jazz conception for jazz phrasing, interpretation and improvisation ‘unique conceptual bridge to the masters The Easy Jazz Conception Series ch bosk/CD se feature 5 slo ede bm on bls nd dad hor ropes demon la epee earanesarpacted jnsenaian ong ett ted te vgn so. 1 aving lettres no separate eons of rch rade eth he soa yn secon done with she ym secon on Comping, Bass Lins and Drum eons provide lapaong ack minus he appropri thy aden nse EASY JAZZ CONCEPTION FOR ALTO SAXOPHONE + ODek No. 14760 (4o-ract soo W/co) Soli im Sider, ao sophone EASY JAZZ. CONCEPTION FOR TENOR & SOPRANO SAXOPHONE. * ORDER NO. 14761 (4o-rAce HOOK W/cD) ‘ow bac onder tno oop hone EASY JAZZ CONCEPTION FOR BARITONE SAXOPHONE ‘ORDER No. 14773 (40-"AGE BOOK Wicd) Sola: Sco Rabiaes, buon phone EASY JAZZ, CONCEPTION FOR THE SAXOPHONE SECTION OR COMBO sOnoen No. 14774 (8 ath, SCORES & PaRTE W/CO) EASY JAZZ CONCEPTION FOR TRUMPET «'Onpen No. 14762 (40° race 2008 w/e0) See Ry omy errs EASY JAZZ CONCEPTION FOR TROMBONE ORDER NO. 14753 (40-PAcE 800% Wied) Soo Slide Hempen,eombone EASY JAZZ CONCEPTION FOR FLUTE + Onsen No. 14768 (4o-rAae 200% W/o) Solin in Ser, ate EASY JAZZ CONCEPTION FOR CLARINET + Onoue No. 14765 (4o-PAe 800% m/c8) EASY JAZZ CONCEPTION FOR GUITAR + OnoER No. 14766 (40-rack 900% w/e0) Sole oe Cahn gwar EASY JAZZ CONCEPTION FOR VIOLIN + OnoER No. 14770 (g0-race 900K W/o) Sole Nak alan, ain EASY JAZZ CONCEPTION FOR VIOLA + Onose No. 14771 (4avtace aoox W/O) EASY JAZZ CONCEPTION FOR CELLO + onben No. 14772 (49-race 900% w/<0) Sole Erk Pedder, ala EASY JAZZ CONCEPTION PIANO COMPING 1+ Onoek No. 14767 (48-race 200% w/o) See ard re emg, a lye! by De Hc EASY JAZZ CONCEPTION BASS LINES + Onoen No, 14768 (40-rAc# Box w/co) ‘Spied bes ben oe played by Pal Gl EASY JAZZ CONCEPTION FOR DRUMS + Ope No. 14769 (4o-race s0oK w/co} ed shes with imsorane its an lt he dene c mah jo ereatng seeds to dtonsrets the econ of tha jaz long ap _the mood rats and acrompanyingarclations ad phresig hat ave bea the su fps rshout his century. The CD rakes yan flor he authentic jaz Lepore Aven valebl odeltion to ouredventonlMermare.” Sve AEBERSOX0) Sse es th rrr fh pe joc rent ory.” mam TEMES [x] en alable i t th inprovie. Using he bk to anes ond understand theses ending the CD to get the cond and el of these mata ott the heart of the mater a ‘uit posible highly recomend th Boo, bok fr cls rd idl std.” (Dis Harn, Pareszon oF Music, Univensry oF Now TEAS) by jim snidero www jimsnidero.com ach bouk/CO at fenores 71 sole ues bed on andord chord ‘Pogestone snd thes eerste by profes jr mica, [tcompanie by one of tay nes, Singing ri secon “ar: EO, ules etre nad so alae Fanci Japanese {JAZZ.CONCEPTION FOR ALTO & BARITONE SAX. NOnven No. 14720 (42-2ace sooK W/c0) “elas im ser, ako smeptone JAZZ CONCEPTION FOR TENOR & SOPRANO SAXOPHONE POnots No. 14721 (48-pace so0x w/co) Solow: