INTRODUCTION ‘ Jazz.” as someone once said, “is where you find it”, and to you, the reader of this book, I express the hope that you will find it in the following pages. “Chorus playing” or “ Busking” as it is generally known, is a necessary feature to every player. Players are judged by their ability to put over a good “busking” chorus. As far as band leaders are concerned, there are two categories of player: those that can, and those that cannot “ busk”. To those of you who come into the former category, I hope that on reading this book you will find it interesting. To those, however, who may be in the latter group, then it is hoped that it will turn out to be more than just interesting, in fact enlightening and instructive as well. Formerly, a great many musicians have said that one cannot learn to play Jazz—it comes from the heart. I agree, but then, have not all my readers hearts? The chief thing is surely, whether you want to pla Jazz or whether you don’t. If you do, then half the battle is wor assure you, if you go about learning how to “ Busk”” in an intelligent and constructive manner. then the desired results will follow. And that is the object of this book. I would like to thank Mr. H. N. Copland for tis invaluable help in the preparation of the MSS. in connection with this 100k, FREDDY CLAYTONSTAGE I What is meant by “ Buskina”? “ Busking ” is the art of taking a chord, knowing its constituent notes, and using these notes—with the addition of others according to fancy—to form rhythmic phrases. In order to do this you must first of all get acquainted with the chords and their construction, and then see what liberties can be taken so as to make these phrases as interesting and as pleasant as possible. There is only one satisfactory method of learning how to do this, that is to start right from the very beginning, whether you know anything about chords or not, and be shown how to form very simple swing phrases, then gradually working your way up to the more complicated styles. So let us start with a brief CHORD EXPLANATION A major chord consists of the root or key-note, the 3rd and the 5th notes of the scale; thus the chord of C major, usually just referred to and written'as *G”, contains the notes C, E, and G, thus:— sa ‘or any combination (or “‘ inversion”) of these notes in close or extended harmony, such as:— cLOsE EXTENDED A “seventh” chord — known in dance music as the “dominant” — is identical to the “major” except that the seventh note of the scale is added and flattened. Therefore C seventh — written as C7 — is formed from the notes C, E, G and By, so; or again any combination (or inversion) in close or extended harmony bi cLosE EXTENDED A good illustration of these major and seventh chords is contained in that well-known “ busker ” “THE BLUES” The “Blues” which is a definite pattern in, music, is twelve bars in length, and follows an easily recognised plan in harmonisation. The “Blues” is nof as so many players (and listeners) think, indi- cative of a slow playing tempo. The speed can be fast, medium or slow. It is an improvisation on a given sequence of chords. These are the chord symbols and their sequence 1 2 3 4 5 6 ‘Now as translated into their musical components 1 2 3 Copyright MCMLIT by Francs, Day & Hunter, Lid. »paniabenFinally here is “The Blues” as a simple “ busker” solo, which I have written Uso THE MAIN Nores or THE Corps ONLY. “THE BLUES” IN G c 1 2 3 o 4 Now play my solo over so that you get the “feel” of it, and afterwards we will analyse it bar by bar. ANALYSIS Bar 1. Consists of the notes of the chord of C in their normal order plus an extra C. Bar 2. A simple variation of the main notes. Bar 3. Again, only using C, E and G, but this time the notes are an octave higher and staggered. Bar 4. Starts on an E, making an easy run down from the G crotchet in the previous bar, and finishing on Bp which is the “ seventh ”. Bar 5. Identical to Bar 1, except that in this instance the chord is F. Bar 6, There should be no difficulty in starting on the A, as you are already on the F in the previous bar. Actually this bar is just a run down in the chord of F major. Bar 7. Is nearly the same as Bar 1, only the rhythm is slightly altered. Bar 8. Just a little more variation of the main notes in this phrase, including a triplet run up to E. Bar 9. A simple run down in the chord of G7, only here I have omitted the B. Naturally you don’t have to use every note of a chord, it being left to your discretion, hence my omission, Bar 10. Almost identical to the previous bar, only this