B: Edition for TRUMPET, TENOR SAXOPHONE, CLARINET mntermedtusle ae ena” All DUETS CONTENTS AHTYAH Blues for All of You Curtain Call Departure Fifth Ave. Doll Lo Bastante.. Lonely Lullaby Stellar World Sweet Bird T.LW. (Dedicated to Dean Earl) ‘Two Birds in Flight ‘Two Part Invention Variations on a Theme by Green Special thanks to: Berklee College of Music for providing recording services (© 1997 WARNER BROS, PUBLICATIONS ‘AU Rights ey cpa, or arangerant ofthe compasions caedin aesn ure rn cn of eRaht ‘No pat ofthis book maybe photocopied or reproduced i any way without pemisin. LUnauboraed wes ae an rgerent ofthe Us. Copyright Ac and ar pal by owIntroduction These duets, with accompanying CD, are designed to provide instrumentalists of all ages ‘an opportunity to play music in a variety of jazz styles. The chord progressions have been patterned after the Blues, standard songs like “All The Things You Are,” Body and Soul” “Stella by Starlight,’ I've Got Rhythm,” etc. Some of the duets are based on chord pro- gression of tunes such as “Lady Bird,” “Yardbird Suite” “Caribe, “Tune Up” and “Park Ave. Potite” written by such jazz performers as Charlie Parker, Wes Montgomery, Miles Davis and Benny Golson. They have been written in a way that provides great flexibility in their use. The instrumentation and personnel on the CD are as follows: By Clarinev/Bt Tenor Saxophone — John LaPorta Guitar Rick Peckham String Bass Christian Bausch Drums Joe Hunt The CD was designed so the duets can be heard in their entirety or used in play-along situations. Open sections with rhythm section comping provide abundant opportunity for improvisation. ‘These books are published for the following instruments: C Treble (Concert) Flute, Guitar, Violin, Vibraphone and Conductor 8 ‘Trumpets, Tenor Saxophone and Clarinet & Alto Saxophone, Baritone Saxophone C Bass ‘Trombone, Acoustical and Electric Bass Additional combinations can be made by using pairs of the above books. Each tune is in the same concert key in each book with transpositions being made to match the key of each particular instrument. For example, an alto saxophone player and trombone player desiring to play duets together could do so by having the Alto play the top from the E> book while the Trombone plays the bottom line from the C bass book. They could also reverse parts if they 80 desire. This could be done with any combination. Chord symbols are provided for those who wish to improvise and space is provided on the CD for that purpose. The duets can also be performed with a live rhythm section (Piano, Guitar, Bass, Drums). The Piano, Guitar and Bass players will have to read the chord symbols in concert pitch to accompany the duet instruments. Chord symbols in concert pitch are provided in the C Treble and C Bass Clef books. Procedures for extend- ing each of the tunes for improvisation purposes can be found with each tune. A thorough reading of the Practice/Rehearsal Procedures section that follows will give fur- ther insight as to the various ways these books and accompanying CD can best be used.PRACTICE/REHEARSAL PROCEDURES ‘The music in this text and on this CD offer a number of possible uses. A detailed explana- tion of the various methods for use of the Jazz Duets follows. CD FORMAT The CD features performances of the duets for listening purposes, “Music Minus One Play-Along’ attributes and sections for improvisation. Do the following for full use of these possibilities. For complete performances of the duets, maintain the balance knob in the upright position. By doing this, you will hear the A parts played by clarinet or tenor saxophone and the B parts by guitar with bass and drum accompaniment. For play-along purposes, turn the balance knob to the left or the right. This will remove one of the parts so you can play that part along with the recording. The rhythm section, guitar, bass and drums, have been recorded so that you will be able to improvise in the solo section regardless of the position of your balance knob. SOLO PRACTICE PROCEDURES Listen to the complete recorded version of the duet you wish to practice. Focus on the A line. Practice the A line on your own. For sight-reading purposes, pick tempos that will allow you to play through