Wak Viesopt enor smaphone JAZZ CONCEPTION FOR TRUMPET TOnden No, 14722 (4B-race 800K w/eo) Seto Joe Magna erompee JAZZ CONCEPTION FOR TROMBONE + Onoex No. 14723 (48-#nce vooK w/co) atu Cond Hang, corbone JK77 CONCEBTION FOR BASS TROMBONE *ORoek No. 14735 (48-PaGr 80oK w/e) Ss Tim Newnan, Sts ombane JAZZ CONCEPTION FOR FLUTE tOnoen No. 14724 (48-PAE 800K w/eD) Soto rans, ute, JAZZ CONCEPTION FOR CLARINET *Oxotx No. 14725 (48-#ace 200% W/co) JAZZ. CONCEPTION FOR GUITAR POnveR No. 14726 (48-Pact 400¢ w/c0) SotusJoe Cohn, guar JAZZ CONCEPTION FOR PIANO tOnoek No. 14727 (68-rAce 800K W/O) Sob tte sine, pane JAZZ.CONCEPTION PIANO COMPING 1s Oxoes No. 14739 (84-PAce 900% W/o) ‘rar wanseripions, as ayes by Mike LeDonna, plas 21 Sipe plano ed sheets JNZZ. CONCEPTION FOR BASS PORDEE NO. 14728 (48-PAGE 800K w/Co) Seto: Peter ashing, bss JAZZ CONCEPTION BASS LINES NOnoes No. 14736 (7o:0Ack 800% w/eD) ‘xst ransopins as pve by Dein, plas 21 JAZZ.CONCEPTION FOR DRUMS ‘ORDER No. 14729 (7o-race 800% w/co) (es coy opal by fant Wesingenl eee iad shees JAZZ CONCEPTION FOR SCAT YOCAL “Onoek No. 14737 (4d-ract Boo" */¢>) Saas Any Lando, eats JAZZ CONCEPTION STUDY GUIDE (E) * Onosk No. 14730 (108-7Ace BOOK W/co) JAZZ CONCEPTION HANDBUCH (0) JAZZ CONCEPTION FOR THE SAXOPHONE SECTION Monven No. 14731 (8 ann. scones # 22875 w/c PASSAGE (SAX SECTION + RHYTHM SECT. fQapen No. 14733 (scone « suare w co enw edvancemusic.com E-mail: msil@sdvancemusiccomtranscribed bass lines, as played by Paul Gill incudes co BASS lines im Snider sy jazz conception ot iTABLE OF CONTENTS RHYTHM SECTION WITH SOLOIST CD TRACK BASIF'S BLUES. ase 1 MORNING CALM vows 2 SO LONG BIRDIE 3 HOT AND HUMID 4 ROCK ON on IMPORTANT EVENTS Beers i SHUFFLIN’ IN F, BOSSA AT NIGHT DUKE’S CONVOY. ‘MIST AND GRITS ‘CALIENTE BLUES ... PRINCE CHARMING. BIRD'S BACKYARD, 13 US .. LOVE IS EASY sss Tuning Notes (A Concert) 16 BAND. WITHOUT BASS. CD TRACK 17, 18 19 nD eB ey b PAGE NO. 8 10 12 4 16 18 30 52 36INTRODUCTION One of the most important aspects of playing any style of ‘music well is to interpret it in an idiomatically correct way. In jazz, knowing how to phrase common melodies and shythms, swinging and developing a good tone are all essential cle- ments in sounding both convincing and authentic. Easy Jazz Conception is a collection of 15 solo etudes based on stan- dard chord progressions and blues that is intended to give rmusiciane, unfamiliar with the jazz idiom, a baste proficiency in jazz style, Individual Use for Easy Jazz Conception For the bass lines edition of Easy Jazz Conception, bassist Paul Gill overdubbed simplified bass lines with the group. This was to enable beginning to intermediate bassist to both technical- ly execute and conceptually understand what is being played on the CD. Though simplified, Paul has done an outstanding job in making the lines sound both