time I widen out the phrase, starting on the B instead of the G. Note, the B is now included. Bar 11. A simple but effective bar nevertheless, and proving that it is not always necessary to have complicated phrases. Bar 12. A neat and simple ending to the solo. PHRASE BUILDING I now want you to construct a phrase of your own from the chord of C, Usinc THz Mam Nores or tHe Crorp Onty. Vary the order as much as desired but maintain a good rhythm. Here are a few simple examples for your guidance using the chords C, Cz, F, G7. ‘CHORD of C =z eS z ie SaSaereee : Ss 3 ‘CHORD of C7 eae RDS Lid, 22747eo (You will find a series of Advanced Jazz Phrases at the end of this section, for study only.) Now, having made a phrase in C which sounds all right to your ear, sce if you can substitute it for the first bar of my solo, and see how it fits. ‘Then take the other bars one by one, using the same method of trial and error, until eventually you will have formed a solo entirely of your own. I fully realise that in asking you to build up a solo using the main notes of the chord only, you will at times repeat yourself. However, do not let this worry you; remember, you have only just started, and we will get to the more advanced forms of improvisation later on in’this book. Here are three very important points which I want you to bear in mind when building a phrase:— ‘A. Do not make a phrase with too big a jump in it from note to note as this will only cause confusion should you miss your note or mis-pitch it. There is plenty of time for you to take these liberties when your ear has developed sufficiently to get you out of trouble should you unwittingly fall into it. B. Whenever you can you should include the “seventh ” in a seventh chord. This will help to develop Your eat, and alo it will let you know exacly where you are should you be wandering from the C. Until you have mastered a nice tone, vibrato, etc., try not to end your solo on too long a note. Furthermore, you MUST KEEP THE RHYTHM FLOWING, which will also stimulate your imagination. By this I do not of course advocate a constant stream of notes, but do be careful and try not to finish ‘on semi-breves, particularly in slow numbers. There will no doubt come a time when, as you are playing your solo, you will suddenly feel that jst cannot think of anything ele to play. Now ths is a case where your memorising.of my Jazz Phrases will come in handy, so I want you to commit one or two of them to memory for just such an emergency. Finally do not expect startling results from these first few pages. My first object has been to vide you With a solid foundation. ‘upon which to build. Therefore, before we i ‘any further, please raally study and practise what you have just read. Especially try your hand at phrase building, using ONLY the chords already explained. if ® EXAMPLES OF ADVANCED JAZZ PHRASES CHORD of F *) CHORD of G7 Dat z a RD.& H.Ltd.aa727STAGE II In the previous lesson you were asked to construct phrases using the main constituent notes of the chord only. In this one, we will expand slightly the choice of notes, and include the “sixth” in addition to the others. When we talk of say C6, we mean the chord of C plus the sixth note of the scale, which of course is A. Therefore C6 consists of C, E, G and A. To show what changes can be made the inclusion of this note, and the greater scope it affords in creating your solos, I have re-written “ The Blues” using again only the main notes of the chord, but here and there inserting the sixth. This time we change the key signature to D, because this is the key which we shall use in the next lesson, hence I want you to familiarise yourself with the chords now. “THE BLUES” IN D Chord symbols and sequence:— Components:— (D8) (0) D Ld (cs) () The solo as it soup be written:— pe i (eu) (6tn) 2 3 D7 en 4 5 > 6 7 es (ain), (6) Sf yw De ow z (@n)_(om) Gs Now play the solo over as before, then we will dissect it and see exactly what has been done, only this time we will not take cach bar for observation, but only those whose rhythms vary slightly from former ones. RD.