Professional Documents
Culture Documents
So the question was “How do I make a plausible interpretation of Choro in a bebop mode of
2
Table of Contents
Chapter title Page
ABSTRACT ...................................................................................................................................... II
PREFACE ......................................................................................................................................... V
1. INTRODUCTION ......................................................................................................................... 6
7. CONCLUSION .......................................................................................................................... 32
LITERATURE ............................................................................................................................. 33
APPENDIX 1 ............................................................................................................................ 35
4
Preface:
The decision to combine the two distinct genres of Choro and Jazz was inspired by a 1951
recording by Charlie Parker of a famous Choro standard called Tico-Tico no Fubá (1917) from
Zequinha de Abreu1. There, I could see my favorite Jazz alto saxophonist playing this famous Choro
tune in his style. This triggered me to think that combining these two musics would be a worthwhile
research. I have to state that the willing of doing a research towards a Choro music topic came from
reading the master thesis of Rafael Velloso O saxofone no choro.
I could not have accomplished this work if it wasn’t for the help of my Method coach Dr.
Evert Bisschop Boele which helped me so much with the development of this final work, my mentor
Mr. Steve Altenberg, my Research teacher Mr. Kurt Weiss, my PCC teachers Miguel Martinez,
Michael Moore, Jasper Soffers, the Sambadoobop’s family Stefan Goranov, Jorge Castañeda, Patrice
Blanchard, June Koo, Giedrius Nakas and Mamour Seck. Many thanks to Rosie Taekema for doing a
great job in correcting the final version of this work. Thanks Francisca Motta for helping me find a
better date for this final. Thank you very much Joris Teepe for making this program possible. Thank
you very much Jan-Gerd for making this program run smooth. Thank you Mandy Holstege for keeping
us up to date and everything else. I would especially like to thank my family (my mother Jeane, my
father Cesar, my brother Rodrigo, my sister Claudia and my second mother Julieta Puntel) who
emotionally supported me in my decision to do this Master program, which is a big challenge. I am
sure I forgot many people who were important as well.
1
This was recorded and made popular internationally by the famous Brazilian singer/actress Carmen Miranda
(1909-1955) who in 1947 performed it on-screen in the American musical comedy film Copacabana (1947).
https://www.youtube.com/watch?v=oFw9HWUdYF4
1. Introduction:
This Master thesis should be read together with all the music I have produced during the
program, because the research is more artistically and practically based. The main reason I chose this
topic, was due to the fact that I wanted to make use of my personal background in Brazilian music. I
have been playing Choro music in Brazil for the last ten years. Fortunately, I came from a city where
this music scene is growing strong and I am part of the generation who have been helping to bring it
back to a wider audience.
With this in mind, I started out by thinking of the possible direction in which this research
could take. As this is a Jazz Performance Master program, I decided to take the direction that would
be most fitting to my own musical development. Starting with a wider perspective and slowly
narrowing down the possibilities was one of my tactics. For this I chose four different ways of fusing
the two styles, believing that I could create a new genre of music - something extraordinary which
could influence and bring together the Jazz and Choro worlds. As a good start, it gave me the stamina
to do my work. Fortunately, in this process, I realized how wide and deep both worlds are, and how
lacking in the Jazz idiom I was. I did not know many jazz standards and had a deficient jazz
vocabulary, so I had to give up on my “megalomania” and choose a reliable path that could really
help me to develop my musicianship through a more scientific process, both in learning and
researching.
6
2. Research Problem, Research Question and Objectives of the Research:
2
Retrieved April 29th, 2016, from http://www.brainyquote.com/quotes/keywords/research.html .
7
How should I approach it?
As a first step, it was crucial to observe that Choro and Jazz are both genres of music which
originated in the 19th century. And that they are linked by the common bonds of African and
European musical parentage with a performance orientation, but each one with different results. I
decided to narrow down the research by choosing to import elements from Jazz into Choro. For this, I
took a particular style of Jazz called Bebop [Bop, Rebop] extracting its melodic vocabulary.
Transcribing played (and will continue to play) a major roll in incorporating this “new“ idiom into my
playing as well as the saxophone lessons of Miguel Martinez (first and forth semesters) and of
Michael Moore (second semester), the combo lessons of Kurt Weiss, the improvisation classes of
Jasper Soffers (first and second semesters), and the external lessons from New York teachers.
Before starting this master program, I had already done some research into Choro Music and
Jazz but I haven’t yet found any academic or non-academic work that compares those styles. During
those four semesters, I continued to search for the existence of any kind of reference, but
unfortunately, was unable to find any material which compares the two styles. However, I think that
most Brazilian saxophonists do incorporate some jazz elements into their playing, such as Naylor
Proveta, Eduardo Neves, K-Ximbinho, Zé Bodega, Victor Assis Brasil, Paulo Moura, J.T. Meirelles,
Maestro Spock e Moacir Santos.
2.2 Objectives of the Research:
The main objective of this research was to improve my improvisational and compositional
skills in the genre of Choro by importing elements from Jazz, thus improving my Jazz proficiency. I
believe that Choro Music can be enriched by incorporating Bop vocabulary into it, as well as offering
fresh elements for Jazz musicians by bringing Brazilian elements that seem to be hidden from the
broad Jazz scene.
In this direction, I believe that doing this Research, and getting deeper into the Bebop
vocabulary combined with Choro, will give me a unique musical profile which can make my playing
very interesting for the market.
8
How can I fuse the Jazz and Choro Genres?
As an extension of this main question, there were secondary questions which came to the
surface, in order to develop the investigation further. Therefore my research is aimed at answering
the main question through responding to the possible secondary questions first.
•Which direction should I go for, Bop into Choro or Choro into Bop?
•What exactly are Bop and Choro?
•What makes Bop music sound like Bop?
•What makes Choro music sound like Choro?
•How can I apply the characteristics of Bop music into Choro?
In essence, I identify this Research as having two sides. One is content (How do I incorporate
Bebop elements into Choro?) and the other is about the development of my musicianship (How can I
incorporate Bebop elements in my own playing of Choro?)
9
3. RESEARCH DESIGN AND RESEARCH PROCESS
3.1. SOURCES OF KNOWLEDGE
In order to answer the above questions, the main parts of my Research Design were based on
different sources as follows (please see Appendix 1.6 for list of other sources):
• with the Choro Trio "It is what it is."(7string guitar, pandeiro and sax). Here I
Playing worked to bring the Bop vocabulary into Choro on a regular basis. (New York).
• SambaDooBop: a group where I developed my composinons and applied try
outs of the research.
The artistic research was done by reading books as literature study, talking to musicians in
formal and informal interviews, by taking lessons, making transcriptions, and by attending concerts.