swinging and authentic. I's recommended that you listen to each etude several times before playing along, paying particular attention to how the lines connect from one chord to the next, along with the the sound and time feel, Since the etudes are based on common forms and chord progressions, we highly recommend that you memorize these bass lines and use them in your own playing. ‘There are two tracks provided for each etude. One track has a soloist playing the etude with the complete rhythm section (rhythm section with soloist). There are five different soloist that alternate between etudes, providing a nice variety while both listening to and playing along with each etude. The other track is without the bass (group without bass). This is the ‘tack you will use to play along with after you have studied and played along with the rhythm section with soloist track. In some cases the band may speed up or slow down a bit. This is a normal occurrence with even the most experienced players and should be compensated for while playing along. Einer der wichtigsten Aspekte, wenn Sie einen Musikstil gut spielen wollen, ist ihn idiomatisch richtig 2u interpretieren. Auf den Jazz tibertragen bedeutet dies die Fahigkeit, gangige Melodiefiguren und Rhythmen richtig zu phrasieren, zu swin- gen und einen guten Ton zu entwickeln. Alle diese Elemente tragen dazu bel, uberzeugend und authentisch zu klingen. Easy Jazz Conception ist eine Sammlung von 15 Soloetiiden, le auf Standard. und Bluesformen basieren. Die Reihe 2ielt darauf ab, Musikern, die mit dem Jazzidiom nicht vertraut sind, fundamentale Kenntnisse in der Jazzstlistik 2u vermit- teln, Easy Jazz Conception Serie im Einzelunterricht Das Heft mit den Basslinien der Easy Jazz Conception Reihe enthalt vereinfachte Linien, die der Bassist Paul Gill einge- splelt (overdubbed) hat, Dies ermoglicht beginnenden und twas fortgeschritteneren Bassisten, die Basslinien auf der CD technisch 2u bewaltigen und deren Konzeption 2u verstehen. ‘Trotz dieser Vereinfachung hat Paul auferordentliches gelei- stet, indem et swingend und authentisch klingt. Horen Sie sich die Linten zuerst einigemale an, achten Sie auf Sound und Timefeel und darauf, wie die Akkorde miteinander ver- bunden werden. Da die Ettiden auf giingigen Formen und Akkordverbindungen beruhen, empfehle ich Ihnen dringend, die Basslinien auswendig zu lernen und ins eigene Spiel 2u integrieren. Zu jeder Btiide sind auf der CD 2wei ‘Tracks enthalten. Auf dem einen Track spielt der Solist die Etiide mit der ganzen Rhythmusgruppe (Rhythmusgruppe mit Solist). Da sich flint verschiedene Solisten abwechseln, wird das Horen und Spielen det Budden selu abweuislungsteleh Aut dean anderen Track fellt der Bass (Band olane Bass). Zu dieser Spur kénnen, Sie spielen, nachdem Sie sich mit der vollstindigen Auf rnahme beschaftigt haben. Manchmal