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CONTENTS
Intrc'duction
S e c t i o nI . . . . . . -
Strawberry Jam
Doobee.. 10
Good Old Maggie
Flugr:way
EvemingSunset 13
Soaring
.'eribChimP "';""' 14
Spiral
Crawlin'Blues.
15
Section II
BluesforaChange """'26
XHuottDays. """7t
-.. - -. " "11, \$tippin. " ' t " " ' ; " " " ' " " " 2 7
BigFootBossa- --../"q4fu'-' """ " '28
NightMood
RomanGlee- """29
't'Holly Fou f{ ,o K o k o m Jo o e . . . -....;'.i"','r"1""""""'30
-- . . 2 1 Maybe Next rime ... -.. '. Jliv+ht M.** 11
GreenBossa. "A" -' . . . . . .
/Lt'Jj ,720*":g!,1^+l!*V' u' " - -Cl Cochise -'**M ""32
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MutltonStew.. i:f?r' ":'" L" ".f
.---" ' .}.$J.4: ....2r The Third Kind
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M yl - i t t l P 4 eo t'@""* - _24
BehrpBabY. " a;i:
.""Y-'j Tahoe
TripodRevisited'
36
SectionIII
37 Flora and Fauna . . -
Blues...'
Dan''s 48
v5DOorv
/\'
r SurelYWe.. ' 50
39 Doozee
Kee BoP 51
- The Kook
LittleOldSoftY """"':
^{bnc"UponaTime. '""\ SleepyLulu. .
'>{-lra's;
Tune Que Bossa g
Ripper
43 {Magic Morning
Gotcha
Evening
TheFifthMinor ..."""";
LeapYear ."""|1' .(.:'.7.'.....46
58
Section IV
Waltz -
Prirnaf Prayet 70
Double Bridge
Elf Dance 71.
Jive in Five ..
Sillry . ...""i" 72
S e eS a w
HellpYourself..- ..-.""''
Seagulls
SoulMates. '.
The Plywood SheeP
Scooter 75
Captain,MaY | .
Lorneliness 76
Gotta HurrY
Ser:onds.
SambaDeesBlues
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Appendix'..
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77
. APPENDIX.
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S,cale Syllabus (arrangedin order of need)
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Scale choice Example
It Chord familY Function
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The purpose of this book is to provide resource materialsfor the study of improvisation,either
individuallyor in a classsituation.The tunesincludedherearebasedon typicalkindsof chord progressions
found in many jazz standardsor on specialtypes of progressionsthat havebeenfound by the authors to be
valuablefor study.The melodiesare designedas typicalexamplesof melodicmotionthroughvariouskinds
of harmonies.Thesetunes have been used in classsituationswith good successfor severalyearsbefore
arriving at the final decision to include them here. Many tunes which proved ineff.ectivefor study were
discardedand are not included.
The book is dividedinto four sectionswhich relateto four semestersof improvisationstudy as it is
structuredat North TexasState University.However,in eachsection,someof the piecesmay be optional
dependenton the abilityof a givenclass.Also, by assigningonly certaintunes,the book can easilybe used
for courseswhich spanonly one or two semestersas well. An individualworking with the book will probably
be able to make his own choicesas to which tunes challengeand interest him.
Generallyspeaking,the tunes are arrangedin order of difficulty.This is especiallytrue in the first two
sectionsof the book. In the earlystages,it has beenfound that the most solidkind of growthtakesplaceby
proceeding through certain kinds of problems in a rather specific order. Later in the book, in sections
three and four, it is often hard to say which tunes are more or less difficult since each may present quite
different kinds of problems.However, an individualor classwillprobably find that movingthrough the book
in chronologicalorder produces the best results.
It is the authorshopethat, by providingstudentswith tuneswhich haveaccuratechord chranges and
melodies,an important need will be met in the area of It
improvisationalmaterials. is alsothe authors desire
that students in educationalsituationsfeel tree to use any of these tunes as vehiclesfor writing and
performance(with publisher'spermission)as long as there is no financialgain realizedthrough said use.
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The following example shows that C Dorian, C Mixolydian and C lonian scales:
of the most
The fifth category of tunes also introduces the II-V-I progression in a major key, one
comrnon of all jazz chord progressions'
mode is firmly
Students should stress diatonic playing (free ofchromatic embellishment)uniil each
then chromaticism
fixed in both their minds and their finslrs, O-ncethe tones of a particular scaleare set,
the harmonyfor
may be used sparingly.It is also imporiant to stressthe 3rds and Tths of chords to identifu
the listener.In addition,certain chord (scale)tones also iequire care in handling:
scaieif the 4th
1) The 4th scalestep should move stepwiseto the 3rd or 5th in a mixolydianor ionian
isn't susPendedin the chord.
Z\ The 4th scale step may be stressedif it is suspendedin the chord-
than the root'
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by Dan
For more detailedinformation concerningscale use,refer to ScalesFor Jazzlmprovisation
Haerle, also published by Studio P/R, Inc. Also refer to the appendix of this book'
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