& H.Ltd 22747ANALYSIS Bar 1. A normal run up the chord of D plus the “sixth”. Bar 2, Again introduces the “sixth” finishes on the A, making an easy passage to the next bar, Bar 3. The first part is a simple run-up starting on the “third” (F#), and then follows a triple bringing you back again to the A. Bar 4. Quite simple this one, finishing on the “ seventh”. Bar 6. Note the effective use made of the triplets, starting on the “third” and the bar endin; with the “sixth”. Bar 11, Commences on D then a simple run-up via the “third” to the “fifth” and back again so as to get down comfortably to the A in the last bar and so finish the solo in the midi, register. To illustrate the do's and dont’s in the first section, I will explain how the solo should Nor be written and I have exaggerated all the points I want you to watch out for; sec if you can spot them, The solo as it sour Nor be written: Did you see the obvious mistakes? I hope so, because I would'like you to write down which bars were wrong and wu they were wrong. ‘Now check your findings with the analysis that follows:— ANALYSIS Bar 1. Much too big a jump from D to Fk. Bar 2, Again the triplet jumps are completely out of perspective. Bar 4. A most uninteresting bar. Bar 5. Similar to Bar 2. Bar 8. Triplets out of perspective. Bars 11-12 Very uninteresting, no rhythm. Always try and keep the solo moving, especially at the end. Now, let us rephrase the solo, using precisely the same notes, only this time they will be in a vastly different order and will show the great importance of keeping the rhythm flowing, The solo re-phrased: RD.& H.Ltd, azty8 I would now like you to try an interesting experiment; but first, let me give a few simple examples of phrases on chords used in the key signature of D, with only the main notes plus the sixth. _ CHORD of Dé ~ 3 (tn) SZ (6th) Eze = ESS] ~ (6a) ‘CHORD of D7 (ea) aS O.K.? Right. On to the experiment. Below I have written every other bar of “The Blues”, and what I want you to do is to fill in the missing bars. Use a pencil rather than a pen — you may change your.mind! “For the moment keep as near as possible to my own style; later on, you will be able to go as far as your imagination permits. ‘Therefore, use my phrases as a guide, then play over our combined solo and see what you think of it. 1 2 3 4 Once again for your study and help, here are further examples of Advanced Jazz or Swing Phrases using the same series of chords. Play them over and keep on playing them over until you can them fluently and easly, without their sounding strained or diguinted : “al EXAMPLES OF ADVANCED JAZZ PHRASES CHORD of D ps a ett =, tease eto 4s ‘CHORD of D7 ae eg Oe hee ese aS RD. & HL. 9797CHORD of G CHORD of a? Se > Pogo epee If proper attention and study has been given to the instructions up to now, you should be able to “ busk”, (if only slowly), “ The Blues” either in the key of C or D. Should there be undue difficulty in constructing some of your own phrases, then return to my examples and play them again and again. This book is not intended to be an ordinary tutor, but it should be obvious that it is necessary to have a certain amount of technique to enable a player to run around the chords and jump about at will all over the staff, I will include at this point four exercises which will help in your general playing, and will also be invaluable when it comes to faster Jazz playing. Exercise A is designed to take you by easy stages to the real Exercise B, therefore B must not be attempted until A has been mastered. ‘The same thing applies to C and D. When you have mastered all four they should then be played in the following keys D, Ep, F, G, A, and Bp. vy vy (a) v y Finally, go back to Page 1 and re-read and re-study Stage I and Stage II as a whole. RD& H.Ltd, 2278710 STAGE III From this point onwards, it will be noticed that some chorusesused as.examples are not written in the normal “ busking” keys. This has been done to afford greater familiarity with the various keys with which you will undoubtedly come into contact. In this lesson we proceed to examine that well-known “ busker” “Baby Face” in the key of D ; and here unlike “The Blues”, we have a definite melody, which can be incorporated according to wish, in the solo, It will be seen that in my version below, the melody has been emphasized in some passages, whilst in others it appears to be non-existent; the idea is to provide a good contrast and give colour. Chord symbols: 1 2 3 4 5 Components:— gars 1-4 x 5-10 pnw Er 13-14 a 15-16 eke a= = esi] ED&HLid. 22707ct As before, it is necessary to make a brief survey of the solo: ANALYSIS Bar 1. _ Is a straightforward start to the solo using the melody notes as dotted crotchets. Bars , 6 and 7. Show the rhythmic effect given by the use of dotted quavers, Bar 12. The dotted quavers here break up what would otherwise be a monotonous sustained note. Bars 23 and 26. Contain B minor and D diminished chords respectively, which will be explained later. Bar 29 Here the actual melody