When utilizing more than one climax per solo it is best to make each successive climax more dramatic than the previous one. This is usually done gently, little by little, This will achieve an over-all feeling of increased tension leading to the final release, which should be of much shorter duration than the approach to the climax. The melodic line curves drawn here can represent one chorus or several, depending on the imagination and ability of the soloist. Beginners should force themselves to construct ideas lasting four and eight measures. Flowing lines are achieved by blending one phrase into the next. All improvisors should keep in mind the traditional musical sequence of events: theme (motif), development of theme, climax, and release (relaxation of tension). Statement of Statement _» Development of Theme » Climax » Release Thave often thought most good jazz solos were constructed of 50% emotion and 50% intellect. Solos which leave lasting impressions have just the right amount of emotion coupled with intelligent over-all design. It's easy to sing in this manner. We have to learn how to do it with out instrument. I can think of no better way to learn to improvise melodically than listening to the masters and trying to emulate their playing concepts. How can we expect anyone to listen to us if we don't camestly listen to those already doing it? A few of my favorite jazz soloists who have the ability to construct meaningful melodies consistently are Charlie Parker, Louis Armstrong, Sonny Rollins, John Coltrane, Miles Davis, Wes Montgomery, Freddie Hubbard, Erroll Garner, Herbie Hancock, Coleman Hawkins, Lester Young, ford Brown, Dizzy Gillespie, Roy Haynes, and Elvin Jones. This list is short. There are many, many more. ELEMENTS WHICH PRODUCE TENSION INCREASED VOLUME ASCENDING LINES EMPHASIS ON PASSING TONES (non-chord/scale tones) EXTREME REGISTER OF INSTRUMENT. WIDE INTERVALS (especially ascending) REPETITION (of almost anything) ALTERNATING DIRECTIONS JAGGED ARTICULATIONS (flutter tongue, stab the reed, over-blow) NON-CHORD TONES (4ths, 6ths, 7ths, & 9ths) DRAMATIC DEVICES (swoops, glissandos, shakes, trills, etc.) DISSONANT HARMONY ELEME WHICH PRODUC EASE RELAXATION DECREASED VOLUME DESCENDING LINES NOTES OF LONGER DURATION (quarter-notes, half-notes, whole-notes) REST (space) SMOOTHNESS (legato) EMPHASIS ON CHORD TONES (root, 3rd, or Sth) SILENCE CONSONANT HARMONY 45TUNE LEARNING 1. Listen to the song on record - over and over. 2, Memorize the melody in your mind. Be able to sing it. 3. Listen carefully to the bass line and the harmony in general. Get an overall sense of how the song is put together. 4. Try playing the melody from memory, slowly at first. 5. Then, play the melody along with the recording. Copy inflections, articulations, slurs, phrasing, dynamics, etc. 6. Learn the scales and chords in the order as they appear in the song. Make sure you've got the right changes (chord progression). Get them from a reliable source such as the play-a-long books. 7. Improvise over the harmony, keeping in mind the original melody as a frame of reference. 8. Emphasize the 3rd’s and 7th's of scales in your soloing, 9. Memorize both melody and chord/scales if you haven't already. Know where the chord tones are ON YOUR INSTRUMENT. 10. Improvise your original melodies based on what your mind HEARS. Let your mind guide your choices of notes, phrasing, rhythms, articulation, etc. 11. Listen constantly to the original recording of the song to further stir your imagination. Incorporate ideas off the recording into your solos. 