘ z ede: Mad ageee | od OL SA UGEVAQUON BU EX OUWE MADD ch GUL DH SUELO NGL z = 90 oh Sh OU WEYA OD Ch $A OU WE YA OVEN OVEN CUDA $4 QUON OU EE A DU ON OA Sk OUONOUWEYAQUON OUWEYKDUWEYA CU SKOUON OD Oh $A OY OA A 00 ON OU OA (80 #4 00 ON OA Sh QUWEYAOD Oh OU DA $A DWE YACUON OU WE YA OU WE YA OM, CHAPTER 2 Using Accents in 8th, Triplet and 16th Figures One of my best decisions as a student of music many years ago was studying the drums, From etude books, particularly Ted Reed’s Syncopation for the Modern Drummer, | learned how to effectiv ase accents with a variety of rhythmic figures including 8ths, triplets and L6ths. With the addition of ties, | extended my rhythmic vocabulary with hundreds of permutations of syncopated patterns. Internalizing rhythmic patterns is essential for creating interesting seat solos, since rhythmic variety is often a vocalist’s weakest skill The following exercises are non-pitched rhythmic pat f using 8th, triplet and 16th es with added accents and ties, You can practice toa metronome or over any of the rhythm, section tracks on the CD’s without worrying about pitch!EIGHTH ANO TelPLer Figuees With ACCENTS SWING 02 EVEN BTHS (cores 4s neces) bh SS SSS ee NEE PETE TEE ON 0 fh ON Nw 16xx iy yg ww kom xy y X kkk x xy ew ¥ mo kN mw a x yoy ew y kk a xx ON xx ox + mm y# oN oeSWING TRIPLETS ‘ : ‘ ‘ 5 ae 1)3 = = SS oJ eevee e ee leew ee we = = = Fs > Fs > Oo we vk OD WE Mh OD WE MA WE Mh OD WE MA OY WE MA OM 5 ‘ ‘ 5 ‘ (ieee : See eee L a ee ee er ee ee er ee : ‘ 5 ‘ ‘ 5 sta — —— pg s ta SS == ; es ee ee we owe [eee e ew eww co ue Mh OD WE MA OD ME ME OD mL Mh OD ME HL OD ME MA OD OE MA OM : 5 4 ‘ ‘ ‘ iow () fia SSS Se gp ee eee ew leew wee ee 0) We YA OD WE YA OD WE YA OO WE YA CD WE Yh OD WE Yh GU WE YA OK 4 5 5 === SSE — - - } == SS ae eee eeee DO WE WE OD WE YA OO WE YA OD WE YA OO WE YA OD Sve >1 4A aS SS SaaS ae | 8 BY OD OX OD HH BD GD OD ON OD BL 00 CY BD ON BL HA cD OY OY ON OY ( 4 JOTH NOTE FigueeS WITH ACCENTS ANO Ties (SWING 02 STRAIGHT LorH) 2S] SS SSS 00 $k OD CN DD OY CD BL OU ON CL OD OY Hh OL EN DY OY OD A OD SSS Oh 00 ON Sh 80 ON Dh OD EN Oh OD ON Ch OD EN OL GU ON Oh OD ON Oh OY EN = = SS Ss SS xX NK K Oh 00 ON OU Sh OD CN OL OU ON GO Hl OD IN OL 00 ON GH HH OD EN CH GL OX OY Bh CD EN Xxx eK nha ri = sare Xe ee Pel 0 fh OU ON Oh OY ON OU $A OD CN OL OU ON 0 Hh DU EN Ch G0 ON BU BA OU ON OA OY ON eS —e r * ae xO ee TK KK xt tI a AMOK OHTHO NH GH H HMMHAKDHD HA wm 19SS Ss (00 $4 09 ON Oh GY ON GA QU CN OO fA DU ON CL HA OD ON Ch OY EN DA 0 ON DY BA OU ON SSS See 00 ON Oh OU ON Ch CU ON Ch OU ON Ch CY ON Dh OD ON OH OD ON CA 0 ON OH 8) 00 ON Ch GO $A 9D CN OU ON CA OU fh OY ON OD ON CH GU fA OD ON OY ON Oh OO SH OY ON eS SS aa al (8 fh 00 GN OA Ek Oh 00 SA OL ON CA BA CA OY EA GU ON OA EA Gh OU A OD ON OA fA OA s Ok $k Oh 00 EA GU ON OD Sh OD ON CA SA Oh Oh FA OA 00 SA OY EN OD BA OU ON OA BA OA SSS ae ‘00 GA OY ON OD ON Ch OV ON OA OD EA OD ON OD $A OY EN OV ON Ch OY ON Oh CY SA OY ON9) $k -D Hh OD ON OD $A OD $A OD EN Y= OD A OD ON OD BR GY BA GD ON =| SSS SS SS 00 A GUN CD fH OU $k OD EN CY «BAU SLO ON CBR OY BA CD ON DBL Pe re Sa Su * 00 WE =D Bh BD ON OD WE — YAO OW 0 8k OY ON OD we $k OU ON (SS SS Sas 8 Sh CU EN CY WE =O Sh