consists of two minims, but see what a’ difference is made, just by the splitting of the notes. Bar 31. Similar to Bar 2g except that instead of minims the melody is a semi-breve. It will be noticed that my solo contains many other notes besides the main chord notes and the sixth, but these extra notes will be examined at a later stage. My intention at the moment is to get your ear attuned to a solo containing odd bits of melody here and there, and to make you thoroughly acquainted with the formation of, shall I say, straightforward swing phrases. You have already had some experience of constructing a solo in the key of D, so now see what can be done with “Baby Face”, using the same method as before; that is, build your own phrases, keeping them quite simple, using only the main notes of the chord plus the sixth, and, as our “ busker” has a melody this time, ADD IN A FEW MELODY NOTES, where you think necessary until your own solo appears again. To help in this, here are a few more Swing Phrases, this time in B7, Ey and Fey, they are slightly more advanced technically: 7 CHORD of B7 _ fi io a0 fee eS ee oa CHORD of E7 z CHORD of F#7 RD B. Ltd. 297472 - — ‘As I have said before, I do not expect a first rate solo within this limited compass, but the fact that you may now insert a'few melody notes, should make an appreciable difference to your efforts. Again, should you be at a loss for a suitable phrase, see if it is possible to adapt one of mine, but do try now and phrase-build entirely on your own initiative. This isa sure way to give your passages that “ personal touch ”, besides ever stimulating the imagination. I now want to test your powers of perception again, and the following is a very simple chorus of “ Baby Face”. In it I have made several deliberate mistakes and your job is to spot them. 4 tS 2 - 3 ANALYSIS OF ERRORS Bars 3 and 4. Eight consecutive crotchets, making a most uninteresting phrase. This could have been avoided by the use of triplets or dotted quavers. Bar 12. Just a sustained note, which again should have been broken up. Bar 17. The same applies here as in Bar 12. The rhythm must be kept flowing. Bar 23. A rhythmic phrase based on the semibreve would have been preferable as it would have added much needed “ colour”. Bars 27 and 28, Monotonous repetition of a note, Other notes from the chord should have been included. Ik should be prety evident by now that the main thing in the eration of a solo, is an ability to be able to roam freely all over the chords which the number contains. So here again I have set a few exercises which are a little more advanced than those in the earlier pages to enable you to have a greater control and command of your instrument: as before, they should be played in the various keys. (a) - FD. H. Ltd.22797To conclude this section, here is a very interesting and entertaining poser. Underneath I give all the chord symbols contained in a well-known tune from which you are to construct your own solo. I will not give the title until the next lesion, as I do not want the melody line to influence your effort. So, go ahead, use nice simple Jazz Phrases, and do keep the rhythm flowing. Chord symbols of “ busker ”: MYSTERY TUNE 3 4 5 6 1 2 FDO HLLtd. 2271714 STAGE IV Well, did you recognise the chord sequence of our mystery tune? Of course it was “There is a Tavern in the Town”. Jn complete contrast to the previous sections we will devote the whole of this one to “ Busking ” Technique. To many players technique is technique, but to an experienced jazz player there are two kinds of technique. Firstly, there is the legitimate technique used in symphony orchestras, brass bands, dance band sections, etc., and secondly there is the “ busking” technique, which is totally different. Some people have both, some only one, and although I hope you are included in the former, it will not matter a great deal, as I hope the following exercises will do the necessary brushing-up. They have been specially designed to develop your ideas as well as flexibility, and if practised faith- fully, will definitely improve you in both these respects. Exercise x. Without Jazz Phrasin, Exercise 1. With Jazz Phrasing: Exercise 2. Without Jazz Phrasing: Zz Exercise 2. With Jazz Phrasing: FD.