12. Learn the lyrics if the song has any. Mentally sing the lyrics while playing the melody. 13. Fall in love with the melodies to songs. Play them like YOU wrote them. "T've always tried to recreate melodies even better than the composers who wrote them. I've always tried to come up with something that never even occurred to them. This is the chal- Ienge: not to rearrange the intentions of the composers but to stay within the parameters of what the composers have in mind and be creative and imaginative and meaningful." tenor saxophonist Joe Henderson 56SONG LIST for B NERS Here are songs which everyone should eventually know. They are good jam session songs. I am listing the key they are most often played in and the play-a-long volume number, where you can find them. Most of the beginning songs are on the Volume 54 "Maiden Voyage” play-a-long book/recording set. It's excellent for learning jam session tunes. Beginning Songs: Intermediate Songs: troublesome spots = [ ] Blues in Bb & F (1, 2, 21, 35, 42, 50, 53,54) Four, Eb (7) [F#- B7] Footprints, C- (33, 54) Perdido, Bb [bridge] Satin Doll, C (12, 54) All Blues, G (50) [D7+9,Eb7+9,D7+9] Doxy, Bb (8, 54) Groovin High, Eb (43) [A- D7] Autumn Leaves, G- (20, 44, 54) Yardbird Suite, C (6) [bridge] Impressions or So What, D- (27, 50, 54) Softly As In A Morning Sunrise, C- (40) [bridge] Summertime, D- (25, 54) Green Dolphin Street, Eb (34) Blue Bossa, C- (38, 54) Misty, Eb (41, 49) [A- D7/ C- F7 in bridge] Song For My Father, F- (17, 54) Just Friends, F (20, 34) [Ao or Ab-] Maiden Voyage, A- (11, 54) Silvers Serenade, E- (17) Cantaloupe Island, F- (11,54) Sugar, C- (5,) (called Groovitis) Watermelon Man, F (11, 54) Advanced Songs: Stella by Starlight, Bb or G (15, 22) [e Star Eyes, Eb (34) [bars 4, 5, & 6] Invitation, C- (34) [entire tune] Have You Met Miss Jones?, F (25) [bridge] 1Got Rhythm, Bb & F (7, 8, 16, 47, 51] Giant Steps, Eb (28) [entire tune] Joy Spring, F (16, 53) (2nd & 3rd 8 bars] All The Things You Are, Ab (43) [entire tune] Most ballads Wayne Shorter tunes, Horace Silver tunes, John Coltrane tunes, Benny Golson tunes and thousands of other songs tune] Memorize the melody Memorize the chord progression Memorize the various scales/chords word. The qualities of scales (major, minor, dom.7th, dim.,etc.) will become just as familiar and ‘Think of how many friends voices you can recognize over the telephone after they say only “] easy to recognize with practice. 57ESSENTIAL DIS: RAPHY Listening is one of the most important clements of learning and playing jazz. Throughout the history of music, the EAR represents your best teacher and learning device. The following list represents a small but important sample of the great recorded jazz history. ‘Alhough 1 am only listing the LP record numbers, many of these are available on CD and cassette. An * means outstanding. Mostof these, and many, many more, can be obtained in various formats by writing: "Double-Time" Jazz, P.O. Box 1244, New Albany, IN 47150, U.S.A. Ano Cannonball Adderley * Something Else wMiles Davis st aisos % Takes Charge w/W. Kell, P. Chambers J. Cobb Landmark 1306 AtThe Lighthouse wNat Adderley, Sam Jones, V- Feldman, L, Hayes Landmark 1305 ‘Trumpet (Chet Baker ‘The Touch Of Your Lips w/Doug Raney, N-HLO. Pederson teplechase 1122 Drums ‘Art Blakey ‘& Jara Messengers w/D, Byrd, H. Mobley, H. Silver, D. Watkins Columbia PC 37021 % Night At Birdland wiC.Brown, LouDonaldsoa, H'Siver,C. Russell(Vol 2) ‘Blue Note #1522 