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The Jamming Book
compiled byAndrea Vicari
A book with parts for Bb, Eb, C and Bass all in One!
CONTENTS PAGEAll tunes are presented with parts for Bb, Eb, C and bass. Bass clef melody is provided and where appropriate there are separate piano parts.
1. C Jam Blues & Sonnymoon B b2. Eb3. C 4. Bass5. Billies Bounce Bb6. Eb7. C8. Bass9. Fly me to the moon Bb10. Eb11. C12. Bass13. Honeysuckle Rose14. Eb15. C16. Bass17. Scrapple from the Apple Bb18. Eb19. C20. Bass21. Autumn Leaves Bb22. Eb23. C24. Bass25. St Thomas Bb and Eb26. C and Bass27. Someday my Prince will come Bb28. Eb29. C30. Bass31. Purple Gazelle Bb 32. Bb harmony33. Purple Gazelle Eb 34. Eb harmony
35. Purple Gazelle C36. C harmony37. Purple Gazelle Bass 38. Bass clef harmony39. Don’t know Why Bb40. Eb41. C42. Bass
43. Georgia B b44. Eb45. C46. Bass47. Modes in treble clef48. Modes in bass clef49. So What Bb50. Eb51. C52. Bass53. Mi lestones Bb54. Eb55. C56. Bass 57. Bass clef melody58. Wayne’s Thang bass melody59. Bb60. Eb61. C62. Bass63. Canteloupe Island Bb and Eb64. C and Bass65. Piano66. Bass clef melody67. Watermelon man Bb and Eb68. Piano and Bass69. C melody and bass clef melody70. Mercy, mercy mercy Bb & Eb71. C and bass72. (Cold duck time) Bb and Eb73. Piano74. Bass75. Morning Bb76. Eb77. C melody78. Bass melody79. Piano80. Bass81. | got Rhythm Bb82. Eb83. C84. Bass85. Rhythm-a-ning Bb86. Eb87. C88. Bass89. Manu s c r i p t90. Manu s c r i p t
Bb q = 120
C Jam Blues
1
D7
G7
swing
D7
G7
D7
A7
G7
D7
Sonnymoon for TwoSonny Rollins
C7
F7
C7
F7
C7
G7
F7
C7
Eb
q = 120
C Jam Blues
A7
D7
swing
A7
2
D7
A7
E7
D7
A7
Sonnymoon for TwoSonny Rollins
G7
C7
G7
C7
G7
D7
C7
G7
C part
q = 120
C Jam Blues
3
C7
F7
swing
C7
F7
C7
G7
F7
C7
Sonnymoon for TwoSonny Rollins
Bb7
Eb7
Bb7
Eb7
Bb7
F7
Eb7
Bb7
q = 120
Bass C Jam Blues
C7
F7
swing
C7
4
F7
C7
G7
F7
C7
Sonnymoon for TwoSonny Rollins
Bb7
Eb7
Bb7
Eb7
Bb7
F7
Eb7
Bb7
Bb Billies Bounce
C.Parker
5
G7
C7
G7
3
C7
G7
Bm7
E7(b9)
Am7
D7
G7
G blues scale
Bag's Groove Milt Jackson
A7
D7
A7
E7
D7
A7
A blues scale
Eb
Billies BounceC.Parker
D7
G7
D7
3
6
G7
D7
F#m7
B7(b9)
Em7
A7
D7
D blues scale
Bag's Groove Milt Jackson
E7
A7
E7
B7
A7
E7
E blues scale
C part Billies BounceC.Parker
7
F7
Bb7
F7
3
Bb7
F7
Am7
D7(b9)
Gm7
C7
F7
F blues scale
Bag's GrooveMilt Jackson
G7
C7
G7
D7
C7
G7
G blues scale
Bass clefBillies Bounce C.Parker
F7
Bb7
F7
3
8
Bb7
F7
Am7
D7(b9)
Gm7
C7
F7
F blues scale
Bag's GrooveMilt Jackson
G7
C7
G7
D7
C7
G7
G blues scale
Bb
Fly Me to the Moon
9
Fly Me to the Moon is made up from the primary triads of Bb major.They are arranged in a cycle of 5ths which creates both major and minor II V I progressions.
