24 JAZZ ETUDES FOR TROMBONE OR BARITONE HORN 7 SS JACK GALE . aeMAJOR Swing J =96 mre, a G7 Em7 AT Dm? G7 ‘ I helps avoid stiffness in performance on notes like these by “ghosting”, i. de-emphasizing them by hardly blowing.Dm7 G7 Dm7 G7 Em7 AT Dm7 G7 Dm7 G7 Dm7 Gt c Gm7 c7 oy : Am7 07 Dm7 G7 Dm7 G7 Try for a smooth legato articulation C Major: This piece isin a bop-swing style with a 12/8 feel with mostly downbeat aceents. GENERAL NOTES ON PERFORMANCE (1). Notes that might be played long, if not marked short with a staccato dot, have usually been marked short, such asthe first two quarter notes inthe C major etude, (2). tis assumed that notes with no articulation or slur markings willbe legato tongued, such as the first dotted quarter and eighth note in bar [17] . As a general alternative, notes with no articulation’ might be slurred, G)_ Notes lke the staccato C quarter and high G eighth note in bar 12 can be stopped with the air column or possibly lightly tongued. (4) Alleighths are played long unless immediately followed by a rest in which case they are tongued short, (5) Repeated notes, asin bar 16, of course must be articulated. The slur marking is only to assue a legato tongue,6 AMINOR Rock J =132 drum AQT Gm7, 7 F7 e7 AN 2 [9]. Am ~ Am7/G Ft m7'>5) & MA7 oy Am Am7/G F#m7(b8) EF MAT coe Bm7!b5) gy Bm7(5) g7(#9) Am F —7AMinor: The Am7/G FR m7(b5) MAT = Bb7 An e7 m7) &7 Am == Am7/G_— FMA7Bb7 "7 = cA 5 te eighth notes must be played straight for ajazz-rock feel. Long and short note effects should be exaggerated, SOME SUGGESTIONS ON HOW TO USE AND ENJOY THIS BOOK The etudes are all written with the intention that they be satisfying musical entities when performed unaccompanied. We suggest that the player listen to Jack Gale's recorded performance on the cassette first to get the idea of how the articulation, inflection and nuance should go. Next, it might be best to play the etudes unaccom- panied at a practical, steady learning pace. When you think you can play them fairly well up to tempo, put the cassette back on and play lightly along with Jack; soaking up his style and “ean” a little on his performance. Then turn over the cassette and play with only the rhythm section. There are several other possibilities that vou should consider (1) Find a friend who can read the written chord symbols for piano or guitar - providing as little as a simple, sustained whole-note and half-note accompaniement can be satisfying. (2) A walking bass line to add rhythm and implied harmony can also be quite adequate, (3) Even adding just light percussion can be a help. (4) Of course the ultimate is to find a whole rhythm section with which to play. The etudes are all based on chord progressions to well-known tunes that jazz exponents frequently use for improvisation. (Identifying the tunes to which the etudes are harmon- cally related is a whole fun game in itself.) In most cases the etudes are written in thi same key as the original song on which they are based, and so may be used as viable written improvisations on those tunes. While the primary