@H. Lid. 2279715 STAGE V By this time you should be getting an idea on how to build simple phrases, and how to play them in the modern manner. Up to now we have discussed only the use of the main chord notes, plus the sixth and the addition of a few melody notes. This time we include chromatic run-ups and run-downs, and other notes which “fill-in” a passage. With intelligent usage, you will be amazed at the scope these chromatics and fill-ins allow. To take a simple example; in that well-known “ busker” “ Way down upon the Swanee River” which I have written in Bp. ‘The melody in Bars 3 and 4 consists of the notes, Bp,, Bb', G, and Bb’, Now these notes are perfectly alright when played as a straightforward melody, because they are melody notes. However, when it comes to solo playing, a little elaboration is needed, i.e. Melody of Bars 3 and 4: ‘With ruins inserted: Tt will be seen, even in this simple example, the difference these extra notes make to the solo, so. whilst not overdoing them, chromatics, and fill-ins, can be inserted almost anywhere. Let us have the complete solo: Chord symbols: RD-& Ltd, 2278716 ee “ Swanee River”: BRIEF ANALYSIS Lead in to Bar 1, a chromatic run down from “ A” to the melody note“ D”. Bar 6. The melody here goes from ‘D’” to “By” in minims, See the difference our little run down makes, Bars 7 and & Here the melody is a C, held for 8 beats. By the use of dotted quavers and triplets we make quite an interesting two bars. Bars 31 and 32. Show how to finish the solo rhythmically where the melody note extends over seven beats. Now we come to constructing your solo again, only this time we shall do it gradually, for to insert the run-ups and downs does require a little imagination. What we shall do is this: I shall write the solo “Four Leaf Clover” (in C) leaving the 3rd, 4th, 7th, 8th, etc., bars blank. You have to insert the notes for these bars. Chord symbols: 1-4 5-8 9-10 1 12 F.D.& H. Ltd, ge7a7‘Components: cou RD.&H. Ltd. 22707 @ 1" Xn 2‘Are you grasping exactly what is meant, and how to put in these extra notes to make the solo effective and colourful? To proceed; I will now write the 1st bar and you the 2nd, grd and 4th, etc. 1 2 3 4 To finish the exercise I want you to make up your own solo entirely. Be careful not to overdo the extra runs, they are most effective when used sparingly and correctly. It will be noticed that I have confined these runs mainly to one register. This has been done to avoid possible confusion, but once ‘you have gained a little experience, by all means spread them out over a wider range. For example, in *Swanee River” the lead-in Bar r could go something like this:— Similarly, the run-up in Bar 1 could be:— ED&H.Ltd, 2271719 Here are a few more exercises designed to help your chromatic playing and general technique: 13 ED.& H, Ltd, 22707= foal, further examples of Advanced Swing phrases formed from chords in ria keys viz., Bp, » Ab, Dp. CHORD of Bb CHORD of Eb eee a pe x CHORD of Ab = ae z CHORD of Db i RDG HLtd. 20707a STAGE VI In this lesson_we will study another number in Bp to further im construction in this useful key. For it, I have chosen “ Chinatown ”. embraces quite a few melody notes plus all the types of phrase that w. notes, “ sixths ”, “sevenths”, chromatics and fill-ins. Chord symbols: prove your knowledge of phrase and you will see that the solo fe have so far discussed, i.e., main F.D.& W.Lta, 22707And here again is a brief analysis:— ANALYSIS Bar 1. Melody notes. Bar 4. The melody note is F semibreve. By starting from the octase F, we work our way down means of crotchet triplets, quaver triplets, then a chromatic run-down in semi-quavers to in the next bar, which incidentally is again a melody note. Bar 20. Notice the unusual effect obtained by the use of the “sixth”, G, although the melody is actually F. Bar 2. The last two beats show how a “ fill-in” can be inserted to keep the rhythm flowing in a bar which would otherwise have consisted of a sustained note. Bars 31 and 32. Demonstrate how an exciting finish can be obtained for the completion of the solo instead of using the melody note By for seven beats. It will be noticed that Bar 26 contains a “ minor” chord. For the purpose of constructing your ‘own solo, you must include this bar just as written, The construction of “minor” chords occupy a lesson to themselves and it will only confuse to comment on them at this juncture. For the remainder of the number, however, you are given a free hand, so fe ahead and make your solo as interesting as possible using various types of phrase, and remember, keep the rhythm flowing. A very good exercise, is to take a simple tune and “busk” it in a certain key; then try and “dusk” the same tune in as many keys as you can. This is invaluable training for expanding your chord knowledge in the different keys. With this end in view, I suggest