wird die Band etwas, schneller oder langsamer. Dies ist selbst bei sehr erfahrenen Musiker ganz normal. Versuchen Sie beim Mitspielen daraut einzugenen.Group Use for the Easy Jazz Conception Series ‘The Easy Jazz Conception Series is available for different Instruments. Since the etudes are completely in unison and the phrasing is almost entirely the same between the different editions (alto sax, tenor sax,, trumpet, trombone, guitar, etc), the series can be useful in group instruction of jazz style. Have the group listen to the soloist/rhythm section track from one of the books and follow along with the phrasing ‘markings. Pay close attention to detail. Then have them play along with the soloist/thythm section track, trying to match these style elements, Next, have them play along with the shythm section track* ‘You can have different sections in a big band play different parts of the etude along with the rhythm section only track. For example: Saxes ~ first two A sections ‘Trombones - bridge and last A section ‘Teumpets ~ first two A sections of the second chorus Saxes, trombones and trumpets ~ bridge and last A section out Is also possible to do this with soloists within a big band, or in a small group, You can then have the horns play along with your rhythm. section Instead of the recording, Try to get the rhythm section to play with the same feeling as the rhythm section on the recording. Ifyou are using your rhythm section, it’s possible to open. Up a section for improvisation. For example, open it up after the first chorus, having the shythm section read the chords from the first chorus and repeat for solos. After the solos, have everyone come back in on the second chorus and take it out, ‘There are other possibilities too, so use your imagination (transposing up a half step, different tempos, feels, etc.)! After you've mastered these etudes, try the more advanced ‘etudes in the original Jazz Conception Series. As stated in the original Jazz Conception Series, this is not meant as a replacement for listening to great jazz musicians like Louis Armstrong, Charlie Parker, Duke Ellington, Miles Davis, Count Basie, John Coltrane, Sonny Rollins, J.J. Johnson, Wes Montgomery, Thelonious Monk, Ray Brown, Dizzy Gillespie, Philly Joe Jones and many more. It is meant as an introduction and a supplement to their music. It is real- ly a tribute to them, I hope you find it both enjoyable and useful Jim Snidero + Since the piano comping, bas lines and dram version recordings provide Sdiitional track minss the sppropistethythm section inirument. group st be done mith the hora versions alto 538, Easy Concepion Serie als Bandmethode Die Easy Jazz Conception Reihe ist fir verschiedene Instru- mente erhaltlich, Da die Melodien und Phrasierungen in den uunterschiedlichen Ausgaben (Alt-, Tenorsaxophon, Trompete, Posaune, Gitarte, usw) beinahe