Trumpet Ctiford Brown Ciifora Brown With Strings ‘Emarey 1011 + Stay In Brown w/Harold Land, Max Roach marcy 1008 % Brown & Roach Ine. w/Sonny Rollins, Max Roach Emarey 1010 Brownie Bye ‘ue Note LA267-G. Base Ray Brown ‘Bam, Bam, Bam wiGene Hares, Jeff Hamilton ‘Concord 375 Don't Forget The Blue w/AI Gres, Gene Harris, Grady Tate, Ron Bschete ‘Concord 293, ano Ornett Coleman ‘Town Hall Concert wiTeencobn, Moffett and strings “& Something Ele! w/Don Cherry: Walter Norris ‘Thies Our Manic wiCherry, Haden, Blackwell, Tenor Jona Coltrane Live At Birdland w/M. Tyee, J. Garrison, Evin Jones Impressions w/M, Tyner, J. Garrison, Elvin Jones love Supreme w/tume as above a Crescent wisme as above % Blve Train WiC. Fuller Lee Morgan, Philly Joe Jones ‘ue Note 81577 Giant Steps w/Fommy Flanagan, P- Chambers, A. Taylor ‘Adantic 131. More Lasting Than Bronze ( records) Prestige 24014 “Trumpet Mites Davi Just AC The Baza wiCotrane, Adderiey, Bil Evans Columba 32470 4 My Funny Valentine iG Coleman, R: Carter, H. Hancock Columbia 9108 2 Mitestones w/Catrane, Addertey, Paul Chambers urmbla 40837 Seven Steps To Heaven w/Hancack, Carter, T, Wiliams Columbia CSRS ‘Mites Davis (excellent record st from 1986-57) ‘Prestige 24001 Nefertiti w/W. Shorter, R: Carter, T, Wiliams, H. Hancock Cotumbla C5994 4% Kind of Blue wiColtrane, Adderley, W. Kelly, P. Chambers ‘Columbia 40879 Piano hick Corea “Light As A Feather w/Joe Farrel, Stan Clarke, Aleto Polydor $525 Now ie Sings, Now He Sobs w Roy Haynes, M. Vtous 9008s Piano Herbie Hancock ‘The Best of Herbie Hancock (2 records) biota ++ Maiden Vevage wiF. Hubbard, R- Carter, T. Willams Blue Note 84198 Empgrean isles w/Freddie Hubbard, R: Carter, T. Wiliams le Note 84175. ‘The Prisoner w/Joe Henderson, Johnny Coles Bue Note 84321 Teampet Freddie Hubbard Hub of Hubbard wE- Danely R MPS 15 267 Sky Dive creas Keep Your Sout Together erase 4 Ready For Freddle W/W. Shorter, Elvin Jones, M. Tyner Inve Note 84085 Tenor Joe Henderson Liveli Japan (his isa mast for doe Henderson fans!) Milestone 9047 ower To The People WH. Hancock, K.Carter, J. DeJohnette Milestone 9024 Inner Urge w/Elvin Jones, M. Tyner, B, Cranshiny blue Note 84189 Vives Mit Jackson aps Meets Wea! w/Wes Montgomery, W- Kell, S. Jones, Philly Joe Jones ‘oucas Trombone Johnson 4% The Eminent J. Vole1 & 2 9. Brown, H. Mobley Ine Note 81508 & 81506 Fambone Master wT Flanagan, P Chambers, M. Roach ‘Columbia C44 Drums Evin Jones Live AUThe Lighthouse w/Liebman & Grossman Ive Note LAO1S-G2 re At Village Vanguard Enja 2036, Trumpet ‘Wynton Marsalis, Standard Time w/M. Roberts, Bob Hurst, Jeff Watts Columbia FC sD461 Alte Roscoe Mitch Comgiptious (excellent fre J) ‘Newa 2 Piano ‘Thetomias Mon} = Monk & Trane, Mitestone 47011 Goltee ‘Wes Montgomery Trio w/Melvin Rhyne, Paul Parker Oyc a % Full House w/Jonnny Griffin, W. Kelly, P. Chambers O3C 106 % The Small Group Recordings_Live w/W, Kelly, P- Chambers Verve s3¥5551 Trumpet Lee Morgan ‘Cornbread wilt Hancock, McLean, H. Mobiey Tie Nove #222 Tenor Oliver Neson Wes A The Abstract Truth Men 659 Ato Charlie Parker Jae At Macey Hall w/M. Roach, B, Powel, Dizzy Prestige 24024 The Verve Years Four Small Groups verve 89.14 Now's The Time (outstanding playing?) ‘Verve 005 The Savay Recordings (30 songs) Savoy 2201 ‘Teno Sonny Rotlins The Brlage wilim Hall B. Cranshaw Reh2s27 4 Newh's Time w/W Kelly D. Ite Note 84001 [Now's The Time w/Ron Carter, Herbie ‘Qu 252 4 Sarophome Cotlosous & More wi: Brown, M. Roach (excllen) Prestige 28080 Sonny Rotine wifohn Coltrane @ i