the A line without stopping. Work out trouble spots, pay attention to dynamics, articulation marks, accents and ghost notes, etc. When you are ready to play it at the tempo on the recording, set your CD player so that you can play the A line in unison with the part on the record. Note: Learn to play together with the tape so that your part and the part on the record are as one. ‘Turn the balance knob so that you can hear the B line and play the A line with it. Read the Improvisation Format at the bottom of the page and play through the entire duet improvising in the solo sections. Duplicate the above procedures when working on the B line. DUET PRACTICE PROCEDURES 1. Two individuals playing like instruments can derive a great deal of enjoyment in playing these duets together. (Only one book and CD is necessary for this.) Listen to the complete recorded version of the duet you wish to learn with the balance knob centered. Focus on both A and B lines. Practice the A and B lines on your own, Play through the entire A section together until it can be performed with accuracy. Do the same with the B section. (Unison playing helps define rhythmic and melodic shape as well as gain insight as to musical content in both parts.) Divide - one player plays A while the other plays B. Reverse parts. Play both parts along with the record and try to blend in with them. Read the Improvisation Format at the bottom of the page, divide the solo section and play along with the entire duet. Note: These duets can also be played by unlike instruments which sound the same pitch when reading - piano and vibes, violin and flute, flute and guitar etc. (Guitar sounds an octave lower than written but this has been considered and should not be a problem, 2. Two playing instruments which sound different pitches when reading the same note can also play the duets in the same manner as above, provided that they use books corre- sponding to their instrument, i.e. - flute must use the C treble clef book while Bb tenor saxo- phone must use the Br book.SOLO OR DUO WITH RHYTHM SECTION ‘Any melody instrument can play A section of any of the jazz duets with a rhythm section (piano/guitar, bass and drums) as long as the proper books are used. If necessary, copy the chord symbols (from the C books) for the bass and guitar and allow the drummer to see your part so that he or she can keep track of the form of the duet being played. Note: Follow the instructions provided for improvising that accompany each jazz duet. Any two instruments can play the A and B parts with rhythm sections by following the instruc- tions provided for improvising with each jazz duet. Note: When two or more soloists are involved, it will be necessary to pre-determine the order of soloists, Note: If unlike instruments are involved, it will be necessary to acquire a set of C trebleclef, C bass clef, Bb and Eb books. REHEARSAL PROCEDURES FOR JAZZ WORKCSHOP 1. Any combination of melody instruments without rhythm section can be used (6 to 10 would be the norm.) The rehearsal procedure recommended is as follows: (@) Listen to the complete recorded version of the duet you wish to learn with the balance knob centered. Focus on both A and B lines. (b) Turn the balance knob so you can listen to the A line alone, then turn it in the opposite direction to hear the B line by itself. (0) All instruments sight-read through the A section then through the B section in unison. (d) Work on trouble spots - then perform it throughout. (©) Divide the instruments equally into two sections - one playing the A section while the other group plays the B section. () Work on trouble spots - then perform it throughout. (g) Reverse parts, work on trouble spots - then perform it throughout. 