At first I used this data in order to be able to understand and to analyse forms, harmonies,
articulations, instrumentation and melodic material, searching for reference marks, similarities and
differences amongst both genres/styles.
10
3.2. REFLECTIVE PRACTITIONER RESEARCH
Equally important, was the Practitioner Research proceedings, where I could look at myself by
keeping a diary and recording my playing in this two year process. Not only this, but also the
feedback from teachers and fellow musicians played a critical portrayal in the evaluation of my
progress. In order to achieve the results of this work, I focused more on a continuous process than
on taking scheduled steps.
In the diary, I kept notes about what to improve on my studies and what to add to my daily
practice; for example, noticing my weak points and working on those. In this process, the feedback
of my teachers was always significant for my self-critique. For this reason, I aimed always to keep
myself out of the comfort zone. The self critique was always easy to grasp when listening back on the
lessons I recorded; in the saxophone lessons I would always play with the teacher, so it was easy to
see the gap between my playing and theirs.
3.3 RESEARCH PROCESS
For the purpose of better understanding Jazz, I centered my studies on the following
methodology. At first, the path of my research was to listen and transcribe Bebop and Hard-Bop
recordings. For this, I have transcribed music from Charlie Parker, Sonny Stitt, Cannonball Adderley,
John Coltrane and Dexter Gordon. Gladly, I incorporated this action into my daily study routine. In
this fashion, I worked to assimilate all the musical expression embraced by those artists by aiming to
absorb it into my playing (phrasing, articulation, harmonic ideas and time feel). The understanding of
the Jazz saxophone sonority was a must on the path, which made me pay special attention, besides
the study of technique, to my equipment. I came to realize that the height of the saxophone keys
influenced my playing a lot, thus making it higher “opened up“ my sound.
During the process (1st and 2nd semesters) of practicing/playing with my band SambaDooBop and
other musicians, I was able to apply much of my findings. As a matter of fact, in the last two months
of the 2nd semester, I decided to start playing Choro Music again. That is how I ended playing in a
music festival in Kassel Germany with a Brazilian Choro group. Originally from my home town Porto
Alegre, these musicians based in Germany were my music partners from a long time ago. Immersed
11
in this Brazilian atmosphere I became more aware of how the studied of Jazz was nourishing my
improvisation over Choro Music.
Surprisingly, this did not really change my research topic, nor the research question or design.
The Research’s universe only matured towards a more focused approach. As can be seen with the
employment of Bop’s Vocabulary into Choro Music.
Overview of my process:
1º, 2º First and second semester:
• Weekly private lessons from Miguel Martines (saxophone). (1st semester).
• Weekly private lessons from Michael Moore (saxophone). (2nd semester).
• Private lessons in saxophone (Tim Armacost, Don Braden and Adam Kolker and Michael Philip
Mossman).
• Work on my own LAB group (ensemble) with Kurt Weiss. In the LAB I worked on my ensemble
experimenting with the results of my research on Bop’s and Choro style of playing.
• To promote my LAB group, I have designed my own website www.rafaelsax.com.
• I kept up a diary describing my progress and experiences which I discussed with my teachers on a
regular basis.
• Recorded an album with SambaDooBop. https://soundcloud.com/rafaelsax/sets/sambadoobop
12
3º Third semester (New York)
• Relocated in New York City .
• Was able to perform more than 10 times.
• Was able to have more than 28 lessons with highly experienced musicians
• Followed the course “American Culture Filed Experience”, 7 lessons on American Jazz History with
Jd Walter and 5 field trips with Syberen van Munster.
• I explored the jazz scene in New York.
• I attended many concerts from high performance artists.
• I kept in contact with my mentor Mr. Steve Altenberg and my research teacher Mr. Kurt Weiss
through e-mail, as well as my method coach Dr. Evert Bisschop Boele.
• I was able to show my album to many artists, who gave me nice feedback.
New York Experience:
New York was a city
where you could be
frozen to death
in the midst of a
busy street and
nobody would notice. 3
Bob Dylan
The New York experience opened my eyes and my ears to a deeper understanding of the Jazz
world, and its possible connections with Choro Music. Through this process, my belief in the results
of my research grew stronger. Which means that indeed for me, Choro Music really can be enriched
by incorporating Bop vocabulary into it, and can offer fresh inspiration for Jazz musicians to bring
elements from Brazilian music, which are rare within the broad Jazz scene.
3
Retrieved April 29th, 2016, from http://www.brainyquote.com/quotes/keywords/research.html .
13
In order to understand how important New York was and is to Jazz I listen to a very important
audio book about the city’s history related to Jazz. As the commuting would take me at least two
hour per day I had plenty time to listen to the almost 30 hours Supreme City: How Jazz Age
Manhattan gave birth to modern America. This book help me to immerse in city’s history and
understand better the man from those times. Combined with The history of jazz from Ted Gioia, my
New York experience wouldn’t be as rich as it was. It made me respect and understand better where
this art form came from.
In New York, I was able to play and jam to Choro Music with great musicians such as Anat Cohen
(clarinet and saxophone), Cesar Garabini (seven string guitar), Tom Armstrong (Jovino Santos’s
former pandeiro), Sergio Krakovski (pandeiro), Eduardo Belo (Bebel Gilberto’s bass player); I put
together a Choro Trio (called "It is what it is") with Cesar and Tom, in which we performed around 10
concerts in different venues (Stop Time, Little Branch, Barbés and Django); I went to Jam sessions at
Zinc Bar, Beco, Terraza 7; developed a duo with Andrea Caruso (Double Bass) and we busked several
times in Manhattan (Central Park, subway stations and Whasington Square Park); participated on
Roda de Choro (Choro Music Jam sessions) at Beco (Brazilian music venue located in Brooklyn); and
attended several concerts.
As New York is not an easy place to be in, I have learnt a lot about surviving in music business.
This helped me to find new alternatives, which led me to become a n active member of of the
BMFBrazilian Music Foundation (http://bmf-usa.org/) where I will be able to teach and play Choro
music.
I attended 27 lessons, from teachers such as:
1- Tim Armacost (4 lessons)
2- Rogério Boccato “Rítimica“(11 lessons)
3- Dave Glasser (2 lessons)
4- Chris Potter (1 lesson)
5- Jd Walter (2 lessons)
6- Barry Harris workshop (1 lesson)
7- Marantz (1 lesson)
8- Will Vinson (1 lesson)
9- Sergio Krakovski (2 lessons)
10- John Leadbetter (2 lessons)
14
4º Fourth semester
• I kept a pattern of lessons like the first and second semester.