use of this book is to gain technical facility in every key and to acquire reading experience with swing and rock rhythms and articulations, ambitious advanced students can go further by reading chord changes and altering melodic lines bit by bit to create their own improvisations. Thope you enjoy these etudes in every way. Play them unaccompanied, with the cassette or with a friend who plays a rhythm instrument and finally, use them as a point of. departure; using the tape to create your own pieces. I also hope that you may want to play the etudes “live” or with the cassette in a solo concert situation. R ae GM Lheemdee ill Holcombe: Spring, 1987DMINOR op J=108 a = awd > Em7(b5) ‘A7ib9) Em7(b5) a7(b9) ——Bb7 (49 ote getter D Minor: This etude emphasizes the harmonic minor scale and the use of major tetrachord over 8 minor tetrachord. Notice the effect of the B naturals and C sharps on the D minor harmonies, Bb? Dm (MA7) eer ww +3 fie CF10 FMAJOR Rock tom (1) eR OT —> Bb7 87 C7 5 Bb7 (Break) Te ee aw Bb7 (Break) A —_ F7 F Major: This tune really in the key of F blues, The elghth notes must be played straight for IFg the rock feel, but the sixteenth notes can be played with a 12/8 or 12/16 fel =" Bb MAJOR Bluesy de a= pI) & Eb7 Dm7'65) G7!) cz FT Bb = Cm7 FT Bb Eb7 Dm7'65) G7 Bb7 co7 Bb7 Eb7 £97 Bb £67 Dm7'b5) G7 c7 7 Bb7 FAT Bb 7 Dm7'65) gz 7 7 Bb 7 Bb Eb7 Dm7'>5) G7 769) 7 Eb7 £°7 [25] Bb7 ou eer res cA cy er ee ey ce The Bb and G in parens, should hardly be sounded BhMsjor: This i based on a blues tonality using a harmonic pattern more than 60 years ol. ‘The 12/8 felis actually written out and can be used asa reference for approaching most of the other etudes with azz or swing style12 GMINOR Swing on df am Eb7 7 Gm c7 cw A om? &7 Anitlpy Gm 7 br Gm G Minor: As in many standard minor key jazz tunes, the final cadences move to the relative major, ‘The range is concentrate in the middle and lower resisters.13 Eb MAJOR poo Jat EMA? E06 Am? o7(o9) oo Gm7 Eb MA7 Eb6 7 F7 Fm7 7(b9) (9) " ® Eb MA7 Eb6 Am?, = p7lb9) a4 EY 7 Eb MAT Eb6 EbMA7 — Eb6 Gm7. c7 Gm7 c7(b9) Fm7 Bb7 (251 At Fm7 Abm = This note should hardly be sounded EbMajor: This etude requires a blend of Bop and Swing styles of playing. The eighth notes should be swung with 2 12/8 fel but the articulation must be smooth“4 MINOR a Bop-Swing J =72__ D7!9)_ G7 cm F7(b9) Bb7 Eb 07 a7 cm 7 ‘Ab7 {9]07 a cm F7Bb7 Eb oz a7 cm C Minor: This tune is 2 series of cadences in C minor and EbMajor. Notice the rffike repeated notes inthe bridge while the chords are chanaing quickly15 ‘Ab MAJOR £79) AbMa7 —Db7 “, => Ballad J =84 (b9) alla a ee mmo. J FI 5 — a a tp Am? D7 Bm7'>5) E7169) m7 — 7/69) G@MA7_ Em? = Am7_—«7 “is 3 67108) cman? aime omt8) 79) ee an 7 oe. oil ~ ‘AMAT 067 As? G7 bate ES mS AbMajor: This ballad contains several descending harmonic passages that are treated with a double time approach. The sixteenths can be played either straight or with t 12/16 feel, Notice that in several spots, te chords move downward while the figures move up,16 FMINOR Swing 4=76 Fm ev 7 Fm aoc? tum DO) 