identisch sind, eignet sich die Reihe sehr gut fir den Gruppenunterricht in Jazzstlistik. Die ganze Gruppe sollte sich zuerst die Aufnahme mit dem Solisten anhéren und anhand der jeweiligen Ausgabe genau die Phrasierungszeichen beachten, Héren Sie dabei genau auf die Nuancen, Lassen Sie anschlieBend die ganze Band zur ‘Aufnahme mit dem Solisten spielen und arbeiten Sie an den stilistischen Elementen. Danach kénnen Sie zusammen mit der Rhythmusgruppe, ohne Solis, spielen.* Lassen Sie die verschiedenen Satze einer Big Band unter- schiedliche eile einer Etide zum Rhythmusgeuppen c Fr Bu7 G7ak. F7ak Chorus 2 3 BW? 7 Bb? a BT Boy Gr Pa a F7 Bb F7 sus 2s BA 7 Eo BL y My .29 BT ° E Bir G7 Bathe LC? F7sus Bb G7 ce F7 7 BW a7 87 Teg Bs °C-T 7 D-7 E 7 Gr ee D- 7 x ee ins a xv + > ——— 3 = 7 = f —Morning Calm (Track 2/18) ‘Medium Slow Swing (¢ = 110) sim Snidero Chorus 1 C6 Abs G7at, c-6 Aba GTalk 5 c-6 Abs GTat =P G7ak. ° c-6 Aba GTalk. c-6 Aba. G7 8 C6 Aba G7ak, c-6 F-7 Bor 7 pr? e,749 pz? G/G a F-6 Gi pe G7al. 23 c-6 Aba, G7ak. c-6 Aba. G7at. 29 c-6 Aba GTak. c-6 be G7aitChorus 2 i 33 c-6 pe G7ak, c-6 pe G7ak. GTalk. 45 c-6 be G7at. c-6 F Bb7 #7 p79 p78 o/s 53 F-6 ae be G7ak. 37 c-6 Abs Tate c-6 Abs G7ake 6 c-6 Aba G7at. c-6 Abd G7akt. 6s c-6 Aba. Gat. c-6So Long Birdie (Track 3/19) Medium Swing (¢ = 118) Jim Sridero Chorus 1 Fé c7 Fa D7 c 7 9 G7 G-/Ft or G-/E vw oF? E7alt 7 b7 a 1G: Bb Es? Gc C7 ak, 2» G- og? Fa D7at G7 eae) ADVANCE MUSIC Al ights Resea G G/Ft G c7 33 Bb-7 7 G7 iy TagHot and Humid (Track 4/20) Medium Swing (d= 126) irene ‘Chorus 1 D-6 | a A7alt. D-6 Ae D7ak. 5 G-6 Ee ATatt 9 D-6 eo ATale D- Go c7 BFA Ee Tat. D-6 Ee ATalt Chorus 2 7 D-6 Eo ATak. D-6 Ae 7a 2, G=6 Ee A7alt 2 © D-6 Es Ala D- c c 2 FA es ATalt. D-6 Ee ATale (© 2000 ADVANCE MUSIC. All RightsReserved. ue.ge Dos EP Tale. D-6 ic 7 4 Fa Ee ATot, D-6 Ee ATatt Es A7ait D-6 Ae D7ate 53 G-6 a ATs, 7 DHS es A7at. D-6 G 7 FA Es Ala, D-6 D-6 fiesRock On (Track §/21) sim Snidero Rock (Boogaloo) 4 = 130 Chorus 1 co 9M G7 AGT G7 Chorus 2 AGT G7 ANT G7 (© 2000 ADVANCE MUSIC All Rights Reserved 16Chorus 3 9 C7 7M G7 ANT G7 aN G? c Chorus 4 43 C7 Ab G7 a A? G7 Ab? G7 Repeat er fadeImportant Events (Track 6/22) ‘Medium Up Swing (d = 165) Jim Snidero Chorus 7 G7 vw A7/DTag Ey) Glas Eb7sus as C7sus ATsus Fade out -* -Shufflin’ in F (Track 7/23) Jim Snidere Shuffle (/= 150) [Chorus Fr Bb7 F7 5 BT F7 o 1 Cr Bir F7 Chorus 2 3 OFT Bi7 F? 7 BW F7. a C7 Bb? Fv cz Chorus 3 25 FT (© 2000 ADVANCE MUSIC. Al Right Reserved,7 29 Bhi F7 a OCF ab7 Fz c Chorus 4 F7 Bb F7 37 a BI F7 45 C7 BLT 7 Chorus S 49 F7 Bb7 FT 53 BIT 8 F7 Signe Bi7 co Bb 7 ps s 8x7 F7 B77 Tak F7 = 2 A AA ! SS es ° = | a =Bossa at Night (Track 8/24) Bossa Nova (J = 124) aaa Jinn Sridero Ay ae 9 Bb7 ET ay TAS Abe 2 G7 c7i ES Fa (© 2000 ADVANCE MUSIC. AlRights Reserved im2 FT py7ttt E7 A7b9 