Gm7
Cm7
F7
Bbmaj7
Bb7
5
Ebmaj7b
3
Am7b5
D7b9
Gm7
G7
9
Cm7
F7
Bbmaj7
Gm7
13
Cm7
F7
Bbmaj7
Am7b5 D7b9
17
Gm7
Cm7
F7
Bbmaj7
Bb7
21
Ebmaj7b
Am7b5
D7b9
Gm7
G7
25
Cm7
F7
Dm7b5
G7b9
29
Cm7
F7
Bbmaj7
Am7b5 D7b9
Eb
Fly Me to the Moon
Fly Me to the Moon is made up from the primary triads of Ab major.They are arranged in a cycle of 5ths which creates both major and minor II V I progressions.
Dm7
Gm7
C7
Fmaj7
F7
10
5
Bbmaj7b
3
Em7b5
A7b9
Dm7
D7
9
Gm7
C7
Fmaj7
Dm7
13
Gm7
C7
Fmaj7
Em7b5 A7b9
17
Dm7
Gm7
C7
Fmaj7
F7
21
Bbmaj7b
Em7b5
A7b9
Dm7
D7
25
Gm7
C7
Am7b5
D7b9
29
Gm7
C7
Fmaj7
Em7b5 A7b9
Piano
Fly Me to the Moon
11
Fly Me to the Moon is made up from the primary triads of Ab major.They are arranged in a cycle of 5ths which creates both major and minor II V I progressions.
Fm7
Bbm7
Eb7
Abmaj7
Ab7
5
Dbmaj7b
3
Gm7b5
C7b9
Fm7
F7
9
Bbm7
Eb7
Abmaj7
Fm7
13
Bbm7
Eb7
Abmaj7
Gm7b5 C7b9
17
Fm7
Bbm7
Eb7
Abmaj7
Ab7
21
Dbmaj7b
Gm7b5
C7b9
Fm7
F7
25
Bbm7
Eb7
Cm7b5
F7b9
29
Bbm7
Eb7
Abmaj7
Gm7b5 C7b9
Bass
Fly Me to the Moon
Fly Me to the Moon is made up from the primary triads of Ab major.They are arranged in a cycle of 5ths which creates both major and minor II V I progressions.
Fm7
Bbm7
Eb7
Abmaj7
Ab7
12
5
Dbmaj7b
3
Gm7b5
C7b9
Fm7
F7
9
Bbm7
Eb7
Abmaj7
Fm7
13
Bbm7
Eb7
Abmaj7
Gm7b5 C7b9
17
Fm7
Bbm7
Eb7
Abmaj7
Ab7
21
Dbmaj7b
Gm7b5
C7b9
Fm7
F7
25
Bbm7
Eb7
Cm7b5
F7b9
29
Bbm7
Eb7
Abmaj7
Gm7b5 C7b9
Bb part
Honeysuckle RoseFats Waller
13
Honeysuckle Rose is in the key of G major and has a simple II V I sequence in the first section. The middle 8is a string of dominant sevenths to land back to the home key of G.
Am7
D7
Am7
D7
Am7
D7
Am7
D7
5
Gmaj7
Em7
Am7
D7
Gmaj7
(E7)
9
Am7
D7
Am7
D7
Am7
D7
Am7
D7
13
Gmaj7
Em7
Am7
D7
Gmaj7
17
G7
[F#dim/G]
[Gº]
G7
C7
21
A7
[G#dim/A]
[Aº]
A7
D7
25
Am7
D7
Am7
D7
Am7
D7
Am7
D7
29
Gmaj7 Em7
Am7
D7
Gmaj7
Honeysuckle Rose
Eb part
Honeysuckle Rose is in the key of D major and has a simple II V I sequence in the first section. The middle 8is a string of dominant sevenths to land back to the home key of D.