OD EN OY WE 00 Sk OU ON OU WE YA OD ON BY WE 0 ON Oh OWE —$L_-DY ON OL OME = SLU ON AOE = BUONO Ra Sa SS $4 90 GN Oh OWE A OD ON Ch OWE «BLY ON OA OWE =A ON OH 2> > > _—= = = x x r = Oh 00 OM Owe Hh BD ON OE =D OE BUONO ao LEE, Dex ee | Oot =k ON CHE «BDH OD ON OWE YOY ON OE BY Ch GUO 9) We = YON OLY WE = DEN OH 2 & 2 2 & a 2 DoE 00 ON BW we “Bue oh 90 ON CY ODE OLY ON CH OWE OOD ON OY CHE Dh OY ON OY COE> > > > @15 SS =35 Sal ove 0 A OU vk YAU ONCE YA YAY MN. OWE OU YA $4 OY EN QUE OD YA 1 00 CN DWE OY YA #4 00 ONOUE OD vA SH CY ON. > > > > > > ‘ue fH OY Oh OD ON OWE Bh CD Ch OU ON OWE #4 OD OA 0D ON CWE SK OD CAO ON > > et > 4 OWE 90 Ch $0 BY Oh $0 OY Ch 8D ON OHH OY OLB OY Oh OY LO SS = = | (®) SS SS SS Se 00 ON OU YA 0D YA GU YA___-BA OD ON CU ON DY YA OD AAs e es ss ee sy Cay = = = = (SS ao ee G0 OX Oh #4 0D Of OL ODO ND Os COD 23(0 SIS Sn aan 80 ON C OWE 00 Ch $A OD OWE DU Ch BU ON OY OWE OD OA_#A OY OWE OH | SASS Sea 0 OM OWE Gh OY CE #4 OD CWE HY Oh OU EN OWE BA OY OWE $Y CWE BO SSS SS SSS Ss SSS 00 ON 00 OWE OY CA $0 Ohh 00 OX BON OD CWE cD Ls OH ON (% f Fp s SSS 06h 00 ON BD OE BBD OM ODDO ON OE HOD ON = ——s = E=5=—5 Fae eee sed 09 OX OY ONE OY ON OY OWE AOD EM OL WEA OLON B CUE — =e Ss nee 3 SS oo we #02 ON OY Ue 1 ON OD UE $k 00 ON OY ue sh OU OX ‘ es ee ee os oo 8S SS a 0) ON OY UE oOW OY ON DU CUE CO BON CY OWE Oo GY ON OD OWE CHW 24SSS SS 2 ON owe fh 09 ON OWE a a | SS Ss pe coh # OWE ov o4. * 8 ON owe A 90 ON ove. as SSS (Sa = = ase ae SSS SS x—%. x x“ “oo wane i SS SS Sa 20 ON OMe kN ue Ok 2 OK CoE ot 20 ow (@dSamose OF O1OLL OF OL CLDLLI OF OF OLOL LI O1 OF OLOLLI oF — SSS a a er OF OLOL LI D1 OF LOLLY oF OF OILLI G1 OF LOLI OF Goabinn banalCHAPTER 3 Major and Pentatonic Scales While you are working on your rhythmic patterns it is important to begin applying melodic pitches derived from specific scales. I recommend three essential scales for novice scat singers who want to learn how to improvise over blues changes: major (do-re-mi-fa-sol-la-ti-do), pentatonic (do-re-mi-sol-la) and of course, the blues scale covered in Chapter 4,MAG0@ ANO PENTATONIC SCALES AGO? SCALE Exeecises OviWE 901WE OD WE OU WE ” o EYADEYADE ADE YA OUWECUON OUIKEDYEN OE AOA ON OE ¥A YON we “ ” ce cou= j ob: te eels 10 WE 00 WWE 0 WE BU WE 90 WE OY WE OY WE DOL DE YA OE YA DE YA DE YA OE YA OE YA OE ¥A CU — SS Cipmea tie arent ane,” Wate Vener “Nese teat amet “Yee | bes ee a iz potest aia Vases Vee) "ae steer ate ee Cee) se t t ot se bs oe sh g g as 8 WE YA OU WE Yh OU WE YA OV WE YA OY WE ME 7 io pegerlsveae 1 Ee — oD we vA b betes dae aoa oe YA Oh CE YA Oh DE YA GA OE YA Gh OL YA Oh OE MA OM at Of yA Oh owPENTATONIC SCALE EXERCISES —| o 180 WE OM $A CE YA OH $A 90 WE GA BA OE YA OA GA OU WE OA BA OY WE GU ON . oe gee oo a ae a 20 WE DUN OW ‘€ YA QU ON OO WE DA BH DE YA CU ON OD WE OA GL DE YA OU ON OE YA OA SH Obs a (00 WE OK A OE YA BO ON es DE YA OU ON OU WE OA Eh GU WE CA $A OE YA ODEN CU WE OA Bh OU WE OH BH 29 90 WE 90 ON DOW ef se E ¥k BO ON DOWSh 00 WE OK $4 OU WE OH BH DE YA OU OX CE YA OU.ON OE YA OU GN DE YA OD ON = one (00 WE OA GL OU WE CA BA OF YA OD ON OE YA OU ON eee a 8b WE Oh Bh OE YR OU ON COW MING PENTATONIC. U6 @) (0 WE 09 ON CE YA OU ON DE YA OU ON DE YA OU