1 gy (b9) —Fm G7 (69) c7 (69) Fm 7 c7 by Ab Bb7 &7 Ab si (33) Gm7(06) 7(b9) wom 7%) Bm F Minor: The minor tonality resolves to the relative major. The treatment should be light with 4 bouncy two-beat feel, The range emphasizes the lower register, ané good intonation may require & litle extra effort. Don’t let the feel stiffen in the effort to keep the pitch in line”7 Bbm7(b5) Eb7(b9) Ab Gm7(5) 7 (30) ben o7 c7 Fm 7 c7'b5) Ab Bb7 Eb7 Ab (Break) L8va basso} JACK GALE - the author of 24 Jazz Etudes for Trombone18 a atin feel Bbm{MA7) ‘Abm(MA7) 88 : a dadd Bbm(MA7) ‘Abm(MA7) 5 7 (91 Abm7 Db7(b9) Gb Maz Gbe Swing be eb. DEES cm7'65) F7{b9) Bbmé cm7'5) 7 cm7'5) F7(b9) Bbm19 Eb7 Ebm7 —Ab7 Db Em? ar tie we _ [41] Ebm7/Ab Ebm7/Ah Ab7 Db/Ab Fm7(b5)— Bp7(b9) (49) Bbm(MA7) ‘Abm(MA7) Latin @. g@$— Bbm(MA7) ‘Abm6 [57] Abm7 Db7 GbMA7 Gb6 Swine —N cm7(b5) F7(b9) ri Optional 8ra BhMinor: The Latin and jazz sections should create interest through contrast. The flowing straight cighths in the Latin passages should give way to the swing fee! in the eighth bar and vice versa so thatthe pickups in each ease vet up the new fel20 Db MAJOR tl (b9) Ballad 4 =92 8b7 eb7th8) Ebm Ebm7 = am7_—=7 sb Gb7 Fn? Foe Ebm7 —Ebm7/Db omZS) eed ~ a (91 Db Fm7{t6) BO? Ebm7 Bb7(b9) Ebm7 Am? D7 Db Gb7 a me ERB EAR. ete Fn? ree tom? 0b cnlt®) Fagg EDT fe ee) DbMA7, Em? a7 -OMAT Em7 Fim7 m7? m7 Bm7 Em? AT ua — © By a7 &7 ,,fb™ Bb7(b9) Ebm7 Am7 D7 DbMA7 Gb7 et oP beer tt ses tte ———: Fm? Foe Ebm7 Ebm7/Db— cm7l05) F719) Bom Get EER &> Get DbMajor: The sixteenth-note patterns in this slow ballad etude can be played either witha swing oublestime feel or with a straight sixteenth feel. ‘The straight sixteenths will give the etude a more restrained ballad character,2 Gb MAJOR Bossa nova J Gb MA? Ab7 Abm7 o7 Gb MA7 G7 Gb Maz poco rit, hotajor: A very relaxed straight cighth feel is important here to achieve a Jaze Bosa style. Long connected notes will enhance the quiet, subtle mood,22 Eb MINOR Slow ballad J =84 Ebr , de Ebm__em75) p78) Ab? Db Ebm Ab? eee nee a mtd as aa 2 ef bm? DBT bm a7 cm7!®5) cy Bom7_ £67 ‘Abn? O67 Bar [171 cm7'®5) Bb7—Fm7®5) B7 cm7(08) F789) Bor Te TN iseek £ - 6) (os) Abm7 Fm7ib6) 867 Cm? ‘7 Bk? _€b7 Abm7 Ob7 Gbm7 C67? Fm7 Bb7 oN MG Ebm om7'65) Fm7(b5) ‘Abm7 Db? Ebm7 ABT Bm? £7 Bbm7 EBT (251 Dt Ae See aa) Abmz Db7 Ebm7 ab? m7) cy7 Bb7 E7 —__Ebm(MAT) ot Pre a3 EPMinor: This etude is intended to provide a simple line over some fairly complex harmonic changes “The lower register is emphasized.ea | a Gt m7 afm _t7—._ ot m Gt7 ctm7 FT ; > oop: (3 St7™) ohm FBT pane 5 _Fim7e7 E__Em7?_—séB G7 tn Cae ct m7 2 Fim7e7 £m Dt my Ct? 8 hy Po : af ot7 FAT (251B Gtm7 Gim7 FA7 Dtm7 Gt7 m7 FT LEY aoe a BB Major: ‘This has besic harmonic patterns in an unusual key. Try to maintain the 12/8 feel and the flow24 Gt MINOR Rhumba d =126 ctm Atm7(5) pt+7 Gtm At m7(5) pF 7(b9) arom d MY te At m7(b9) pF 7 te At ma!8) pt 7 [28] ctm7 ctm7/B A$ m7lP5) Dt 7 Gim G#m/F# = EMAT ET cim Gf Minor: This tude hava simple melodic and harmonic pattem. Except fr the unusual key, itbesins and ends in