Em7
A7
Em7
A7
Em7
A7
Em7
A7
14
5
Dmaj7
Bm7
Em7
A7
Dmaj7
(B7)
9
Em7
A7
Em7
A7
Em7
A7
Em7
A7
13
Dmaj7
Bm7
Em7
A7
Dmaj7
17
D7
[C#dim/D]
[Dº]
D7
G7
21
E7
[D#dim/E]
[Eº]
E7
A7
25
Em7
A7
Em7
A7
Em7
A7
Em7
A7
29
Dmaj7 Bm7
Em7
A7
Dmaj7
C part
Honeysuckle RoseFats Waller
15
Honeysuckle Rose is in the key of F major and has a simple II V I sequence in the first section. The middle 8is a string of dominant sevenths to land back to the home key of F.
Gm7
C7
Gm7
C7
Gm7
C7
Gm7
C7
5
Fmaj7
Dm7
Gm7
C7
Fmaj7
(D7)
9
Gm7
C7
Gm7
C7
Gm7
C7
Gm7
C7
13
Fmaj7
Dm7
Gm7
C7
Fmaj7
17
F7
[Edim/F]
[Fº]
F7
Bb7
21
G7
[F#dim/G]
[Gº]
G7
C7
25
Gm7
C7
Gm7
C7
Gm7
C7
Gm7
C7
29
Fmaj7 Dm7
Gm7
C7
Fmaj7
Bass clef
Honeysuckle RoseFats Waller
Honeysuckle Rose is in the key of F major and has a simple II V I sequence in the first section. The middle 8is a string of dominant sevenths to land back to the home key of F.
Gm7
C7
Gm7
C7
Gm7
C7
Gm7
C7
16
5
Fmaj7
Dm7
Gm7
C7
Fmaj7
(D7)
9
Gm7
C7
Gm7
C7
Gm7
C7
Gm7
C7
13
Fmaj7
Dm7
Gm7
C7
Fmaj7
17
F7
[Edim/F]
[Fº]
F7
Bb7
21
G7
[F#dim/G]
[Gº]
G7
C7
25
Gm7
C7
Gm7
C7
Gm7
C7
Gm7
C7
29
Fmaj7 Dm7
Gm7
C7
Fmaj7
Bb part
Charlie ParkerScrapple from the Apple
17
Scrapple is based on the chords of Honeysuckle Rose with a different cycle of 5ths for the middle eight.The melody is pure bebop-quite complex, ornate and chromatic.
Am7
D7
Am7
3
D7b9
5
Gmaj7
3
Am7
D7
3Gmaj7
Am7
Bm7
E7
9
Am7
D7
Am7
3
D7b9
13
Gmaj7
3
Am7
D7
3Gmaj7
Am7
G
17
B7
E7
21
A7
D7
25
Am7
D7
Am7
3
D7b9
29
Gmaj7
3
Am7
D7
3Gmaj7
Am7
G
Eb part
Charlie ParkerScrapple from the Apple
Scrapple is based on the chords of Honeysuckle Rose with a different cycle of 5ths for the middle eight.The melody is pure bebop-quite complex, ornate and chromatic.
Em7
A7
Em7
3
A7b9
18
5
Dmaj7
3
Em7
A7 3
Dmaj7 Em7
F#m7
B7
9
Em7
A7
Em7
3
A7b9
13
Dmaj7
3
Em7
A7 3
Dmaj7 Em7
D
17
F#7
B7
21
E7
A7
25
Em7
A7
Em7
3
A7b9
29
Dmaj7
3
Em7
A7 3
Dmaj7 Em7
D
C part
Charlie ParkerScrapple from the Apple
19
Scrapple is based on the chords of Honeysuckle Rose with a different cycle of 5ths for the middle eight.The melody is pure bebop-quite complex, ornate and chromatic.