ON 90 WE DD ON OU WE DY.ON 90 WE OU ON oOW 304O-Bae PENTATONIC EXERCISES EVEN 8TH FEEL (over @ Mas 0¢ AMIN) A ‘es iy SSS: Lb ass yap: Owe 99 OWEN BD OH $4 00 ON 99 GD ON OY OY OE ctw am =P: = = eh poet ps" a pt "es — re a detees a) #4 00 ON OWE 90 ON BLE YA OY DAY OWE OUON BD OH OWE $k CD OH Ov WE CU OY ALA A = = SS E bes ean F toe ST ae zee a eS te SS 0 GD GAY BON WE YA BD OY 60 Gh 0 WHE BU ON BU $4 OD OW ‘06 ON pana | Wa 3 ne ¢ DE Yh OU ON CE YA OU ON OU ON OU ORY $k OUCH OD ON OY CWE SD cHYSWING 8TH FEEL (ovee @ Mas 02 A MIN) 2 180 WE YA OO OX DAY $k 00 CH OU WE OLY k_— GU ON OD A CH OWE BA OO OMY eA ee Je bees a =e oyere co th 06 YA OW Sk BD BL OE YH ON —-_BUONBD SH OUE HH OW OF 4 0 ot ceeeee nnn 1 A fia, = i : : oS SESS moa ee b ae ott etal ages 1 $4 DOE Ht G0 ON OBE OD Fk OMY vA OU ON BU WE A GD ON OD Ch OW a m0 om prety, UE OU WE YA OU OK Bh OWE CU WE YA CO Ch BL EVA OUEN OWE YA COE YA Oh OU OYCHAPTER 4 The Blues Scale The blues scale (do-me-fa-fi-sol-te) is a versatile scale for improvisation because it is easy to learn, sounds “cool” and will work over chord progressions other than standard blues. Practice the following blues scale exercises to any of the enclosed CD tracks.BLves ScaLe Execcices11-Bae BLves Exercises er “a 7 Wee ye FR Gt pot ov rr a ar 7 papas a ee me a7 o o Sree om OW tet Gyre seeders * 00 0 OWE 0 Owe. Owe Oh $k CHK $4 OO OHY brs) do iy we 0 owe owe 0 Owe sk watea poe ue 90 Owe OL ony ores 0 $k 09 ON CUE OY BD SA OU EN DUE OY OU fA OV ON OWE OL OWE SA OY OWY 1 rrr pele eter eS aS (00 BA OY EN QUE OV OD FL _OD ON DWE OD OY —H CD CN OWE OD OWE EA OY OMY a ae A BSS 0) #00 ON OWE OY HE $A OD ON OWE CY OD DON OWE HL OU OY 36(oF bP aye bares fi owe ox 00 oOw a Ce) 00 Oh 80 oY Oh 80 pec re $4 90 ON OWE COW DUE Oh BY IY Ch Sh OD OA BOY CA OD OY SiyRE a ONY Oh OWE ONY Ch $0 OWE Ch BY OY Ch BY OMY, gM gh igie | 9 Oh SY OW Oh SY GU UE HY OY DA BD OMYies SS WA Oh OD WA Oh OWE DOE OMe Bh Ok OY WE YA Owe COW ao: “ th she obs g ey # cit. bye 00 Wh Oh OU AO ra a oD gay 2 "1 2 : 1 — —_— — SSS we? Ghee OM “4 0 OW 8 br Vie pase A Oh OF Yh OA OD WE YA CE YA Oh OE YA A UE BH oY OMY 3 ai tal a ee te a i 3 Sg eee eee rs he = 2 be ae ek eS he s owCHAPTER 5 Blues Scatitudes The following solos were written to standard blues chord progressions and are complete with syllables, accents and articulations, The background rhythm section tracks provide a variety of grooves including Jazz, Latin, Rock, R&B, Funk, Cajun and Reggae styles. In addition there are contemporary time feels added to each solo including straight (even), swing, shuffle, half-time, double-time, 2 at, walking and stop-time, Read the definitions of these terms to get a clear understanding of how these subtle changes affect the music ‘STRAIGHT 02 EVEN STH FEEL, INregpeereo: NoTArEO: SS qu; 1 + toe $8 ee Le he SWING OTH FEEL INTenrnerec: NoTareo: ‘ i & j OBS as CN a a ‘SWING FEEL. ‘SHUFFLE Fee S/R eee OL SSS SS ee ee a 39STRAIGHT 08 EVEN LOTH FEEL Notareo: (0 1S aaa CON L CHR E Ee RS ETRE ETE ==" eee lee INteereereo: Ses Lerateraberatbern SWING LOTH Fee Wnteereereo: NoTareo: FoR a ee Digerrrrrr res ree rs rrr + CNEL CH AEE EAB OAS Ee Lee AD ee Ab ee Ah ee ‘L-B6AT FEEL 08 “IN O° WALKING FEEL 02 “IN 4° ees 