that you try a number such as “John Peel”, starting with the key c Chord Symbols: Other keys I suggest are D, F, G, Bp, Eb, Ab and Dp Let me now revert to our earlier sections and try to show you what progress has been made. Here are the chord symbols of that old favourite “ Sweet Georgia Brown”, in G, upon which, I want you to build a solo, Chord Symbols: FLD. H.Lta. 22747And here is my version, Prove very informative. which T wish you to compare with your own. This comparison should FD. HLA. a7t7a STAGE VII When playing you have no doubt noticed that some phrases and melodies have a sad and plaintive atmosphere about them. This is most likely because the phrases are based on minor chords, or because the melody is in a anor key. ‘A minor chord is identical to the major, with one exception; the “ third ” is flattened, so producing the mournful effect. For example. C major consists of the notes C, E and G, but C minor, written as Gm, consists of C, Ep and G. ‘A similar principle applies to “ minor sevenths”, i.e., C7 chord is made up thus: C, E, G and Bp, and Cmy has the notes Bp, G and By To illustrate some of these minor chords I have chosen “ Dark Eyes”, as follows: Chord symbols: 8+ 27 Zn en ANALYSIS Bar 1. Shows the pleasing effect to the ear, of fillins which command attention. Bar 5. _ Is a very simple combination of melody plus a phrase in B7. Bar 8. Contains the notes of E minor pure and simple in their normal order. Bar 7. _ Consists of the same notes as in Bar 8, but in reverse order, preceded by the melody note Fg. When building a phrase in the minor, remember to include the “ minor” note of the chord, that is, the flattened “third. F.D.@H.Lid.a2717‘There is a list of phrases in minor keys for study, at the end of this section. If you examine them carefully it will be to your advantage, because continual examination must automatically make one familiar with their note formations, so, very little effort will be required, when asked to construct a phrase ata moment's notice. Further, they, are very. good sunrrinac example, showing the way teiples, dotted quavers, semi-quavers, etc., can be used with good effect to produce richness and colour. Should you come across minor chords which I have not illustrated, such as Fm, there is a simple method to adopt. Take a phrase in Fm and raise it a semi-tone, which will give the required phrase. ‘Actually the use of the minor is fairly well restricted, but it is essential that you familiarise yourself with the subject and the following examples: A MINOR G MINOR yD Zz © MINOR = F MINOR +) E MINOR B MINOR b, a F.D.@H Lid. aa7t7STAGE VIII As augmented chords only occur now and then, it is not necessary to spend too much time on them, nevertheless you should know something about their construction. An augmented chord is recognised in that the fifth note of the chord is sharpened, ie. D major “is D, Fg, and A, therefore D augmented (or D+) becomes D, F¥ and Ag. Actually, there are THREE augmented chords in each key:—Root, rst inversion, and 2nd inversion. The Root of any chord starts on the key-note or tonic, in this case D, 1st inversion on F¥ or third, 2nd inversion on Ag or fifth. Reference to the following list of Augmented Chords. will make this quite clear. It will be seen that the chords Ci and F¥ are given with alternative flat keys. These are known as enharmonics, and although the written notes are different, the sounds are the same. List of Augmented Chords: Caug Daug Faug Gaug tee 2 This list incidentally, is only for your reference; once the notes which make up the THREE chords are known, you will be able to relate them to any augmented chord given. I have not included a series of phrases on these chords because there should be no difficulty in con- structing your own; just remember that in an augmented phrase, always include the note which AUGMENTS the chord. So in D augmented the Ad would obviously be included. There is one other kind of chord that is occasionally met with this is the pnamsuep. It consists of four notes, each note being spaced three semi-tones away from the next. This chord also comprises Root, pit inversion and and inversion. For example, C/ diminished, or as written Co, consists of C, Eb, Gp, A. Similar to the augmented, you will not encounter this chord as frequently as the major, seventh and minor chords, but again a knowledge of them is essential for chorus playing. List of Diminished Chords: Ch dim(or Dbdin) ALS} Cdim Ddim Ebdim| FD.