Gm7
C7
Gm7
3
C7b9
5
Fmaj7
3
Gm7
C7
3Fmaj7
Gm7
Am7
D7
9
Gm7
C7
Gm7
3
C7b9
13
Fmaj7
3
Gm7
C7
3Fmaj7
Gm7
F
17
A7
D7
21
G7
C7
25
Gm7
C7
Gm7
3
C7b9
29
Fmaj7
3
Gm7
C7
3Fmaj7
Gm7
F
Bass clef
Charlie ParkerScrapple from the Apple
Scrapple is based on the chords of Honeysuckle Rose with a different cycle of 5ths for the middle eight.The melody is pure bebop-quite complex, ornate and chromatic.
Gm7
C7
Gm7
3
C7b9
20
5
Fmaj7
3
Gm7
C7
3
Fmaj7 Gm7
Am7
D7
9
Gm7
C7
Gm7
3
C7b9
13
Fmaj7
3
Gm7
C7 3
Fmaj7 Gm7
F
17
A7
D7
21
G7
C7
25
Gm7
C7
Gm7
3
C7b9
29
Fmaj7
3
Gm7
C7
3
Fmaj7 Gm7
F
Bb part
Joseph Cosma
(or Les Feuilles Morts)
Autumn Leaves
21
This classic tune is made up of major and minor II V I sequences in the home key and it's relative minor..
A
Dm7
G7
Cma7
Fma7
6
A
Bm7(b5)
E7(b9)
Am7
A7
10
Dm7
G7
Cma7
Fma7
14
B
Bm7(b5)
E7(b9)
Am7
Am7
18
Bm7(b5)
E7(b9)
Am7
A7
22
C
Dm7
G7
Cma7
Fma7
C7
26
Bm7(b5)
E7(b9)
Am7Am7
Abm7
Gm7Am7
F#7
30
F7Bm7(b5)
E7(b9)
Am7
A7
Eb part
Joseph Cosma
(or Les Feuilles Morts)
Autumn Leaves
This classic tune is made up of major and minor II V I sequences in the home key and it's relative minor..
A
Am7
D7
Gma7
Cma7
22
6
A
F#m7(b5)
B7(b9)
Em7
E7
10
Am7
D7
Gma7
Cma7
14
B
F#m7(b5)
B7(b9)
Em7
Em7
18
F#m7(b5)
B7(b9)
Em7
E7
22
C
Am7
D7
Gma7
Cma7
G7
26
F#m7(b5)
B7(b9)
Em7Em7
Ebm7
Dm7Em7
C#7
30
C7F#m7(b5)
B7(b9)
Em7
E7
C part
Joseph Cosma
(or Les Feuilles Morts)
Autumn Leaves
23
This classic tune is made up of major and minor II V I sequences in the home key and it's relative minor..
A
Cm7
F7
Bbma7
Ebma7
6
A
Am7(b5)
D7(b9)
Gm7
G7
10
Cm7
F7
Bbma7
Ebma7
14
B
Am7(b5)
D7(b9)
Gm7
Gm7
18
Am7(b5)
D7(b9)
Gm7
G7
22
C
Cm7
F7
Bbma7
Ebma7
Bb7
26
Am7(b5)
D7(b9)
Gm7Gm7
Gbm7
Fm7Gm7
E7
30
Eb7Am7(b5)
D7(b9)
Gm7
G7
Bass clef part
Joseph Cosma
(or Les Feuilles Morts)
Autumn Leaves
This classic tune is made up of major and minor II V I sequences in the home key and it's relative minor..
A
Cm7 F7
Bbma7
Ebma7
24
6
A
Am7(b5)
D7(b9)
Gm7
G7
10
Cm7 F7
Bbma7
Ebma7
14
B
Am7(b5)
D7(b9)
Gm7
Gm7
18
Am7(b5)
D7(b9)
Gm7
G7
22
C
Cm7
F7
Bbma7
Ebma7
Bb7
26
Am7(b5)
D7(b9)
Gm7Gm7
Gbm7
Fm7Gm7
E7
30
Eb7Am7(b5)
D7(b9)
Gm7
G7
Bb part
Sonny RollinsSt Thomas
25
D6
This calypso piece moves quickly through the chords of D major, using the sequenceof I, IV, III, VI, II, V, I. There are some dominant seventh chords introducedwhich makes the pull towards the chord II stronger. (see bars 2,6,9.) The endinguses the major III chord and a diminished seventh.