2 SS 40Blues For The Bean (Tracks 1-6) Version A Jazz Swine track 1 rhythm section with vocal melody (Christy) track 2 rhythm section with instrumental melody track 3 rhythm section only without melody swing 8th with two-beat feel at letter A walking feel at letter B shuffle feel at letter C Version B R&B track 4 rhythm section with vocal melody (Bob) track 5 rhythm section with instrumental melody track 6 rhythm section only without melody swing 8th with half-time feel stop-time at letter C (4 bars only) 41Bes Foe THE BEAN (Teacns 1-6) INTRO “a as O57 > > > > A a ror i es J b 7 7 7 (puns) 0 0 , é a #7 cy GMIN7 07 Log SSS SS | - Se ae seat es 3 2 oe? Pree: eo 36 one sh cu tv 00 $k OD OX OWE CY LOY To Coon 5. A an #7 eMINT ATG) — = : co ? b the. 5 Lee alt ee 0 oO owe st ov OW oy th o> OX OB oD oly oMin? qr 7 ands) i ¥ Hp 2 oy th OY ON OWE one ass ‘ap ar i : | os —— JS ? . ° te o 2 te 0 oo Owoto ON BW OH ny OMIT ong) . be fee 0 90 OWE BU ON OY 0mm on 00 ON hy GOH OOH e 765) mos) be ier Mee 20 OWE ON CHY OH COM CU CU OME «OOD BACON OR OU Ch OOM AY YR OY OY 7 ang) a 479) ay7 a7 b Ae eer 3 te Hi oY Om OE Yh OWE COD eH SEY OY 8) 90 ON CE Bh OD ON OD BE WY DE At) SE «OD ON BD BE OU ONa ’ Gl ] 5 cee be oetine oe 0 $4 OD ON OOD K-00 $k OY ON CUE AOD EN UE SA BH COW wy @ #7 €-7(5) args) Ge pea ae 0 $4 0 ON OWE Sh OD CN OD WE BY ON GL WY OKIE BABY ON AY SH OD OH 0.5. AL Coon 7 oq) a 0g) MINT Gis SSS er Co a ) = 9) fh OD GN OWE COW a, *G9) Fa, Oy $k OY ON OuE COU Bh OO ON OLOALE SH OD Ot 44Blues For Bootz (Tracks 7-12) Version A Jazz Swix track 7 rhythm section with vocal melody (Christy) track 8 rhythm section with instrumental melody track 9 rhythm section only without melody swing 8th with two-beat feel at letter A walking feel on intro and letter B shuffle feel at letter C and coda Version B ReGoar track 10 rhythm section with vocal melody (Bob) track 11 rhythm section with instrumental melody track 12 rhythm section only without melody swing 8th with half-time feel 4sBLvEs Foe Boore (Teacus 7-12) a 87 )7 ahs) a7 74s) 07 61409) t + ¥ r — ————} bya aa > woe $k OUON IY EA OD ON ChY OY OA SA ODEN DAY BA CU ON CWE OD OA 0 o wm fn er, ay Brea rnaete apg) : = So SS Bese a eae eT e 00 CU ON 80 OND GY OY ON OO OO 90 WE OD ON OY CH ODO. 7 angsyt? COOK a 7 EE 00 09 ON 00 900 DWE 6A BU ON OY BU OMY $4 0 00 OuE cook », om Maa/@ 675) eo “7 aewr 100.0) SSS a ot bag tpl 3, Sa eal oly sh 90 ox OMY oo FA 80 ON OMY ON OY CY #4 OU ON | [8] my et al a Gun7 pass) bao ¥ | = fA OY fh OOH SO QUE SH OU ON HY 4687 SS We hes OE Oh Oy OK ON Bo OWE HH OD OY sh WE OK OD OME ON OD ty 07 ang) ay7 ang) = wee = SSS ete = bi. rhe 3S abe Peg thet yee Owe so oY #4 OO SOK OY Sh OD ON OY OD Oh hOB (¢| m™ 07 aa abr aris) J * = +f Sie Ss oo DAY $k 00 ON OY OD OW ym FE 5 ‘ 0 ‘ @un7 abs) ES Se Gp hati : 7 ——F 0) WA OE 00 WH OF OD WE CE UE BE OEM ChOWE OD =o 87 DE ON OE OD OE ON CE CU OU WL Oh OF YA GA DEEN CE OD LGU EN CE YA OL OD Ov 47wy #7 ans) Aboae? gp pve * Ok MkUOO MADMemW 0.9. aL Coon aun) a $7 han ==" ous Se pene i oa he SS 0 WA Oh OF YA Ch OE YA OD CH OWE OD ON OE MA OD on E A 2 er ee ee) MOLE RD 48| Blues For Mr. Hardy (Tracks 13-18) Version A Jazz Swine track 13 rhythm section with vocal melody (Christy) track 