the minor foality25 EMAJOR Ballad 1=92 on F | ema ° 7 Fym7 87 Gtm7_—#7tb8) eid Db? Fim7*®) 67 Dt m7 (5) G7 eo EMAT ow ctm7/8 Abm75)p'7 tm tart? & ope kese & 191 B 7) chm FR Fim7/B BT Fem? te) Fim? B7 tmz ct 79) U7) Ema7 — et ar a Fim m7 07 Fem7lb8l 7 EMAT Bm7 7 De ce aie oa AD 3 3 (os) AMAT pim75) tz = ctm Fy ae Bet Get —~ ? E Major: This s an example of a simple eithth-note hallad treatment, Straight eighths are better for a quiet ballad feel. As long as the articulation is legato, some variations on the written hythims can be aided,26 chauvor Swing d =76 ten7lb5) gt cfm ce E6/B eae vee eS rams Dd E efo7 Fim? 87 E Ftm7(0S) Eo (25) C#m ct Ct m7/B Fs7 _ ~ —— fet CE Minor: This etude should be played vigorously with a definite 12/8 approach and strong aceents27 AMAJOR Swing J =100 Bm7 e7 A Bm7 By°7 Asct Em7 AT Bm? AT De a7 pé 87 Bm7 &7 A Bm7 Bio7 aict Ay Em7 a7 D Al D [A Major: In this etude a punchy, bluesy approach will work best. [tis set in the middle register.28 Ft MINOR Doubte-time rock feel J ~My "Wh ge. > Bm Fem Bm Bm? Fem AE D# m7(b5) 19] p7 cte7lt9) Fim o7 ct7 ais hiss" 8188 6 o7 ct 71 $9) Fim D ct7 (33) 07 cH) etm mar @7 A A . Fy C3 woe FF Minor: This one is based on a simple, minor rock blues. The eighths ar all straight, but the sixteenths should have a swing fel. It helps to think ofthe straight eighths as quarter notes under the double-time Figures,29 DMAJOR Latin d =80 eu DMAT em7\b5) dbs al WAT A709) am rib) GMaA7 Gm7 F¢ 7(b9) p7(b9) (9) €7 8b7 AT Dm? 7 DMAZ Em7(b5) ; Rs} €7 Bb7—a7!b®) pm? G7 Dm7 G7 Gm7 7 Gm7 ¢7 be Em? A7 DMA7 em7(b8) 47 Am7 07 G i 7 e7't9) & e779) m7 G7 Om7 s7 Dm? G7 Om7 G7 Ce Dm? g7 om? G7 me S BS) 1D Major: In this Bossa Nova feel, straight eights are called for, but a slight drift into wing will work as well30 BMINOR al es pmiag DIA Gt m7(b5) fond “ Emi oo ctm7t)—_lb6) FET ctmpb) 7 noett hh PS GRE Se (9) Bm Bmiat DA Gt m7) 6 Em? Gm6 eee te eS — = 25S (71D Em? Ftm7 Em? Em7 FE m7 Em7 s Girt Enea Aleem DMA7 EbMA7_—D MAT wernt B Minor: This one isa study in sixteenth notes. They should be played straight and legato, Its the least jazzy of the etudes, and uses a sort of “Jack Jenny” approach to melodic development.G MAJOR i Medium up 92 31 Bm7(5) E47 Am? iS ae Am7 7 lg o 6 e719) Am7 Am7/D G Dm7 g7 cé cto s/o F# m7(b5) Em EmIMAT) Ema Am? =D? Am? D7 ey 6 a 6 Bri7!t6) e769) p77 ADT (331 iD Ft m7(b5) g7(b9) em em(MA7)— Em. AT. Am? 07 Am7D7 G or Msg & G Major: This ctude has a straight ahead swing with downbeat accents, except where up-beats are followed by rests. As in all of the swing-bap etudes, the problem isto play all of the notes smoothly and in tune without stiffening the fee.« TU o022232 “U1Ssthie” EMINOR Jazz-Bossa feel ¢ =80 Em FMA? F7 7X9) ema7 2 iter - Am7 FMA7 bs) Em io) Em FMA? F? 67109) mar p7(bo Am7 FMAT7 bs) en 117) am FMA7 Am7 FMA7 Dm7 Dm7/G G7 cMa7 FT. FMA7 F7 57(b9) May (33) FMA7 Em FMA7 Em E Minor: In this one the straight eithths should be tempered with a sight 12/8 feel. The conflict between straight cighths in the rhythm and 12/8 inthe solo line can ereate an interesting tension