G
F#m7
B7
Em7
A7
D6
D6
G
F#m7
B7
Em7
A7
D6
D7
C7
B7
Em7
A7
D6
F#7
G
G#dim
D/A
A7
D6
Eb Sonny Rollins
St Thomas
A6
D
C#m7
F#7
Bm7
E7
A6
7
A6
D
C#m7
F#7
Bm7
E7
A6
A7
G7
F#7
Bm7
E7
A6 C#7
D
D#dim
A/E
E7
A6
C part
Sonny RollinsSt Thomas
C6
This calypso piece moves quickly through the chords of C major, using the sequenceof I, IV, III, VI, II, V, I. There are some dominant seventh chords introducedwhich makes the pull towards the chord II stronger. (see bars 2,6,9.) The endinguses the major III chord and a diminished seventh.
F
Em7
A7
Dm7
G7
C6
26
C6
F
Em7
A7
Dm7
G7
C6
C7
Bb7
A7
Dm7
G7
C6
E7
F
F#dim
C/G
G7
C6
BassSonny Rollins
St Thomas
C6
F
Em7
A7
Dm7
G7
C6
7
C6
F
Em7
A7
Dm7
G7
C6
C7
Bb7
A7
Dm7
G7
C6 E7
F
F#dim
C/G
G7
C6
Bb part Some Day my Prince will ComeChurchill arr. Andrea Vicari3/4 swing
27
Cma7
This well known 3/4 tune can be played as a ballad or a medium swing. The bass can create different rhythmic
grooves by playing h., then q.q. and finally qqq per bar. (Save last one for solos)
E7
[F#7]
Fma7
A7(b9)
5
Dm7
A7(b9)
D7
G7
9
Em7
D#dim
Dm7
G7
13
Em7
D#dim
Dm7
G7
17
Cma7
E7
[F#7]
Fma7
A7(b9)
21
Dm7
A7(b9)
D7
G7
25
Gm7
C7 Fma7
F#dim
29
Cma7/G
Dm7/C G7
Cma7
[G7]
Eb part Some Day my Prince will ComeChurchill arr. Andrea Vicari3/4 swing
Gma7
This well known 3/4 tune can be played as a ballad or a medium swing. The bass can create different rhythmic
grooves by playing h., then q.q. and finally qqq per bar. (Save last one for solos)
B7
[C#7]
Cma7
E7(b9)
28
5
Am7
E7(b9)
A7
D7
9
Bm7
A#dim
Am7
D7
13
Bm7
A#dim
Am7
D7
17
Gma7
B7
[C#7]
Cma7
E7(b9)
21
Am7
E7(b9)
A7
D7
25
Dm7
G7
Cma7
C#dim
29
Gma7/D
Am7/G D7
Gma7
[D7]
C part Some Day my Prince will ComeChurchill arr. Andrea Vicari3/4 swing
29
Bbma7
This well known 3/4 tune can be played as a ballad or a medium swing. The bass can create different rhythmic
grooves by playing h., then q.q. and finally qqq per bar. (Save last one for solos)
D7
[E7]
Ebma7
G7(b9)
5
Cm7
G7(b9)
C7
F7
9
Dm7
C#dim
Cm7
F7
13
Dm7
C#dim
Cm7
F7
17
Bbma7
D7
[E7]
Ebma7
G7(b9)
21
Cm7
G7(b9)
C7
F7
25
Fm7
Bb7 Ebma7
Edim
29
Bbma7/F
Cm7/Bb F7
Bbma7
[F7]
Bass
Churchill arr. Andrea Vicari
3/4 swingSome Day my Prince will Come
(play h. bass notes and then q for solos)melody for reference
Bbma7
This well known 3/4 tune can be played as a ballad or a medium swing. The bass can create different rhythmic
grooves by playing h., then q.q. and finally qqq per bar. (Save last one for solos)
D7
[E7]
Ebma7
G7(b9)
30
5
Cm7
G7(b9)
C7
F7
9
Dm7
C#dim
Cm7
F7
13
Dm7
C#dim
Cm7
F7
17
Bbma7
D7
[E7]
Ebma7
G7(b9)
21
Cm7
G7(b9)
C7
F7
25
Fm7
Bb7
Ebma7
Edim
29
Bbma7/F
Cm7/Bb F7
Bbma7
[F7]
Bb Tune
Duke Ellington(or Angelica)
Purple Gazelle
31
This fun tune was made famous by Duke Ellington and also Chris McGregor and the blue notes. The harmonyis made up of major and minor II V Is and moves away from the home key, especially in the middle section.