14 rhythm section with instrumental melody track 15 rhythm section only without melody swing 8th with walking feel at letter A shuffle feel at letter B stop-time at letter C (4 bars only) Version B R&B track 16 rhythm section with vocal melody (Bob) track 17 rhythm section with instrumental melody track 18 rhythm section only without melody swing 8th with half-time feel stop-time at letter DBLves Foe Me. Hazow (Tevcus 13-18) na ry ws 68 SS == — uw 7 GMINT «C7 A i = = | ea f=? owe oh fo oN BD OD ove oh ov oY Bo To Coon ae 0 A eum7 ang) A A > > — SS SS Sa bots Dip Re Plea we Oh OU BAY 0 GH GY ON OD OA Bue Of G0 OY OU oA oe 8 oy HT (tar eum? 108) OMINT a6) > A 2 ee ee ore sth, Joie tad af sai s— zhee* = poe BR OE HOD OD OO cw thy ho OX ue ew ft a7 a mo) sun iaa nace By pe eee ere =. = SS SSS oo Mh OM Mh mH OO OM oo ON ou OW Rw 50GMT 07 qt Fy 7 pT ang) : = > 2 ———! se > f 2 == Sees eT pene $4 6 00 0 60 OE OLE BR GD OM OY ODEN YA OD EM OD ME YA er 4709) ‘OMIN7 q7 Yee ‘SUE $1 00 #4 CY Yh OD E.00.0N CU ON OWEBL OLY DI DI LA 90 WEDD ON OWE $4 OU ON OO WHY a "1 a : Guin7 07 — aA eee ao f here sya o - DE ON OF Sh OY 09 DAY YO OD ON OH € $0 06 ON OE ON OY ‘ou 90 ony eo » Tangy : i =r: zt Sey pe fee er ‘BUEN GU SH OSL OA CAOUGA DIY CH Sh CWE EA DE ON DAY fA OWE BA OE ON OE OD BH 073) ang) a, args) 97 688 4 za Yl. we 4 2 E A > a “be bo gs CE SLDE SL CAOWE DIY 00 ON OWE OE YA. BAO ON OY A 84 00 OX 00 SlONY Oh OD ON ORY Oh fA_— OLE BL _OD CH OWE CU —#h_—OWE $4 OD ON CU EA OY WE ONY Quin? 07 al on 7 on a ag ober | UE fh OU ON OY GA OY YO OWE BA OU ON OD WE $4 OY ON OU WE OU $A OUE Hh OU ON a7 o7qs) éwn? €b7 OuIN7 i ates 52Lord Paddington Blues (Tracks 19-24) Version A Jazz Swine track 19 rhythm section with vocal melody (Christy) track 20 rhythm section with instrumental melody track 21 rhythm section only without melody | swing 8th broken-time feel at letter A walking feel at letter B | Version B Rock track 22 rhythm section with vocal melody (Bob) track 23 rhythm section with instrumental melody track 24 rhythm section only without melody swing 8th shuffle feel half-time feel at letter D(020 PADOINGTON BLUES (Teacns 19-24) _ f | | SSS mH oo OD OH oo 0 to oD OM ’ 1. CHINT To Coon => : zee vides faa + AG cu 0 $4 00 0 OW oy ov $4 00 00 oY 10 09 ON 00 00 “ ands) ; = if anys), pe = Ne b a 5 os DOE DL $k OE Yh OA UK OU OD Sh OY CO OW 4 09 [8] 7 b QMINT FIN? 71497 MINT mip) on — : : —~—-3 Sse 00 owe OX 00 on tor ho Quin7 Qu(uasT) 0-7 Cunt i aie A == SSH = pS pes a oo sh 00 OM 40 OY OWE GD GY Sh 9D Ob 4 90 OF OW 09 54poe + ‘8 $A BA 00 DE YA OD ON OMY YO $k OU WAY OU BA OMY YA CU OMY 4 ang), a : a Sa 80 90 0 YON SA OD OW YA DDO HD ONY [e] CHIN MINT ang), SSS hE OE ou ko vk og 3 EMINT 5 Apis ‘ = 22 = > WE YO OWE OO CN OWE OD EN OY Ch CE SA OE YA 0 OhY__ ownfys) CHIN, =a7 C7 Cue ‘ oo oes oes 00 ON 0b WhO ONY YA OD OI OA LE Ch OU ON OW 4 90 $4 00 vA ‘i a7) MINT Sn a anys) =r = 55CMiNT eng) 5 FMINT = = >> oY SSS SS a | f 2 > = ue aa fe ete 06 Oh GO 4h OE OM GD OL ODE BE OWE HH BEE DUE Bh OuTps) args) QMINT anys) QMINT 0 ‘ : aT s bio ee eho pat Hh >> - aaa Sess teae 6 100 #4 O0E Bk OF YA OD DIY AOD 0 Oh OY $0 01 DK LE BA OE ON OMY rn 3 MINT 47g) $€ ON OD GOH OH SY OD ON «DE ODOM CU OL LE