ae he i > a is f ee 2 = ¥ f S 3 : - e if a 29 D-7 G- ad 7 Bi ars 33 D- 7 E7 Ar a D-7 G7 Ev AT D- 4s c E+ Fa i G79 ce 749Duke’s Convoy (Track 9/25) Latin (Afro-Cuban) ¢ = 82 Jim Snidero Chorus 1 casei 7 Ge 7a. ee | swing 4 BT oa es? (© 2000 ADVANCE MUSIC. Allights Reserved. m4.32 Aba. Bo- 7 A c Latin Eel 139811 *® F-6 oe 7k. so [Tag] crboen ulMist and Grits (Track 10/26) Medium Swing (d= 114) Jim Snider Ga C7ake F7 eat eba Bo7?9 Chorus 7 1 Ba Bb-7 7 ADA ADT pp7#tt 5 G7 a FT Bb? Aba ce F- By7?9 2 ba Bb FO? AbA Ab-7 mb7ett 2 G7 7 oi FT. Ea Eba w Bb-7 B7 Aba, a A? D7 G- c FT Bb7 25 ba Bb-7 eb Aba. Ab? ps7éttChorus 2 2 Eba Bb-7 7 Abs Ab7 bs? a7 G7 co Fa Boy G c7 Fa Bb? ir Eba Bb-7 ey Aba. Ab? Db 45 G7 er Fz Bi Eba Bi7 Ba 49 Bb? eb Aba. 3 AT b7 G7 C7alt, F-7 Bb7ate. E BA Bi-7 7 Aba AMT byt a F-/Bb Fe-/8 65 Fo? BB Gr F7 £4" = = =e = 3 - — es — 5 =|Caliente Blues (Track 11/27) ‘Medium Up Swing (J = 85) Jim Sridero Intro } Bbsus Ebsus Fuus Bhsus Gsus Chorus 172 1 Bb? Latin 7 3 Bb F7 67 Bi7 Ebsus 7 2 Feus Bosus Gous Bbsus Ebsus Fsus Bosus Gaus 33 739 Bb? F7 45 B7 Bb7 FT, Chorus 4 BT 6 Be. F7 7 o mn BW a Feus. Bosus Gaus Bosus Eosus Fsus Bosus G7?9Prince Charming (Track 12/28) Waltz (¢ Jim Snidero 1 Bba D7ak. Eba G7ak. ° D-7 De C7 F 3 D7 pie cr F7ak, 7 BbA D7ait ba G7alt Paget By? Eba ES 1© 2000 ADVANCE MUSIC. Al RightsReserved -30-Chorus 2 33 Bba D7at Eba G7 ak. a“ D7 bre Coz Fv 49 BbA D7at Eba G7at. re = Bb7 ba ee c/F Fade out (t=Bird’s Backyard. (Track 13/29) Mediurn Up (J = 84) Jim Snidero ca FT Bite cy Cos ET Ar SeeD=? G7 Ev 7 Aba G7at. 3B D7 G7 Dba. ca B7 w E-6 Fe B7hs E-6 av 2 Ca FT Bb7 ca E- AT obo! shee eibes ie:Chorus 2] 33 pn Grit a p78 e7 os SS —_> ——— = > =o =F = = eye DET G7 Eu AT D-7 G7 a F7 aint pratt E-7 Aah. 45 p7#tt Gal. catit By 49 E-6 Fie B79 E-7 Av D7 Eo Ars D7 7 sy CA ES Bi7 ca Ev AT “33‘Medium Slow Swing (4 = 126) Chorus 1 EbA F- G- Aba GTalk. Us (Track 14/30) Take. FH Aba G7al c Bo? Jim Snidero s Bb-7 Eb7 Aba Ae Gr F7 Bi7 ‘Ao Borate, Be ° Db/Eb C/eb Aba/E pe7#l! p78 pyzett 3 Cbs 7h pret Bb7att, ” Eb F~ G~ Aba. G7ak. C7alt, F- Aba G7al. C- Fe Bb7 a Be? ENT De Boz Bba (© 2000 ADVANCE MUSIC, AIRights Reserved -34Chorus 2 25 Eba cr F-7 Bb7akt. 3 Eba a ra Be 37 £67 Ab p7#t1 Fo 7 Eba Eba 0 Eb F- G- Aba Gat. C7an Fo Aba G7ae C= F-7 Bb 3 57 Aba op7ett Bhsus Eye Ee Bsus 5° /Bb Bbsus Be Ba WN > Dia ; z —— 3Love is Easy (Track 15/31) Up Swing (2 = 90) intro] Drums Jim Snidero. Chorus u Bb-7 BT Bo 67 = Aba. beet cr F7 B Bb-7 a7 Abs > Bb Aba G- GAT. F7at. v Bb-7 7 Bb-7 7 a Aba. pet! cr F7ak, 25 Bb-7 Db-7 a7 ee F7ak. i Bb-7/Eb a7 Aba Chorus 2 3 Bb-7. Eb? Bb By {© 2000 ADVANCE MUSIC All Rights Reserve, -3637 Aba pri ec 7 a Bb? ep7ftt C7 F7 45 Bey watt =) puro © pe Aba pert ea F7 7 B-7 Di-7 or cr co F7 alt. Bb-7 Eb7alt Tag | Latin cs Abs p74 Aba ps7it Aba. pp7eit Aba ps7 Aon Dpr#11 Abs e781 Aba p,7#tt Aba pp7#tt