2. Any combination of melody instruments with rhythm section can be used (2 to 4 melody instruments with Rhythm section would be average). Work on thematic material in much the same manner as directed above. Also, using the CD as a guide, work on rhythm section problems such as developing a good group time sense, bass lines, piano/guitar comping, etc, (@) Follow the procedures suggested for extended improvising that accompany each jazz duet. Note: If you have piano and guitar, avoid comping problems by having them not play backgrounds for soloists at the same time.15 INTERMEDIATE JAZZ DUETS By John La Porta CD TRACKING SHEET 1. Tuning Notes - A - 440 2. Two Part Invention in C Major 3, Lo Bastante 4, Man to Man 5. Sweet Bird 6. Fifth Ave. Doll 7. Sosap On Tap 8. T.LW. (Dedicated to Dean Earl) 9, AHTYAH 10. Lonely Lullaby 11. Stellar World 42, Variations on a Theme by Green 13. TWo Birds in Flight 14, Departure 15. Blues for All of You 16. Curtain Call John LaPorta has had an illustrious career in music as a performer, teacher and compos- erfauthor. After his training as a woodwind specialist at the Manhattan School of Music (New York City), he performed with Woody Herman, Herb Pomeroy, Charlie Mingus and their jazz groups. He has recorded with all three bands and with Dizzy Gillespie, Kenny Clarke, Donald Byrd, Phil Wilson and the historic jazz group, the Metronome All Stars. Mr. LaPorta has taught jazz courses at the Manhattan School of Music and, since 1962 at the Berklee College of Music in Boston. He is a nationally known jazz clinician, having appeared at the National Stage Band Clinics, and MENC (Music Educators National Conference) and NAJE (National Association of Jazz Educators) conferences at both the state and national levels. His compositional credits are numerous with jazz arrangements and compositions in the Herman, Pomeroy and Mingus libraries. In addition, he has written texts in both the Kendor and Berklee Catalogs, including a GUIDE TO IMPROVISATION, DEVELOPING SIGHTREADING SKILLS IN THE JAZZ IDIOM and DEVELOPING THE SCHOOL JAZZ ENSEMBLE, a work containing 22 volumes. ‘Mr. LaPorta is listed in “Who's Who in American Music” (1983) and “Who's Who in International Music” (1984), and is a member of ASCAP and NAJE.“Two Part Invention in C Major” Form-Through Composed Med. Suing by John LaPorta pm? so qn” cr Dm? . emi? e IMPROVISATION FORMAT (4 CHORUSES) ‘st chorus-Play the A written part through the half note inthe 1st ending. Improvise on the rest of the 1st ending and continue through the 2nd and 3rd choruses. Use the chords and melody as your guide. After the 3rd chorus-Play the A writen part and take the 2nd ending. 'Note-When performing this again-dupicate the above, playing the B themes. Copysght © 1989 by STUDIO 224, c/o CPP/BELMIN, INC, Miami, Florida 33014 International Copyight Secured Magen USA. ‘All Rights Reservedemit (ba) he _ A A > € ab esi arb) Bri? e7(b) en? ant) 10) fi ne SES ors De pelt esi?“Lo Bastante” Form-Minor Blues-12 measures AAB by John LaPorta 4. ——— ent) wee oT wah @ IMPROVISATION FORMAT (8 CHORUSES) ‘1st & 2nd chorus-Play the writen part through the 2nd ending (A24) rd, 4th, 5th and 6th choruses-improvise using the chords and melody as your guide. Aer the 6th chorus-Play the A written part tothe Fine in measure X10. 'Note-When performing this again-dupicate the above, playing the 8 themes. Cepaine © 1909 by sTuDI0 224 clo crPELIN INC, Mim Fist 33014 Intemational Copyright Secured Madea U3. ‘A Rts Reserveden - Br ; » coma? FE alt) pms) ae) HO) | grilorsind —— aS X) oe tty etc” br (ba) Fs) see ge, gms! Be” __ ast &, qs’ (eH) oat Sas FINE“Man to Man” Form-Three Part Song-AA’BA’ by John LaPorta Medium cy ae Oc . am? mT gt pri? > @ IMPROVISATION FORMAT (6 CHORUSES) ‘1st chorus-Pay the A written part to the tied half note in measure AS2. ‘Tacet the rest of the notes in that measure. (Play them only on your final chorus.) Improvise though the 2nd, Sa, hand Stn choruses, Use the chords and melody a8 your qui. After the 5th chorus-Play the A writen part to the Note Wher perorming ts agehrcupleas he above, laying ths B theres. 2zgihs © 987 oy srun.o 24, co cepa INC, Man Fae 33014 Piette ama Mite ada oa@% ©) ye) . a (o) by (D7) mo py? @? | in, a) cio fF m % aw qo e % % ers at) Pic ne NAST Time ONLY.“Sweet Bird” Form-Three Part Song-AA’BC by John LaPorta Med. Swine IMPROVISATION FORMAT (6 CHORUSES) ‘st chorus-Pay the A writen part through measure A32. Improvise on the 2nd, 3rd, 4th and Sth choruses. Use the chords and melody as your guide. Aer the Sth chorus-Play the A writen part tothe Fine. Note-When performing this again-duplicate the above, playing the B Ther opt ©1789 sTIO 4 oc INC Mam 01 insemtidnd Copyaghisecue. Side ints Reeda Fee cet : » en 3” @ D Gal a’) (nc)“Fifth Ave. Doll” Form-Through Composed-32 measures by John LaPorta pri? area) —_— area) Gwrny es) roo eS Es oad i? eo pr (a) 6 » a a oe) ee ero wo IMPROVISATION FORMAT (4 CHORUSES) ‘st chorus-Pay the A written part through measure A31. Begin improvising on measure A32 and Continue through the 2nd and 3rd choruses. Use the chords and melody as your guide. ‘Aer the 3rd chorus-Play the A waitten part to the Fine. 