BIG BAND

S I T T I N ' I N

jazz ensemble play-along

Page# Demotra c k P l a y-A l ong t r a c k
Vehicle 2 1 2
Sax t o t h e M a x 4 3 4
N u t c r a c k e r Ro c k 6 5 6
Resta l a t ina 8 .7 8
NowWha t 10 9 10
Goodby e M y H e a r t 12 .11 12
TwoandaHalfMen 14 13 14
BurritostoGo 16 15 16
Drummin Man 18 17 18
Sw i ng i n Sh anty 20 19 20
Pl a y T h a t Fun ky M u s i c . . .22 21 22
P e r f orm a n e Not es 24

H o w t o Us e This B o o k

Each arrangement has t wo CD tracks:

1) Demonstration track. The bass part is in the mix. Listen t o how your part
is played by professional musicians t o copy the style, rhythm, attack,
phrasing, articulation, feel, style, and rhythm section blend.
2) Play-Along track. Your part has been taken out of the mix. You play-
along w i t h the big band.
3) See page 24 for Performance Notes.
4) There is a two-measure count-off click at the beginning of each play-
along track.

Alfred Publishing Co. Inc. thanks the studenti of

Mary Ward Catholic Secondary School Jazz Ensemble, Toronto, Canada,
John Volpe, director, Vince Gassi, assistant director, and photographers Jackie Fong and Jermaine Ong.

Alfred Publishing Co., Inc.

16320 Roscoe Blvd., Suite 100
P.O. Box 10003
Van Nuys, CA 91410-0003
alfred.com

A Division of ALFRED PUBLISHING CO., INC.

AH Rights Reserved Including Public Performance

Any duplication, adaptation or arrangement of the compositions contained in this book requires the written consent of the Publisher.
No part of this book may be photocopied or reproduced in any way without permission.
Unauthorized uses are an inf ringement of the U.S. Copyright Art and are punishable by law.

ISBN-10: 0-7390-4518-0
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 PERFORMANCE NOTES FOR BASS
Playing bass in a big band is challenging but very enjoyable. Here are a f ew tips for play-
ing bass in a big band:
• Practice w i t h a metronome. The bass player should establish a solid time feel and
rhythmic groove for the entire jazz ensemble. Be the rhythmic rock!
• The bass and drums must work especially dose. In rehearsal, position your bass and
music stand so you can clearly see the director and clearly see and hear the drummer.
• Slash marks indicate t o create a bass line or t o continue in the same style.
• Become skilled reading wri t t en notes, chord changes, and constructing bass lines.
• Creating bass lines is a unique skill for a jazz bass player. A bass line consists of scales
and arpeggios, chromatics, non-chord tones, and chord inversions. If in doubt, play
the notes in the chord or scale wi t h the root on beat 1. Listen t o the demo track for
examples.
• Typically, when playing a variety of big band music bass parts, the music may specify
either electric bass or acoustic bass. If you play only one instrument, then learn t o ad-
just the tone of the bass, the amplifier and your technique t o sound realistic. Listen
extensively t o examples of acoustic and electric basses for reference.
• To approximate an electric bass sound wi t h an acoustic bass, begin by setting the
tone controis on the amplifier t o the mid-point and then adjust gradually as needed.
The same is true for an electric bass t o approximate an acoustic bass. It won' t be
ideal, but strive for a realistic sound.
• Generally in a big band chart, wri t t en out parts w i t h no chord symbols indicate the
part t o be played as wri t t en. When there is only chord changes and /or slashes, then
create a bass line based on the style of the arrangement.
• An import ant factor in a wa lking bass lines is note length. In general, try t o make
the notes played long and legato. Avoid making a space between the notes because
this creates a very thumping, disjointed sound.

There is a two-measure count-off click at the beginning of each play-along track

Vehicle:
1) A rock style chart, this one will sound best with an electric bass sound. Dig in and play more
aggressively than usuai and strive for a brighter sound, but don't overdo the volume.
2) Take a look at the rhythms in this chart. Some appear complex but will become comfortable
with repetition. Strive for extra clean technique to give a pointed attack to the notes. Listen
to the demonstration track.
3) Measure 65 is a rubato trombone solo. In 66, the drumset plays a fili in-tempo to bring you
in for the last two measures.

Sax t o t h e M a x :
1) This chart calls for a swing groove and preferably an acoustic bass sound. Play the quarter
notes smoothly—avoid a space between notes and a thumping sound.
2) Swing this bass part. Drive the tempo but don't rush—lock in with the drummer's ride cym-
bal.

N u t c r a c k e r Rock:
1) Although this is a rock style chart, either electric or acoustic bass will sound fine.
2) The marcato or rooftop accent ( ) is played detached but not staccato.
A
Fiesta L a t i n a :
1) This chart will work with electric or acoustic but if you have a choice, go with electric.
2) Accurate time is super criticai in a Latin chart and usually is dependent on the bass part.
Always practice with a metronome.
3) At measure 49, listen and match the articulation with the other instruments.
4) The repetition is what builds the intensity of the Latin groove—stay focused and maintain
energy throughout.

N o w What:
1) An acoustic bass sound is best on this chart.
2) The introduction requires the specif ic written part then swing at measure 26.
3) Vary the bass line if desired, but keep it logicai and musical.

Goodbye M y Heart:
1) An acoustic bass sound will sound best on this arrangement.
2) Playing a ballad is more diff icult than it looks. Because the tempo is slow, there is more time
or space between notes and therefore more opportunity for mistakes when establishing
solid time. Think in doubl é time (eighth notes) as an underlying pulse to help you lock in
the ballad time.
3) Play this chart with sensitività

Two a n d a Half M e n :
1) An acoustic sound is best for this chart.
2) Beginning in measure 5, the " and " of beat 4 is played short for this repeated lick. The tied
note is not actually played. This is common notation in jazz music.
3) At measure 17, the bass feel is in two. This means although there are 4 beats to the mea-
sure, the feel is with only 2 beats per measure (beats 1 and 3).
4) Measure 45 begins a traditional quarter note swing bass line—drive it.

B u r r i t o s t o Go:
1) An electric bass sound is preferred.
2) Play the opening lick with the same articulation and phrasing as the piano. Listen!
3) The repetition is what builds the intensity of the groove but stay focused and maintain en-
ergy throughout.
4) At measure 41, play this written line in unison with the other instruments. Listen, blend and
match the articulation and phrasing.

Drummin' Man:
1) This is a traditional swing chart therefore an acoustic sound is best.
2) Drive the tempo—lock in with the drummer. Keep the energy moving forward but don't
rush or push the tempo.

S w i n g i n ' Shanty:
1) This is a traditional swing tune so go for an acoustic sound.
2) At measure 71, play the written part in unison with the trombones. Match the articulation
and phrasing.
3) Play it straight ahead—swing it hard and strive for good tone.
4) Learn the notes of the chords and scales in the solo section.

Play T h a t F u n k y M u s i c :
1) Go for an electric sound—it's funky.
2) "NC" means no chord. Play the written part in unison with the ensemble.
3) Play the funky line at measure 3 together with the other instruments.
4) Although this chart has chord changes, stick dose to the written part.

Recorded at Bias Recording Studios, Springfield, VA

Bob Dawson, Engineer
Featuring the Belwin Jazz Big Band, Pete BarenBregge, Director.