• Weekly private lessons from Miguel Martines (saxophone).
• Worked on my own LAB group (SambaDooBop) with Kurt Weiss, in the LAB.
• I kept up a digital diary describing my progress and experiences, which I discuss with my mentor.
• And will finish off my studies with a concert of “WHEN CHORO MEETS BOP“, including a
presentation of my research.
2º Semester
1º Semester 3º NY Semester
•Jazz History
•Jazz History • Clases with New York
•Tunes and solo Jazz players 4º Semester
•Tunes and solos Transcripnons
Transcripnons • New York Jazz scene • Professional FINAL PRESENTATION
•Developing the Lab Integranon Project:
•Developing the Lab Ensemble • American Culture Filed "When Choro Meets Bop
Ensemble Experience combining Bop into
SambaDooBop through Choro.
SambaDooBop composinons • Many concerts with
•Searching sources the Choro Trio "It is
•Searching souces
what it is."
15
4. MUSICAL BACKGROUND
According to Cravo Albim (Albim, 2016) “Choro“ is a genre of Brazilian music. Its genesis
dates back to the 19th century, having three important dates of its early development: 1808, 1845
and 1870. 1808 is when the Royal Portuguese Family moved to Rio de Janeiro. It reshaped and
upgraded the urban and cultural Brazilian facets by bringing European elements and by creating a
working middle class. The family brought instruments like the piano, and European dances and music
like minueto, quadrilha, xótis and waltz, which merged with the Afro-Brazilian music style, so called
lundu (which was then already part of the Brazilian culture). The result was a nationalization of those
new European music trends. 1845 is when the polka arrived in Brazil, becoming a major musical
trend. All of those factors supported the birth of Choro, which was at first born not as a genre, but as
a Brazilian way of playing and phrasing some of the musical genres and dances of the time.
A term with various meanings in Brazilian popular music.
Generically choro denotes urban instrumental ensemble music,
often with one group member as a soloist. Specifically it refers to an
4 th
Retrieved April 29 , 2016, from http://www.brainyquote.com/quotes/quotes/h/herbiemann305166.html.
16
ensemble of chorões (musician serenaders) that developed in Rio de
Janeiro around 1870. One of the first known choros was organized
by the popular composer and virtuoso flautist Joaquim Antonio da
Silva Callado (1848–80). In the mid-19th century the instrumental
ensemble generally included flute, clarinet, ophicleide, trombone,
cavaquinho (a type of ukulele), guitar and a few percussion
instruments (particularly the tambourine). The repertory of choro
ensembles consisted mostly of dances of European origin performed
at popular festivities. For the serenades the band accompanied
sentimental songs, such as modinhas, performed by a solo singer.
No special music was composed for the choros at that time, but
such designations as polka-choro and valsa-choro indicate the
nationalization of European dances in Brazil.
In the 20th century the choro or chorinho has been closely
connected with other popular dances of urban Brazil such as the
MAXIXE, the tango brasileiro and the SAMBA. All have the same
rhythmic patterns (syncopated binary figures), although tempo and
instrumentation are distinguishing features. The originality of the
choro of the 1930s and 1940s, for example those of the Velha
Guarda band of ‘Pixinguinha’ (Alfredo da Rocha Viana), lies in the
typical virtuoso improvisation of instrumental variations and the
resulting imaginative counterpoint. (Gerard, 2016)
Finally, 1870 is considered to be the probable year of Choro’s birth, because of the great
flute player Joaquim Antônio da Silva Calado Júnior (1848-1880) from the suburban low middle class
in Rio de Janeiro. He was responsible for creating the first Brazilian urban instrumental group called
“O Choro Carioca“ - the major Choro’s influences of which came from the polka and from the lundu.
At first, it’s form was tripartite AABBACCA - a rondô form. Later on, both two and three parts were
composed and performed, but always with the modulation and characteristics of the rondô.
Albim (Albim, 2016) provide us with four possible origins of the word Choro:
1. from the latin word “chorus“ (choir)
2. from the verb “chorar“ (to cry) lament
3. from the word “xolo“ (certain type of dance that slaves did on the farms where they
lived. Then “xolo” became "xoro" which was changed to "choro".)
4. from a corruption of the word "charameleiros" (certain corporation musicians of the
colonial period that ran the “charamelas“(clarions).
17
4.2. BEBOP
As previously stated, this Research has a focus on what is considered to be the modern Jazz
(basically after Charlie Parker). With this in mind, it is convenient define the genre before the style.
Here is one of the definitions given by The New Grove Dictionary of Jazz, 2nd ed.:
This early definition of the wider subject of Jazz, follows the Style’s definition according to
the Oxford Music Online:
st
5
Retrieved May the 1 , 2016, from
http://www.allowe.com/laughs/book/Actual%20Quotes%20about%20Music.htm.
18
syllables had long been commonly used in scat singing, their
specific connection to bop emerged in 1944 with Gillespie’s
composition Be-bop (first recorded in 1945). Critics such as
Leonard Feather, who chronicled the style for the jazz press,
found the term a convenient way to refer to new jazz styles.
(DeVeaux, 2013)
From the same article of DeVeaux, I made a compilation of some innovations and
characteristics brought by Bebop:
The first innovations began with the rhythm section. Before Bebop, the large swing
orchestras relied on the piano, acoustic guitar, bass, and drums playing in tandem to create a
solid, danceable four-beat rhythmic foundation. In the late 1930s, a new style of drumming
developed by Kenny Clarke (1914-1985) shifted the time-keeping from the bass drum to the ride
cymbal. This allowed the drummer’s other hand and feet to now be free to interact with the other
musicians through spontaneous accents (“dropping bombs”) on the snare drum, bass drum, or
tom-toms. In this fashion, the timekeeping was reduced to the drummer’s steady ride-cymbal
pattern as well as the four-beat walking bass line of the string bass.
The pianists then added their own rhythmic layer by playing a rhythmically unpredictable
manner of comping. As Bop built on and extended the chromatic harmony of the more progressive
artists of swing the use of increasingly complex chords, featuring chromatically altered extensions
such as 9ths and 13ths were a must. Now the improviser was free to play with the harmonic
landscape, often adding new chords to the original progression. This is very similar to Choro music
but in a great manner, for soloists Bop demanded a startling leap in technical virtuosity.
The racial segregation (1930s and 40s, Jim Crow segregation) was a factor that pushed the
music toward the small-combo format. Broader social and economic factors collaborated as well.
Following the pressure from the musicians’ union, which refused to tolerate unpaid performances
by its members, these small-group performances turned out to be a plausible source for income
for the musicians. Bop ultimately became known as a small group style, even though many,
especially Gillespie, pushed to adapt the idiom to large jazz orchestras.