'Note-When performing this again-duplicate the above, playing the B Themes. Comyn © 1989 by STUDIO 224, clo CP/BEL IN INC, Miami, lads 32014 Interatonal Copynght 8 ‘Rights ReservedDe Ges) eMes) BOD pei? 7 e G04) cent omit > gon chi omsit Gy Brat cist) emiz gels) mir gg ‘is 7 fod Ces: emyren) grt - td 7 (mai) cF cas emir) e7-4 Beit et) os) yey tenor = te % a Bho ene > Hl ¥ = ert) e740) zn) C | am 3 ni ‘ : | Be Pt le ® quits 2y Bre aon pila) ergo . prim) anne, gn) Let si (aj 2). DI a) " > yi wen 474) primi) gt) Bie eres] ani ety) Gn? x) 1 a oe ee ai) ae | ant a ba16 “Scrap on Tap” Form-AABA (Coda) by John LaPorta en? > an? yoo prteay oa) 4 er Og Bs? BT Bb? prt) * ec) IMPROVISATION FORMAT (6 CHORUSES) ‘st chorus-Play the A written part through measure A3O. Improvise on the solo break in measure A31 and A32. Continue through the 2nd, 3rd, 4th and Sth choruses. Use the chords ‘and melody as your guide. AMter the 5th chorus-Play the AA written part to measure A30 and go to the Coda, Note-When performing this again-duplicate the above, playing the B themes. omyignt © 1989 by STUDIO 224, lo CPR/BEL WIN, INC, Miami, Foie 32014 Inertial Copyight See "A Righs Reserveda B pi? 7 ffi? 7 re : € eb oe aos) Be oD! a em? a D ev” > pro prea) 5 , ans . qn? A $ a q [en Boe ee) ] cro]18 “T.L.W. (Dedicated to Dean Earl)” Form-Three Part Song-AABA’ by John LaPorta Menwum fast D ct SP Joni emt 7 2 “7 it fy) pte CH ses) ee BT € ar) ” 2 De Home IMPROVISATION FORMAT (6 CHORUSES) 4st chorus-Play the A written part through measure A32. Improvise on the 2nd, 3rd, 4th and Sth ‘choruses. Use the chords and melody as your guide. After the Sth chorus-Play the A written part to the Fine. Note-When performing this again-duplicate the above, piaying the B themes. Copy ight ©1989 by STUDIO 224, c/o CPP/BELWIN, INC., Miami, Florign 33014 Inernzional Copyght Seomed Maden USA. “A Rips Reserved19 ‘ sg 2 er ee art Fe | en an? = w B Be gale t emt :. ' Eb) gre peas (e *) pe) €" — #) @20 “AHTYAH” Mon. ume Form-AABA Ext. by John LaPorta Gui? Coit? Ff Bhmaj? Boaaj’ &b Emi? v D Q bmt eon, fing eC) Anal! aps © 989 oy STUDIO 22, clo Cn/BELTN INC, Mam Flags 32014 Intemational Copyrght Seesred gts ReseCo? P & Comite) + Fine. (ayi708) prlt) IMPROVISATION FORMAT (4 CHORUSES) ‘1st chorus-Play the A written part through measure A31. Improvising on measure A32 and continue through the 2nd and rd choruses. Use the chords and melody as your guide. After the ‘rd chorus-Play the A writen part to the Fine. ‘Note-When performing this again-duplicate the above, playing the B themes.22 “Lonely Lullaby” Form-Through Composed-32 measures Mon. by John LaPorta fini B a can) oa IMPROVISATION FORMAT (4 CHORUSES) ‘st chorus-Play the A written part through measure A32. Improvise on the 2nd and 3rd choruses Using the chords and melody as your guide. After the 3rd chorus-Piay the A written part to the Fine. Note-When performing this again-duplicate the above, playing the B themes. onyiaht © 1989 vy STUDIO 224, clo CPP/BEL WIN INC. Miami, Fosida 33014 International Copyright Secured "AU Rips Reserved23 i i * pee Be Sat ten. ans) cro) ew antes) Qs) Fm a Boni ay . % cr as (ast Tine fad fT crlbs) i Cust tine_O ale* “Stellar World” Form-Through Composed-32 measures Sune 2142-456 by John LaPorta ce woo @ i é === ==! Z 7 . mf <= a Grit . 7s) fe Bb? Qc : Fags 37 ene cmt 7(b4) cm? gro) IMPROVISATION FORMAT (6 CHORUSES) ‘1st chorus-Play the A written part through measure A3O. Improvise on the solo break in measure A31 and A32 and continue through the 2nd, Grd, 4th and Sth choruses. Use the chords and melody as your guide. After the Sth chorus-Play the A written part to the Fine in measure ASO 'Note-When performing this again-duplicate the above, playing the B themes. apy © 989 STUDIO 2, CHBELWIN INC, Mil Fade 32014 snieal Copype “ Tiga Reseed