F^
Gm7
C7
5
F^
Gm7
C7
9
F^
Am7(b5)
D7(b9)
Gm7
gliss
Bbm7
Eb7
13
F^
C7
F[7]
17
Bbm7
Eb7
F^
5 5
21
Bbm7
Eb7
Gm7
C7
5
25
F^
Gm7
C7
29
F^
Gm7
C7
33
F^
Am7(b5)
D7(b9)
Gm7
36
Bbm7
Eb7
F^
C7
F[7]
gliss
Bb part harmony
Duke Ellington arr Andrea Vicari(or Angelica)
Purple Gazelle
F^
Gm7
C7
32
5
F^
Gm7
C7
9
F^
Am7(b5)
D7(b9)
Gm7
gliss
Bbm7Bbm7
Eb7
13
F^
C7
F[7]
17
Bbm7
Eb7
F^
5 5
21
Bbm7
Eb7
Gm7
C7
5
25
F^
Gm7
C7
29
F^
Gm7
C7
33
F^
Am7(b5)
D7(b9)
Gm7
gliss
36
Bbm7Bbm7
Eb7
F^
C7
F[7]
Eb saxophone
Duke Ellington arr. Andrea Vicari(or Angelica)
Purple Gazelle
33
This fun tune was made famous by Duke Ellington and also Chris McGregor and the blue notes. The harmonyis made up of major and minor II V Is and moves away from the home key, especially in the middle section.
C^
Dm7
G7
5
C^
Dm7
G7
9
C^
Em7(b5)
A7(b9)
Dm7
Fm7
Bb7
13
C^
G7
C[7]
gliss
17
Fm7
Bb7
C^
5 5
21
Fm7
Bb7
Dm7
G7
5
25
C^
Dm7
G7
29
C^
Dm7
G7
33
C^
Em7(b5)
A7(b9)
Dm7
36
Fm7 Bb7
C^
G7
C[7]
gliss
Eb Saxophone harmony
Duke Ellington arr. Andrea Vicari(or Angelica)
Purple Gazelle
C^
Dm7
G7
34
5
C^
Dm7
G7
9
C^
Em7(b5)
A7(b9)
Dm7
gliss
Fm7
Bb7
13
C^
G7
C[7]
17
Fm7
Bb7
C^
5 5
21
Fm7
Bb7
Dm7
G7
5
25
C^
Dm7
G7
29
C^
Dm7
G7
33
C^
Em7(b5)
A7(b9)
Dm7
gliss
36
Fm7
Bb7
C^
G7
C[7]
C part
Duke Ellington arr. Andrea Vicari(or Angelica)
Purple Gazelle
35
This fun tune was made famous by Duke Ellington and also Chris McGregor and the blue notes. The harmonyis made up of major and minor II V Is and moves away from the home key, especially in the middle section.