The first concerts of Bop began in 1944 in clubs on New York’s 52nd Street, with
recordings following in 1945. The repertory of these bands were based on popular songs, most
played in jam sessions like many blues. These musicians started to compose new melodies on the
familiar chord progressions, which were protected by copyright. Startling their audiences with
19
their intricate rhythms, pungent dissonance, and off-putting titles such as “Anthropology,” “Salt
Peanuts,” and “Ko-Ko” were common.
From 1947 to 1949 Bebop reached its peak in popularity. During those years Gillespie and
Parker were featured at Carnegie Hall. This brief success did little to help Bebop commercially, but
the new manners were steadily growing among many musicians as Max Roach, Miles Davis, Dexter
Gordon, Fats Navarro, Tadd Dameron, J.J. Johnson, Sonny Stitt, Jackie McLean, Sonny Rollins, Stan
Getz, Art Blakey, and Gerry Mulligan.
To conclude this introduction to Bebop, we may notice that its acceptance as the basic
style by an entire generation of musicians helped to drive jazz away from its previous reliance on
entertainment. Now a new sense of the music as an autonomous art had been born with its
unapologetic nature. As the peak of Bebop faded, its fundamental principles became the
foundation for later jazz styles. Bebop has maintained a central position in jazz education, where
know-how of its vocabulary has often been seen as a minimum standard of competence.
20
4.3. COMPARISON CHART
Comparison Chart between Choro and Bebop (both Hybridizing African and European styles).
Choro Bebop
Common forms (song AABBACCA (Rondo form) AABA (Tin Pan Alley)
format) AABBA 32 Bar
Blues
Rhythm Changes
Tempo and Time Signature Feel 2/4 Feel 4/4
Fast Fast/Up tempo
Virtuosity Virtuosity
Groove 1st and 3rd beats (very 2nd and 4th beats
syncopated)
Main instruments used 7 String Acoustic Guitar Piano
6 String Acoustic Guitar Saxophone
Pandeiro Trumpet
Cavaquinho Double Bass
Mandolin Drums
Flute Guitar
Saxophone
Harmony Tonal Tonal
Melody Up and down with scalar, Angular. Up and down with
chromatic and arpeggio scalar, chromatic and
movement. arpeggio movement.
Rhythm Predominantly 16th note Predominantly 8th note lines
lines
Base group format Regional (7 string guitar, 6 Rhythm section (Drums,
string guitar, cavaquinho and double bass and Piano -
pandeiro) much less often guitar)
Lyrics Main instrumental Main Instrumental
Famous Artists Pixinguinha, Jacob do Charlie Parker, Dizzy
Bandolim, Dino 7cordas... Gillespie, Bud Powell...
21
5. FUSING CHORO INTO BEBOP AND ITS POSSIBILITIES
Livingston (2005)
Here is where the Research progressively started to become delimitated. For this reason I
decided focus on a later Jazz period, which I believe couldn't have influenced Choro in the same way.
st
6
Retrieved May the 1 , 2016, from
http://www.allowe.com/laughs/book/Actual%20Quotes%20about%20Music.htm.
22
Possibilities of fusing Choro into Bebop.
Through this process, my belief in the Research’s results gradually grew stronger. Which meant,
as I came to comprehend, that Choro Music could be enriched by using Bop vocabulary within it, and
offering fresh elements for Jazz musicians by incorporating Brazilian elements. In that direction I
adopted four basic possibilities of fusing Bebop into Choro, which are: contrafact, rhythm,
harmonization and melodic vocabulary.
5.1. CONTRAFACTS
According to Oxford Music Online, Contrafact in jazz is a melody built upon the chord progression
of another piece (after contrafactum, in medieval and Renaissance music). Thereupon I composed
chorish tunes over important Bebop heads as a way to develop this crossover vocabulary.
The first I composed was “Sambird“ (2015) (See Appendix 1.1)
https://www.youtube.com/watch?v=iBdKqHysXWM over the changes of “Blues for Alice“ (Charlie
Parker - 1951)7 . A “Bird Blues” in the key of F. According to Oxford Music Online:
...Jazz, particularly bop, musicians took advantage of the
flexibility inherent in the simple 12-bar scheme and often
presented it in new guises using a variety of passing and
substitute harmonies. An extreme example is Charlie Parker's
Blues for Alice...
7
https://www.youtube.com/watch?v=4s5FZBisaf8
23
(Kernfeld and Moore, 2016)
With a different approach, I rewrote the tune “There will never be another you“ using the
interpretation of Sonny Stitt from the album Plays (1956)8 as you may see in this video I have
produced: https://youtu.be/U1q4HnV_iNE. The approach here was to preserve the original
melody, perhaps using a Choro vocabulary as can be seen in Appendix 1.3 and heard in Appendix
2.1. By transcribing this particular recording, I started to envision that the melodic vocabulary
would become the turning point for the body of the Research.
In the same fashion, of Sambird I wrote the tune Coco (2016)9 (Vide Appendix 1.2) over
the changes of Cherookee. This is a tune composed later in the Research, so I used the technique
of the Chromatic Bebop scale I developed which is explained in chapter 7.
5.2. RHYTHM:
In this topic, I focused on the rhythm session by playing Choro music in swing feel with a Jazz
quartet (piano, drums, bass and alto saxophone). I found the result to be very unsuccessful. In the
tune “Um a Zero“ what I believe made the music sound “cheesy“ was caused by the melody’s strong
drive towards the downbeats, as shown below by the first line of the tune.
8
https://www.youtube.com/watch?v=Ll8PEoblgHo
9
Coco in Portuguese means coconut.
24
Chediak (2011)
5.3. HARMONY
The re-harmonization procedure was a way to give Choro a Jazz harmony context, as you
may see in the short example below of the tune Um Chorinho pra Você (Severino Araújo). This
concept is important when we apply Bebop lines over Choro tunes, for the purpose of helping the
Jazz musician to improvise by showing a more familiar chord progression as the common II-V-I.
5.4. MELODIC VOCABULARY:
th
10
Retrieved 29 April, 2016 from http://www.apassion4jazz.net/quotations.html
25
6. DEVELOPMENT OF THE BEBOP SCALE INTO A CHROMATIC BEBOP SCALE OVER MODES
6.1 SOURCES
Through my need to learn the Bebop vocabulary, I developed an approach which I believe to
be new. I call it the “Bebop Chromatic Approach”. This is the result of four different sources from my
studies. The first, came from one of the first lessons I had with Miguel Martinez (Saxophone teacher
from PCC) on how to develop my Bebop vocabulary. He explained to me some simple steps on how
to connect chords using the bebop scale. Then I checked the workbook by Howard Rees of “The
Barry Harris Workshop Video” (Howard Rees, 1998) which lead me to understand better how the
bebop language works. The third source was through a piece of homework given by Jasper Soffers’
(Improvisation and piano teacher from PCC) in which we had to write a eight note solo with all the
“good notes“ on the down beat. And the last, was a particular phrase from a solo of Clifford Brown
on Sandu from the album Study in Brown (1955): between the 7th and the 9th bar his solo in this
blues in the key of Eb.