HAN 0.9. AL Coon A eo v8) bh = on fo © om Ow wD 7 (8) onus) a7gs) i MINT G78) QMNT ==! ee ie Ee = — + otepe® Eg Al 20 00 ON OWE OY CHE OU SE DUO DIY YA OD OY OY $4 OU GU OY ours) ir gray 087 5 Poa (00 OW ON OU OD 9 BU OD CY DE $A OU ON SWE WU $.OD OY OU BOY OY YY LY 56Columbo Blues (Tracks 25-30) Mepium Jazz Swinc track 25 rhythm section with vocal melody (Bob) track 26 rhythm section with instrumental melody track 27 rhythm section only without melody swing 8th with 2 beat feel at letter A stop-time at letter C (4 bars only) walking feel at letter C-35 Version B SLow Jazz. Swinc track 28 rhythm section with vocal melody (Christy) track 29 rhythm section with instrumental melody track 30 rhythm section only without melody swing 8th ballad feel stop-time at letter D (4 bars only) 37CoLumse BLUES (Tercns 25-50) ~1 [res e4 o ao on in 0 (pune) be uO OY YO coh OVO BY Woe ce WU OW To Coon +, i. i #7 . : Qe 67 e749) ATS) ae — a SS ee — ¥ Gri Fed Savhelettee os s= 2 _" ¢ —__— oe 69 00 OY YU OW h OY BY WOE wet 07 a £07 87 OMT Q7 ae eee oo 04 60 ON oH OMe BD EE YA OU ONY Ne 2 a ia a seacee sce na An ae a see — poo UH ee oka aes = OWE $4 90 ON OU WE YA DU ON OWE Fa he 4 ob we OW $$ Hh OD OE DO OM OY 0 00 a, “ 7 e749) 3 ads) 0-7 Ayo Ee 5] — >> $684 09 $1 Oly OL OMY YOR GD Bh OD ON OWE DOE sk OY OM OWE ow 8 eu Amat? anys) =—_— a = = : apa He | 80 90 90 40 OU OF OU HWE OVEN OE Ov ODT 9 $0 OU YA CU CE ON SUE GU ON ue 99 00 $0 00 CE Yh OU OWE YA CU DAY OU ON OMY YU CU WAY CU co HM OU BL 59me ans) 4705) on 3 ae See be Pe vl Se 2 ft > ee CW OY SOK OOK OY YOK OtH OOM SH OD WY =O. OE BU OWE SA CUE OHW 0.9. aL Coon » args) 07 7 a7 7 4 3 = 07 a7 07 se Ba * oF wens we Seg s OX OY OX Ov we #4 60 G0 OMY Yh Cet CAY ON Om aoe o7 ‘ cu cv a ey oe op al = S_= eo (Guano) 60| Blues For Kramer (Tracks 31-39) Version A R&B Sraaicut Funk track 31 rhythm section with vocal melody (Bob) track 32 rhythm section with instrumental melody track 33 rhythm section only without melody straight (even) 16th feel Version B R&B SwinG FUNK or “SWUNK™ track 34 rhythm section with vocal melody (Bob) track 35 rhythm section with instrumental melody track 36 rhythm section only without melody swing 16th feel Version C Latin SAMBA track 37 rhythm section with vocal melody (Christy) track 38 rhythm section with instrumental melody track 39 rhythm section only without melody straight (even) 16ths with double-time feel 61BLves Foe Keamee (Teacns 41-9) INTRO ass 749) a Perr ty fy (pans) ene oy 0 cunt = = = is ey Fe Piaget, go ‘Det WE 90 OX OD BY OY 0 09 90 Felt MINT 74s) eww To Coor + — lS a oe ¥ ¥ = (jae SS 6 00 ON OW 0 0 00 Sk ONY 0h OnY YH i: Ass a7gs) Quint Use Xone) hb =e SRS bis woolen 1 ed lee, , DWE OCH $04 OU WE OU WE AY YAO ON CWE OD DAY. 62a wT CMiNT we ve CT ove so ok Hk oY oy Ok BD OM OW BH OW os CM INT CM INT , myers: = br ¥ SSE: Z— Coos 2 Rem HHH AMOR ow || He 9 90 OY $E OU FE YA OU YA OU EN OU SE YY ON DY $4 ODEN DE YAU CN CUE OU CI CM INT hb == bri a 4 = te oe z oe us om fk oD NOW 00 th Abs 7gs) = =— PO Ss Re = br SS Se a0 chy ovo 04 #4 00 #4 00 c4Y C000 00 COE BH OD OX OHH OU BAT CMINT bis = = a _° sm 63CMINT Pp teers yl =a z serene AMO ROKK M TOUTMD HOON ‘WE DAY 90 EA DAY DAY OU $A CAY AY OU ON 90 YA OY