&H.Lid. gazeYou have now been given examples of all the various types of chord that it is necessary to know. Sometimes you will come across others such as Cg, etc., but in these cases it is quite permissible to play the ordinary C major chord for simplification. Remember to keep your solo moving and be careful not to fall into the trap of making it from INpIvipUAL BARS. By this I mean each bar may be good on its own, but, when put together, they may not link-up but sound disjointed. For example: Another thing which strikes me is the tendency some players have of keeping too much to the middle or top register. For instance: On the other hand a sudden switch from the bottom register to the top by means of a gliss. is similarly effective. ss 2 One other point, when playing a chorus, always remember the next soloist’s entry and leave room for his lead-in. Our * busker” this time is “She's Funny that Way”, which makes great use of minor and aug mented chords, and a careful study of it will be to your advantage. FD. @ H.Ltd. aa7t7Chord symbols: eh shh Cee ee Be, + E Crem 1 OF 4 Fonin Ar mcr iy 1 Bomar ey Bigeye eer Ce oe Ebi ea i Boon Peal Emo Arm (1 1 Coma 2) 1 za ee ee &, ert Co Ga Gl) Gra. Can Bey | - et fag Eh ae: eae = ee i teh oe Eb / Qb+ Ee ae Brave C# Coma a zs Be 1 Abin a F.D.&H.Lid.a27e729 STAGE IX In this section, T deal with a subject which has had little mention by any other teacher or book; namely excrmmo Leap-ms. By this, I' mean the bar or part of a bar which usually precedes the story of the “hot chorus”. I need go no further than mention that most of the leading American stars use a lead-in for their solos which is usually very exciting, especially in fast numbers. “As the value of a good start cannot be overemphasized, I have given the lead-ins for eleven well-known “ buskers ”, and as before, I will proceed to analyse some of them. Study them carefully. In every case I have commenced the ACTUAL soLo on the melody note. This means, therefore, that the lead-in must either run up or run down to this note. The result should be a nice rhythmic phrase, not a disjointed note or two, and interesting enough to command attention for what is to follow. Whatever you do, don’t play the same type of introduction in number after number, the main thing is to get variety into the rh Examples of “ Lead-ins”: SHE'S FUNNY THAT WAY a z BABY FACE SWEET GEORGIA BROWN _ YOU WERE MEANT FOR ME TM LOOKING OVER A FOUR-LEAP CLOVER ‘BROADWAY MELODY 73~ WOULD YOU LIKE 70 TAKE AWALK IT AINT GONNA RAIN NO 40° KNEE DEEP IN DAISIES » tre SS ==: — pf IT HAD TO BE YOU 3 a 0 BYE-BYE, BLACKBIRD FD.@H. Lid se7e730 ts STAGE X T do not think a course on “ busking” would be complete without giving a brief insight into the very advanced form styled “ Bop”. Naturally I cannot go into this subject thoroughly, here at the end of my book, but I will endeavour to give you an outline. First, here is an oRpINARY version of “Broadway Melody” (Chord Symbols) : L t a 3 & is And here is the same number re-written in Bop idiom. “Broadway Melody” (bopped version):BRIEF ANALYSIS Bar 1. Accents play a very important part as shown here. The first part of the bar consists of QREIARY quavers, ot the usual dotted ones, and the bop effect is obtained by accenting the and and 4th notes, the 1st and and’being ghost notes, that is they are hardly soundect Bars 3 and 4. Previously T have always said that the rhythm should be kept flowing, However this does not apply to bop phrasing as can be seen by the sustained GC. Bar 7. The reverse of Bar 1. Here the rst, grd, sth and 7th notes are accented, the 2nd, 4th, 6th and 8th being the ghost notes, so giving a contrast from Bar 1, Bar 10, The melody is A and ©, the chord F, but see the effect obtained by using the 6th and major 7th, D and E. Bars 31 and 92, The number actually finishes on the melody note F, but we descend from the oth to the major 7th, returning to the gth and finish. ‘These examples show that in ‘“ Bop”, one can depart from the normal order of chord construction, Therefore, when trying a chorus for yourself, remember the ACCENTS and sEMI-QUAVERS. "Thon put ina NinTH and a FLATTENED rirrH here and there, and see what it sounds like. finally, here is a bop chorus of “The Blues”. If you compare it with the ordinary version you will see the way the “bop” effects have been obtained. “The Blues” (bopped version): 1 2 And now dear friend, my course of study ends. I hope there has been much to interest you, and Girt that you will be able'to look forward to the future with confidence, for he whe has acquired the art of “ busking” is well on the road to success, FD. @ Had. savyBAA aa A