6.2 GENERAL PRINCIPLES
From these points, I developed what I consider to be one more tool in the pallet of any given
improviser. I strongly believe that implementing this concept as a moto perpetuo exercise will benefit
the improviser to master the inner structure of passing tones and how to make the improvised lines
sound coherent with a logical chromatic approach. By doing this, the chromatic lines become not just
random notes played up and down, but a logical melody with tension and release, well balanced. For
this reason, in the 8th note lines we have tension on the upbeats and release on the down beats as
can be seen in the example bellow.
26
In the above example you see two staffs, the lower one being the major scale and the upper
one the Chromatic Bebop scale. In this ascending version, when we have whole tones between the
notes the movement is chromatic, as can be seen between the following major scale’s degrees 1st to
2nd, 2nd to 3rd, 4th to 5th, 5th to 6th and 6th to 7th. On the other hand, when a half step is found, we have
to borrow an upper neighbor note of the regular scale: between the 3rd to 4th and 7th to 8th degrees.
Without delay, we can see in the example below that this rule has a small exception. When
we have whole tones between the notes, the movement is still chromatic, as can be spotted
between the following descending degrees 7th to 6th, 6th to 5th, 5th to 4th, 3rd to 2nd and 2nd to 1st. Now,
when we have a half step, we have to borrow a note a half step below the target note, as can be
seen between 8th to 7th and 4th to 3rd. I found this approach sonic-wise to be more interesting than
just borrowing from a lower neighbor. As a matter of fact this method can be found in many existing
solos, including the Clifford solo previously studied.
In this fashion I wrote a Chromatic Bebop scale for each of the modes most used, as
can be noticed in the appendix 1.4. In this appendix, you may find 17 examples that show the
27
application of this concept. Even if it may seems obvious for some people, it is worth stating that this
work is not aimed at modal improvisation, but rather, directly towards tonal improvisation.
Therefore it is crucial to display it within a musical context. For this, here you can visualize the four II-
V-I examples:
In these examples, you can see phrasing start respectively in the root, the third, the fifth and
the seventh. It is interesting to notice that when using the Chromatic scale going down in this
sequence, you always land on the same chord’s degree as in which you started. For instance, in the
above example number 2, we start on the third of Dm7 which is F, on the next chord we land on the
third of G7 (first beat), and then finally we land on the third of Cmaj7. This concept gives a logical
movement to the line, thus giving meaning through well balanced tension and release.
Throughout the following examples, you may observe the concept being applied to minor
iiø-Vb9-i in an ascending manner.
28
Generally speaking, the Chromatic Bebop approach works like a “glue“ that can combine
different materials, unify contrasting musical ideas or be used in its own. I developed this as an extra
color and method to approach chord progressions which can lead, if well studied, to a clearer musical
understanding. If you are interested, you can find on Appendix 1.5, sixteen examples of this concept
applied to the sequence of major and minor II-V-I. In those examples, I wrote only ascending or
descending in the scale, without combining the two. I felt that this would be unnecessary for the
understanding of the concept. Therefore, if someone were to study the examples in all keys, he or
she would be able to do so in an organic way, without having to make the effort to combine both the
up and down movements.
6.3 APPLICATION IN CHORO
After studying the book “Vocabulário do Choro“ Sève, M. (1999), which literally means the
Choro’s vocabulary I realized that the concept of the Bebop scale was not included in the book, which
later made me understand that it isn’t technically a part of Choro itself, even thought we can hear it
now and then. For this reason, I believe that bringing this concept to Choro will amplify the pallet of
improvisational possibilities in this genre.
29
Thus follows the question ”How to apply this vocabulary over Choro music?”. The solutions I
propose are simple. The basic subdivision in Choro is sixteenth notes, as opposed to Bebop which
uses eighth notes. This at least is how each of them are notated. I believe that it is just a tautology
because Choro is written in 2/4 and Bebop 4/4. Thereupon, besides all the theoretical framework, we
could write each one in either 2/4 (with sixteenth notes) on in 4/4 (with eight notes) so that we
would have all the notes inside the bar. Consequently, it is just a matter of applying the same
principles of the 8th note Bebop lines to the 16th note Choro line, as follows in the previously used
example written for Choro:
This, combined with the many different articulations and time feel of Choro, are the core of
my solution. I know that just the element Articulations in Choro Music alone, would already make a
good subject of research for a Doctor degree, as well as Time Feel in Choro Music. Forthwith I won’t
give too much attention to those two elements, I will just point out a few possibilities.
For the articulation, I would recommend that the reader get acquainted with accents made by
the tamborim when playing the different rhythms embraced in Choro music. The concept of applying
the this concept in the articulation was given to me from Eduardo Neves, a famous Brazilian
saxophonist and flutist in a workshop a couple of year ago in Brazil. As can be understood in this
video https://www.youtube.com/watch?v=ErkWUncMUrg of the great Brazilian percussionist
Robertinho Silva, we can put the accents against the sixteenth notes of the Chromatic lines and
withdraw its many possibilities, as you may see in this example:
30
Here you can see that when we apply the tamborim to the example the Chromatic line it
suddenly becomes alive, pulling away from its Chromatic exercise nature. A important book in this
subject is Batuque é um privilégio (2010) by Oscar Bolão where you can find many examples of
tamborim cells.
31
7. CONCLUSION
Nature's music is never over;
her silences are pauses,
not conclusions. 11
Mary Webb Read
Reflecting on the progress of my research, I believe that I satisfactorily reached all the goals that I
had intended to, for this Master Program. The learning of Bebop language is a course that takes time
and dedication. I now understand that I have begun a process of taking music more seriously than I
did before. By seeing the artistry level in New York, I came to realize that it is a life-long
development.
I found the coaching and mentoring I received to be adequate, because both teachers were quite
accessible and willing to help me.
For my final Lecture Recital I have scheduled to present a brief introduction to Choro music,
crossing its timeline with the Jazz timeline. In this way, the audience will be able to relate to and
understand the base of my research. I will present the steps I that took by showing examples of
recordings from both styles, where I sought to combine these art forms.