CAY OE YA OD ON OMY Ov GAY FIN? 47gs) Feces aee 3 (fret fa eeio ve BOE OY ON OWE GO ON OWE CU ON OWE OI OL U Bh OLE SH OU OHY 4 00 OK CMiNT pL DWE 0D ON DWE OY EN DWE OY ON OVE CICLU sk OY Sh OD DIY. il ang) a i: aT Saar ‘WY YA OY CN OU BA DAY YA QU ON CO Sk AY YA OD ON OU WE DIY A CU ON OWE OD OY MINT 0.9. AL Cooa or — 64a7qgs) MINT it o> te o> 0 we a OY Yk OD ENON 00 OY 65Blues For Mr. Mason (Tracks 40-45) Version A Camun track 40 rhythm section with vocal melody (Bob) track 41 rhythm section with instrumental melody track 42 rhythm section only without melody straight (even) 8th feel Version B Rock track 43 rhythm section with vocal melody (Christy) track 44 rhythm section with instrumental melody track 45 rhythm section only without melody swing 8th shuffle feel half-time feel at letter C (m. 31) 66BLues Foe Me. MASON (Tencus 40-45) feet daiaetagbgeeaecEC ee these ary eg. oo ox 90 ow a a ‘1 a To Coon 6 bao ee athe 5 a bee Pee tek ee oy 40 owe vo. 0h OE OK OLY ON YON OE oo. ow 748) 7 eS ee = —S oe fe dg ete le OMY ON OOH ORY OOH ON ONY OCH OO LEE OU OY ON OD WA OF OMY BA ten Gar FS we YO Olu as| en 7 SS : ae teed cpl obs | { o va . z DE $k OU BD OD DL CE OD $Y OD WEDD ON OD OE LOY fH CU Sh OD OW. o ss Sh $0 00 90 WA CE OU Sh OWE BH 0 OF $A OY BL CU WE OD ODA OH tener a7g3) wjleta he 2] F 2p 2 OY YA CWE CN D6 $4 CU ON ONY fH sh 00 Oh sk 80 UE 68Ses OM OH OOH OY HOH th OW. Sk Ol Ok Le OO cAY ON OU OY e749) #7 ae . = o b 00 WE OW DIY CoH SL CL WHY ___ BA CWE HA HY YOK COD BOL CCH LE BH 2 = e o bees 22a te pyente a of sD Oy Ob YU cD o> mY OW Wy oD OD WY OD CN OY OD DIY ON a 0.5. AL coon 69749) 7 = ee oe Bee ee = so SS SS SS poe ‘OMY GOH OOH OY OH OOH OY OOH OI Oh LE OD DIY ON OD WH OF OY OW a « A > A _ = ——= FS] 2 fe = SS oof owe o HY OOH OCH OY OOH OOH ONY OOH OO LE OU HY ON OY WA OE YL 2 & eve 70Blues For Mon Ami (Tracks 46-51) Version A CamuN track 46 rhythm section with vocal melody (Bob) track 47 rhythm section with instrumental melody track 48 rhythm section only without melody straight (even) 8th feel Version B Rock and Reacar track 49 rhythm section with vocal melody (Christy) track 50 rhythm section with instrumental melody track 51 rhythm section only without melody swing 8th Rock shuffle feel half-time Reggae feel at letter B-17 original Rock shuffle feel at letter C-29 aTBLUuEs Foe MON AMI (Teacks 46-51) ar Gl 0 4 =—==——— 5 Se Be SE ies 00 WE OU ON OY co 90 WE OD ON CY BY =» Y_ WE BUEN 0 0. an To Coon [== 90 YO OWE ON oD OD Ser. * orig WE b v 0) WE OY ON OY CD OY WE CY ON OY OD — YE DD ON cH OY [s]., bet SS 00 WE OV ON OD $A OY ON OD WE CU Oh $k OD BH OO EON OD HAoe DE $4 OV ON OY ON OD HH ete 499) fh} Piper ere! UE YA OU Oh Bk OD MA 99 6h OD ON OWE fh OD ON OF Sh BD Oh Sk ODN a —— roe = f 7 i oe ee =e of ro a th 00 ON SS thee. dee 9 Bh 90 ON BON OD oy Doe oy we Ss. dpe * args) 8) ON OYE 00 ON OE ON OLY YO CE BA BU ON ee Wasa “7 =_ es aaa aie tee 1 0 00 OWE oH OO OY ON 1B beable ss 01 OL OU CE ON OE Bh CD ON0.5. aL Coon uO owe 01 a oT c= bs 2 ery, a, tebe pda Sele 2 7 Ade ds. aoe Gusaaa whuw we 00 WE BD ON OY OO oD We OD ON OD OD “ 4 ‘1 Geel Pe Ce ee) 4What’s on the CD I. Blues For The Bean (Tracks 1-6) Version A: Jazz Swing track 1 rhythm section with vocal