Prestige 2004 ‘Tener Wayne Shorter Speak No Evil, ue Note Ato Plano Horace Siver Song For My Father w/Carmel ones, Joe Henderson hue Note R4185 ‘The Cape Verdean Blues WI. Johnson, W. Shaw, J- Henderson ie Note a4220 “Blowin The Blues Away w/8.Niltchell, Jr. Cook Ile Note 4017 Alto Sonny St The stuURottin Sesion w/Dizzy Ghesple Verve a33.5581 AltorTenor Sonny Stitt Constellation wiarey Harris, Sam Jones, Ray Brovks ‘Muse $323 Plano MeCoy Tyner 4 The Real McCoy wine Henderson, R-Carter,F- Jones Ie Note Ha. Enlightenment (award-winning record set) Milestone $5001 Reevaluation: ‘The Impulse Years (record set) MICA 204156 The Eatly Tris (excelent 2-record 5 McA 204187 Ato Woods Roget w/Tam Harrell Hal Galper 8-Gitmore, B. Goodwin Concord 377 Organ Carey Young Unity wWoody Shave, E- Jones Joe Henderson jue Nowe A221 ie ‘Answers can be found in LISTENING. Recordings contain ALL the answers.) 58STANDARD JAZZ TUNES LIST These songs are the "cream of the crop” and you will be expected to know many of these for jam sessions as well as casual music jobs. Many of these are in the Aebersold Play-A-Long books. The remainder can be found in various Fake Books. AAZZSTANDARDS ‘BLUES LINES ‘BEBE {UNES (i1-V-Loriented) (WALTZES (4d) All The Things You Are Au Privave ‘Aftemoon in Paris A Child Is Born End Of A Love Affair Bags! Groove Airegin ‘Alice In Wondertand Geting Sentimental Over You Barbados ‘Along Came Beuy Al Blues Green Dolphin tet Bass ls ‘Anthropology Bent! Love How High The Moon Besick Bes Cherokee Blick Nereus Ti Remember April Billie's Bounce Confirmation Blve Daniel Hove You Blue Monk Countdown Biesete TRememter You Be Seven Daahoud Bis InAMeliow Tone Bive Tria Donna Lee Foating Inviation Dives by Five ony Fy Me ate Moon Its You or No One Bes for Alice Four Footprins ust Pend Cousin Mary Gian Steps Lafiesa My Romance Dr. Jackel Grand Central My Favorite Things Never Be Anotter You Equinox Groovin High Someday My Prine Wil Come Out OF Nowiere Freddie he Fresloder Half Nelson Tendely Satin al isotope ave You Met Miss Jones Up Jumped Sping Siar Eyes Bel Jeanine ate or Silla By Stright Me Pc Jord Very Early Take the "A" Tain Now’ the Tine Joy Spring Wate for Debbie Whats New Some Oe Bes Kier Joe West Cos Blues What is This Thing Called Lave Somnymoon for Two Lay Bid What Was Wine and Roses ‘Straight, No Chaser Moments Notice Windows ‘You Stepped Out Of A Dream ‘Traneing In Nardis Windows: Vier Blues Nica Dream Walkin Night In Tunisia BALLADS Oleo Blue in Green BOSSA NOVAS Ornithology Body and Soul '500 Miles High ‘Scropple From The Apple But Beautiful Blue Bossa Soflly, As In A Morning Suarise Cora Camiva Salar Coys Stone Ceora Siatemates Fall Coral Keys Tune-Up Here That Rsny Day Desafnado Wel, You Nees et Get stated Git from panera Whisper Not TootttBad How Inseasve Woody'n You {Remember Clifford Mediation Yardbied Suite nA Sentient Mood O Grande Anoe Infan Eyes Once Towed sanuas He Coad Happen To You Pensatva Canin Marvel Lament Fall Guiet Nights of Quiet Sars One Note Samba Lover Man Recordame Spain Lush Life ‘Shadow of Your Smile St Thomas Misty Song for My Father ene My Foolish Heart “Tse a My Funny Valentine Waten What Happens aie ea a Caneloe Istana Prelude To A Kiss pee esas Genesis Round Midnight Lariam prea Search for Pesce Dalphin Dane Impressions Sea Falling Grace Las Vegi Tango pirate Forest ower Lite Suanower Weise cone Fortune Smiles Maiden Voyage Pee Freedom Jaze Dance Milestones (2c) Molten Glass Novae eter So What Seven StpstoHcoven Sight Life Stades of Ligh Wit Hat 59