I will play examples on the saxophone as well presenting a concert with my Samba-Jazz band
SambaDooBop and hopefully with a Choro trio (7 string guitar, pandeiro and saxophone).
As a result of this process, I believe that the research design and methodology were pretty much
covered in a satisfactory way. I can already see the growth in my playing and how I have developed a
better ability to express myself through music.
th
11
Retrieved April 29 , 2016, from
http://www.brainyquote.com/quotes/authors/m/mary_webb.html
32
LITERATURE
Albim, R. C. (n.d.). Choro. Retrieved February 23, 2016, from
http://www.dicionariompb.com.br/choro/dados-artisticos
Béhague, G. (n.d.). Choro. Retrieved February 16, 2016, from
http://www.oxfordmusiconline.com/subscriber/article/grove/music/05679
Chediak, A. (2011). Songbook: Choro. São Paulo: Irmãos Vitale.
Collier, J. (n.d.). Jazz. Retrieved March 27, 2016, from
http://www.oxfordmusiconline.com/subscriber/article/grove/music/J223800.
DeVeaux, S. (2013). Bop. Retrieved February 23, 2016, from
http://www.oxfordmusiconline.com/subscriber/article/grove/music/A2248431
Gioia, T. (2011). The history of jazz (2nd ed.). New York: Oxford University Press.
Gioia, Ted. The History of Jazz, Second Edition. Narrated by Bob Souer. Unabridged Audiobook. USA.
Audible Studios, 2014.
Gridley, M. (2009). Jazz styles : history and analysis. Upper Saddle River, N.J: Pearson Prentice Hall.
Hodeir, A. (n.d.). Bop. Retrieved February 16, 2016, from
http://www.oxfordmusiconline.com/subscriber/article/grove/music/03559.
Kernfeld, B., & F. Moore, A. (n.d.). Blues Progression. Retrieved March 22, 2016, from
http://www.oxfordmusiconline.com/subscriber/article/grove/music/41276.
Koch, L. (1999). Yardbird suite: A compendium of the music and life of Charlie Parker (Rev. ed.).
Boston, Mass.: Northeastern University Press.
Livingston, T. E., & Garcia, T. G. (2005). Choro: A social history of a Brazilian popular music.
Bloomington: Indiana University Press.
33
Miller, D. (2014) Supreme City: How Jazz Age Manhattan gave birth to modern America. Narrated by
Frangione Jim. New York, New York. Unabridged Audiobook, Recorded Books.
Bolão, O. (2010). Batuque é um privilégio: A percussão na música do Rio de Janeiro para músicos,
arranjadores e compositores = Batuque is a privilege: Percussion in the music of Rio de Janeiro for
musicians, arrangers and composers. São Paulo: Irmaos Vitale.
Rees, H. (1998). Barry Harris Workshop. Meadowvale Town Centre, Mississauga - Canada, Ont.: Bop
City Productions.
Velloso, R. (2006, January 1). O saxofone no choro. Retrieved October 29, 2014, from
http://www.meloteca.com/teses/rafael-velloso_o-saxofone-no-choro.pdf
Sève, M. (1999). Vocabulário do choro: Estudos & composições. Rio de Janeiro: Lumiar Editora
34
APPENDIX 1.1
35
36
APPENDIX 1.2
Coco
Alto Saxophone Rafael Pereira Lima
# 2 œ#œ œ œn œ # œ œ œ#œ nœ
£ E‹7 A7 A‹7 D7
‰ n œ Œ ‰ b œ œ nœ œ
& 4 #œ#œ œ#œ nœ œ œœ œ œ œ #œ ≈ œ#œ œ
3 3
œ b œ £#œ D‹7 n œ
# ™ œ œ #œ œ œ n œ œ b œ œ œ œ nœ œ œ nœ
& ™ #œ
6 GŒ„Š7 G7
nœ œ nœ #œ œ nœ œ œ #œ nœ
#œ œ3
œ
‰™
3
# Ϫ
10 CŒ„Š7 £ F7 £
œ œ #œfi
r œ œ œ. ≈ bœJ ≈ œ Œ
& œ œ œ œ nœ œ #œ R
p
GŒ„Š7 œ n œ #£œ n œ œ # œ œ œ n œ A7œ œ #œ œ bœ
£
bœ nœ
# œ œ
14
& œ #œ œ #œ œ ‰ J ‰ ≈ R
1.
# œ œ n œ œ œ œ œ #œ œ ‰ ≈ œR œ œ œ nœ œ œ #œ œ œ œ #œ ≈ œ #œ œ ™™
A‹7 E7 A‹7 D7
18
&
2.
# œ n œ œ nœ œ œ œ œ œ #œ œ œ
A‹7 D7 GŒ„Š7 £
˙ œ œ œ œ #œ œ œ œ œ
&
bœ œ œ œ œ bœ bœ œ œ œ nœ nœ œ bœ bœ œ bœ œ