melody (Christy) track 2 rhythm section with instrumental melody track 3 rhythm section only without melody Version B: R&B track 4 rhythm section with vocal melody (Bob) track 5 rhythm section with instrumental melody track 6 rhythm section only without melody Il. Blues For Booz (Tracks 7-12) Version A: Jazz Swing track 7 rhythm section with vocal melody (Christy) track 8 rhythm section with instrumental melody track 9 rhythm section only without melody Version B: Reggae track 10 rhythm section with vocal melody (Bob) track 11 rhythm section with instrumental melody track 12 rhythm section only without melody IIL, Blues For Mr. Hardy (Tracks 13-18) Version A: Jazz Swing track 13 rhythm section with vocal melody (Christy) track 14 rhythm section with instrumental melody track 15 rhythm section only without melody Version B: R&B track 16 rhythm section with vocal melody (Bob) track 17 rhythm section with instrumental melody track 18 rhythm section only without melody 15IV. Lord Paddington Blues (Tracks 19-24) Version A: Jazz Swing track 19 rhythm section with vocal melody (Christy) track 20 rhythm section with instrumental melody track 21 rhythm section only without melody Version B: Rock track 22 rhythm section with vocal melody (Bob) track 23 rhythm section with instrumental melody track 24 rhythm section only without melody V. Columbo Blues (Tracks 25-30) Version A: Medium Jazz Swing track 25 rhythm section with vocal melody (Bob) track 26 rhythm section with instrumental melody track 27 rhythm section only without melody Version B: Slow Jazz Swing track 28 rhythm section with vocal melody (Christy) track 29 rhythm section with instrumental melody track 30 rhythm section only without melody VI. Blues For Kramer (Tracks 31-39) Version A: R&B Straight Funk track 31 rhythm section with vocal melody (Bob) track 32 rhythm section with instrumental melody track 33 rhythm section only without melody Version B: R&B Swing Funk or “Swunk” track 34 rhythm section with vocal melody (Bob) track 35 rhythm section with instrumental melody track 36 rhythm section only without melody Version C: Latin Samba track 37 rhythm section with vocal melody (Christy) track 38 rhythm section with instrumental melody track 39 rhythm section only without melody 16VIL. Blues For Mr. Mason (Tracks 40-45) Version A: Cajun track 40 rhythm section with vocal melody (Bob) track 41 rhythm section with instrumental melody track 42 rhythm section only without melody Version B: Rock track 43 rhythm section with vocal melody (Christy) track 44 rhythm section with instrumental melody track 45 rhythm section only without melody VIII. Blues For Mon Ami (Tracks 46-51) Version A: Cajun track 46 rhythm section with vocal melody (Bob) with instrumental melody only without melody Version B: Rock and Reggae track 49 rhythm section with vocal melody (Christy) track 50 rhythm section with instrumental melody track 51 rhythm section only without melody Bob Stoloff: vocals and drums Christy Bluhm: vocals Brad Hatfield: keyboards and keyboard arrangements Recorded at Brad Hatfield Productions, Westwood, MA Vocals, drums and final mixes recorded by Peter Kontrimas at PBS, Westwood, MA MP-3 files prepared by Sean Kelly 7