B¨‹7 E¨7 A¨Œ„Š7 £
# nœ #œ œ b œ n œ R ≈ ‰ ≈
&
bœ œ œ #œ œ œ #œ bœ œ nœ ™ #œ ™
G©‹7 C©7 F©Œ„Š7 £
# œ œ n œ b œ œ œ nœ œ
& ≈ J
# œ #œ œ #œ œ œ #œ œ #œ œ #œ œ #œ
F©‹7 B7 EŒ„Š7 £
œ ≈ ‰ Œ ‰ #œ #œ œ #œ nœ
& R
3
#œ
# nœ œ œ n œ œ œ #œ nœ
E‹7 A7 A‹7 D7
Œ ‰ bœ œ nœ œ
& œ œ œ œ œ œ #œ ≈ œ #œ œ
3
# œ œ b œ n œ # œ œ b œ œ œ œ nœ œ n œ œ nœ nœ
GŒ„Š7 £ D‹7 G7
& œ #œ œ #œ œ œ nœ #œ œ nœ œ œ #œ nœ
3
#œ œ
œ
‰™
3
# Ϫ
CŒ„Š7 £ F7 £
œ œ #œfi
r œ œ œ. ≈ bœJ ≈ œŒ
& œ œ œ œ nœ œ #œ R
p
GŒ„Š7 œ n œ #£œ n œ œ # œ œ œ n œ A7œ œ #œ œ bœ
£
bœ nœ
# œ œ
& œ #œ œ #œ œ ‰ J ‰ ≈ R
# œ œ nœ œ
A‹7 D7 GŒ„Š7 £
œ œ œ œ ˙ ˙ ˙
&
www.rafaelsax.com
37
APPENDIX 1.3
n
A‹7
œ œ œ œ œ œ œbœœ œ G‹7
œ œ #œ nœ C7œ œ#œ œ
nœ œ
6
œ œ œ #œ œ ‰ J œ œ #œ œ b œ œnœ
& #œ
3
œ #œ œ œ nœbœ
nœ œ ‰ œ œ œ œ œ#œ nœ œ nœ œ œ œ œ œ œ œ œ œbœ œ œ œ œ
10 FŒ„Š7 B¨9(#11) CŒ„Š7 A‹7
& J
D9
œ œ œ œ œ œ œ #œnœ œbœ
D‹7
œbœ œbœ œ
G7
14
œb œ œ œ nœ œ œn œ œ œbœ
& œ œ#œ œ Œ
œ œnœ#œ nœ œ
& œnœ #œ œ œ œ#œ œ
n
A‹7
œ œ œ œ œ œ œbœœ œ G‹7
œ œ #œ nœ C7œ œ#œ œ
nœ œ
22
œ œ œ #œ œ ‰ J œ œ #œ œ b œ nœ
& #œ œ
3
œ #œ œ œ nœbœ nœ B¨9(#11)
œ œœœ ˙
œ œbœ œbœ
26 FŒ„Š7 CŒ„Š7 F©Ø7 B7
œ ‰œœœœ œ#œ nœ œ nœ œ
& J
œ #œ œ œ n œ n œ œ œ œ œ #œ œ œ nœ œ œ bœ œ
Œ ™™
30 C6 F9(#11) E‹7 A7 D‹7 G7 C6 G7
œ œ œ œ ˙™
& #œ œ
www.rafaelsax.com
38
Alto Saxophone
APPENDIX 1.4
°
Major (Ionian) ascending
CŒ„Š7
& œ #œ œ #œ œ œ œ #œ œ #œ œ bœ nœ nœ nœJ ‰
¢& œ œ œ œ œ œ œ œ
° CŒ„Š7
Major (Ionian) descending
& œ bœ nœ bœ œ bœ nœ #œ nœ #œ œ bœ nœ bœ œ
j ‰
¢& œ œ œ œ œ œ œ œ
°
Major #4 (Lydian) ascending
2 CŒ„Š7(#4)
& œ # œ nœ #œ nœ œ #œ œ œ #œ œ bœ nœ nœ nœJ ‰
¢& œ œ œ #œ œ œ œ œ
° œ bœ nœ bœ
Major #4 (Lydian) descending
CŒ„Š7(#4)
& œ bœ nœ œ #œ nœ œ bœ j ‰
œ bœ œ
¢& œ bœ œ œ #œ œ œ œ
39
3
°
Major #4, #5 (Lydian Augmented) ascending
CŒ„Š7(#5)
& œ # œ nœ #œ nœ œ #œ œ #œ œ œ #œ œ nœ nœJ ‰
¢& œ œ œ #œ #œ œ œ œ
° œ
Major #4, #5 (Lydian Augmented) descending
#œ œ œ nœ nœ #œ nœ ‰
& #œ nœ œ #œ nœ # œ n œj
¢& œ œ œ #œ #œ œ œ œ
°
Major b6 (Harmonic Major) ascending
CŒ„Š7
œ bœ nœ #œ œ nœ nœ
3
& œ #œ œ œ #œ œ ‰
œ #œ œ J
¢& œ œ œ nœ œ bœ œ œ
° œ bœ nœ bœ3
Major b6 (Harmonic Major/Ionian b6) descending
CŒ„Š7
& nœ bœ #œ œ œ nœ #œ œ bœ nœ bœ j ‰
œ
¢& œ œ bœ œ œ œ œ œ
40
7
°
Diminished (8 tone scale, begins w/half step) ascending
C7[âÄ]
& œ nœ bœ nœ bœ œ nœ œ #œ œ œ #œ œ œ bœ nœ œ ‰ Œ
J
Ó
¢& œ bœ #œ œ #œ œ œ bœ œ Œ Ó
° œ bœ
Diminished (8 tone scale, begins w/half step) descending
C7[âÄ]
bœ bœ nœ bœ œ œ #œ nœ ‰ Œ Ó
& œ œ bœ œ # œ n œ n œj
¢& œ bœ œ œ #œ œ #œ bœ œ
Œ Ó
°
Diminished (8 tone scale, begins w/half step) ascending
C7[âÄ]
& œ œ # œ œ #œ œ œ œ #œ bœ œ #œ œ #œ œ nœ nœJ ‰ Œ Ó
¢& œ bœ #œ œ #œ œ œ bœ œ Œ Ó
° œ bœ bœ
C7[âÄ]
& #œ œ bœ œ bœ #œ nœ nœ n œ bœ œ bœ j ‰ Œ Ó
nœ œ
¢& œ bœ œ œ #œ œ #œ bœ œ
Œ
˙
41
9
°
Diminished Whole tone (b9,#9,#4,#5,b7) ascending
C7[âÄ]
& œ œ œ œ #œ œ #œ œ bœ nœ nœJ ‰
œ bœ nœ #œ
¢& œ bœ #œ œ #œ #œ bœ œ
° œ bœ
Diminished Whole tone (b9,#9,#4,#5,b7) descending
C7[âÄ]
bœ œ #œ ‰
& œ #œ nœ œ œ #œ nœ bœ n œ n œj
¢& œ bœ #œ #œ œ #œ bœ œ
10
°
Whole tone scale (Dominant 7th with #4, #5) ascending
& œ # œ nœ #œ œ #œ œ #œ œ #œ œ nœ ‰ Œ
œ J
¢& œ œ nœ #œ #œ #œ œ Œ
° œ
Whole tone scale (Dominant 7th with #4, #5) descending
œ #œ nœ #œ nœ #œ nœ
œ #œ nœ # œ n œj ‰
& Œ
¢& œ bœ bœ bœ œ œ œ
Œ
42
11
°
Minor (Dorian) ascending
C‹7
& œ #œ œ bœ nœ œ #œ œ #œ œ nœ bœ nœ œ
J
‰
œ
¢& œ œ bœ œ œ œ bœ œ
° œ bœ
C‹7
& bœ bœ nœ bœ nœ bœ œ nœ bœ bœ nœ bœ n œj ‰
¢& œ bœ œ œ œ bœ œ œ
12
°
Minor (Aeolian) ascending
C‹7(b6)
& œ # œ nœ œ bœ nœ œ #œ œ bœ bœ nœ œ nœ nœ ‰
J
¢& œ œ bœ œ œ bœ bœ œ
° œ bœ bœ
C‹7(b6)
& œ bœ #œ œ œ nœ nœ bœ bœ nœ bœ n œj ‰
¢& œ bœ bœ œ œ bœ œ œ
43
13
°
Minor (Harmonic) ascending
C‹(Œ„Š7)
& œ # œ nœ œ nœ bœ #œ œ œ nœ ‰
œ bœ nœ œ #œ J
¢& œ œ bœ œ œ bœ nœ œ
° œ
C‹(Œ„Š7)
& bœ nœ nœ bœ #œ œ œ nœ nœ bœ bœ nœ bœ j ‰
œ
¢& œ bœ bœ œ œ bœ œ œ
44
14
°
Melodic Minor (ascending version) ascending
C‹(Œ„Š7)
œ #œ œ œ nœ ‰
& œ # œ nœ œ bœ nœ œ #œ œ #œ J
¢& œ œ bœ œ œ œ œ œ
° œ bœ nœ bœ
Melodic Minor (ascending version) descending
C‹(Œ„Š7)
& nœ bœ nœ #œ nœ nœ bœ bœ nœ bœ j ‰
œ
¢& œ œ œ œ œ bœ œ œ
15
°
Minor (Phrygian) ascending
& œ bœ bœ nœ bœ nœ œ #œ œ bœ bœ nœ bœ nœ œ ‰
J
¢& œ bœ bœ œ œ bœ bœ œ
° œ
Minor (Phrygian) descending
& œ bœ œ bœ #œ œ œ nœ nœ bœ j ‰
œ bœ n œ œ
¢& œ bœ bœ œ œ bœ bœ œ
45
16
°
Half-diminished (Locrian) ascending
& œ bœ bœ nœ bœ nœ œ bœ bœ nœ bœ nœ bœ nœ œ ‰
J
¢& œ bœ bœ œ bœ bœ bœ œ
° œ
Half-diminished (Locrian) descending
& œ bœ œ bœ œ bœ œ nœ bœ j ‰
œ œ bœ n œ œ
¢& œ bœ bœ bœ œ bœ bœ œ
17
°
Half-diminished #2 (Locrian #2) ascending
& œ # œ nœ œ bœ nœ œ bœ bœ nœ bœ nœ bœ nœ nœJ ‰
¢& œ nœ bœ œ bœ bœ bœ œ
° œ
Half-diminished #2 (Locrian #2) descending
& œ bœ œ bœ œ bœ œ nœ bœ bœ nœ bœ j ‰
œ œ
¢& œ bœ bœ bœ œ bœ œ œ
46
APPENDIX 1.5
& œ bœ œ bœ œ bœ œ Œ Ó ∑
3
9
œ b œ œ bœ œ bœ nœ œ G7œ bœ
D‹7 CŒ„Š7
& œ bœ nœ bœ nœ bœ œ Œ Ó ∑
4
œ b œ n œ b œ œ b œ œ bœ G7
D‹7 CŒ„Š7
œ bœ nœ bœ œ bœ œ bœ nœ Œ Ó
13
& ∑
5
17 D‹7 G7 CŒ„Š7
& œ #œ œ œ œ #œ œ œ œ #œ œ #œ œ nœ œ œ œ Œ Ó ∑
6
œ #œ œ nœ œ Œ Ó
21 D‹7 G7 CŒ„Š7
œ
& œ #œ œ #œ œ #œ œ œ œ œ #œ ∑
7
œ œ #œ œ n œ œ
25 D‹7 G7 CŒ„Š7
œ œ œ #œ œ œ œ #œ œ Œ Ó ∑
& œ #œ
8
29 D‹7
œ œ œ
G7
#œ œ #œ œ # œ œ n œ CŒ„Š7
œ
œ #œ œ #œ œ œ Œ Ó ∑
&
9
33 DØ7 G7(b9) C‹7
& œ bœ œ œ bœ œ bœ #œ œ bœ nœ œ bœ bœ nœ bœ œ Œ Ó ∑
10
œ œ bœ #œ œ œ nœ bœ nœ
37 DØ7 G7(b9) C‹7
& œ bœ #œ œ œ nœ nœ bœ Œ Ó ∑
www.rafaelsax.com
47
2 11 [Unnamed (treble staff)]
41
b œ #œ œ œ nœ œ bœ
DØ7 G7(b9) C‹7
& #œ œ bœ nœ bœ nœ nœ bœ #œ œ Œ Ó ∑
12
œ œ b œ œ b œ #œ œ œ G7(b9)
nœ œ bœ #œ œ œ nœ nœ bœ Œ Ó
45 DØ7 C‹7
& ∑
13
49 DØ7 G7(b9) C‹7
& œ œ bœ nœ œ #œ œ bœ œ bœ bœ œ bœ œ nœ œ œ Œ Ó ∑
14
nœ nœ bœ œ bœ Œ Ó
53 DØ7 G7(b9) C‹7
œ
& œ #œ œ bœ bœ nœ œ œ nœ œ #œ ∑
15
œ bœ œ œ bœ nœ nœ #œ œ b œ œ Œ Ó
57 DØ7 G7(b9) C‹7
& b œ nœ b œ nœ œ #œ ∑
16
61 DØ7
œ œ œ
G7(b9)
œ # œ œ b œ b œ œ n œ n œ bC‹7
œ
œ #œ œ bœ nœ Œ Ó ∑
&
48
APPENDIX 1.6
1. Sources:
a) Recordings of Charlie Parker, Sonny Stitt and Cannonball Adderley.
b) Miguel Martinez’s saxophone lessons (first and fourth semesters).
c) Michael Moore’s saxophone lessons (second semester).
d) Paul Berner’s Jazz History lessons (first semester)
e) Jd Walker’s Jazz History lessons (third semester)
f) Literature
g) Lessons from New York teachers (regular schedule of PCC).
h) Private lessons from:
1) Don Brandon;
2) Tim Armacost (4 lessons)
3) Rogério Boccato “Rítimica“(11 lessons)
4) Dave Glasser (2 lessons)
5) Chris Potter (1 lesson)
6) Jd Walter (2 lessons)
7) Barry Harris workshop (1 lesson)
8) Marantz (1 lesson)
9) Will Vinson (1 lesson)
10) Sergio Krakovski (2 lessons)
11) John Leadbetter (2 lessons
i) Interviews:
1) Dr. Erik Pais (Brazilian music researcher).
2) Ademir Júnior (Brazilian Jazz/Choro musician).
3) Rogério Caetano (7 string guitar player)
j) Jam Sessions.
k) Albums and live concerts.
l) Prins Claus Conservatorium’s atmosphere.
m) New York semester.
n) Audiobooks (as listed in “Extra“)
o) Choro Trio “It is what it is”.
p) SambaDooBop (Samba-Jazz Band)
49