Medium Latin
Eb^
Fm7
Bb7
5
Eb^
Fm7
Bb7
9
Eb^
Gm7(b5)
C7(b9)
Fm7
Abm7
Db7
13
Eb^
Bb7
Eb[7]
gliss
17
Abm7
Db7
Eb^
5 5
21
Abm7
Db7
Fm7
Bb7
5
25
Eb^
Fm7
Bb7
29
Eb^
Fm7
Bb7
33
Eb^
Gm7(b5)
C7(b9)
Fm7
36
Abm7
Db7
Eb^
Bb7
Eb[7]
gliss
C part harmony
Duke Ellington arr Andrea Vicari(or Angelica)
Purple Gazelle
Eb^
Fm7
Bb7
36
5
Eb^
Fm7
Bb7
9
Eb^
Gm7(b5)
C7(b9)
Fm7
gliss
Abm7Abm7
Db7
13
Eb^
Bb7
Eb[7]
17
Abm7
Db7
Eb^
5 5
21
Abm7
Db7
Fm7
Bb7
5
25
Eb^
Fm7
Bb7
29
Eb^
Fm7
Bb7
33
Eb^
Gm7(b5)
C7(b9)
Fm7
gliss
36
Abm7Abm7
Db7
Eb^
Bb7
Eb[7]
Bass clef part
Duke Ellington arr. Andrea Vicari(or Angelica)
Purple Gazelle
37
This fun tune was made famous by Duke Ellington and also Chris McGregor and the blue notes. The harmonyis made up of major and minor II V Is and moves away from the home key, especially in the middle section.
Medium Latin
Eb^
Fm7
Bb7
5
Eb^
Fm7
Bb7
9
Eb^
Gm7(b5)
C7(b9)
Fm7
Abm7
Db7
13
Eb^
Bb7
Eb[7]
gliss
17
Abm7
Db7
Eb^
5 5
21
Abm7
Db7
Fm7
Bb7
5
25
Eb^
Fm7
Bb7
29
Eb^
Fm7
Bb7
33
Eb^
Gm7(b5)
C7(b9)
Fm7
Abm7
Db7
37
Eb^
Bb7
Eb[7]
gliss
Bass part harmony
Duke Ellington arr Andrea Vicari(or Angelica)
Purple Gazelle
Eb^
Fm7
Bb7
38
5
Eb^
Fm7
Bb7
9
Eb^
Gm7(b5)
C7(b9)
Fm7
gliss
Abm7Abm7
Db7
13
Eb^
Bb7
Eb[7]
17
Abm7
Db7
Eb^
5 5
21
Abm7
Db7
Fm7
Bb7
5
25
Eb^
Fm7
Bb7
29
Eb^
Fm7
Bb7
33
Eb^
Gm7(b5)
C7(b9)
Fm7
gliss
36
Abm7Abm7
Db7
Eb^
Bb7
Eb[7]
Bb part
q=80 Rock Ballad
Don't Know WhyNorah Jones/Jesse Harris/arr.a.vicari
1 .
39
Cma7
Recorded by Norah Jones and also Pat Metheny, this attractive music has functional harmony, moving fromthe home key in the very first bar to the subdominant in the second bar. It winds up back in the home keyby the fourth bar. Note how the melody moves down in 3rds in the first part of the tune.
C7
Fma7
E7
Am7
D7
G7sus4
Cma7
5
Cma7
C7
Fma7
E7
Am7
D7
G7sus4
Cma7
9
2.
Am7
D7
G7sus4
Cma7
Am7
D7
13
Gma7
Am7
D7
17
Gma7
Cma7
C7
Fma7
E7
21
Am7
D7
G7sus4
Cma7
Cma7
C7
Fma7
E7
25
Am7
D7
G7sus4
Cma7
Am7
D7
G7sus4
Cma7
q=80
Eb partRock Ballad
Don't Know WhyNorah Jones/Jesse Harris/arr.a.vicari
1 .
Recorded by Norah Jones and also Pat Metheny, this attractive music has functional harmony, moving fromthe home key in the very first bar to the subdominant in the second bar. It winds up back in the home keyby the fourth bar. Note how the melody moves down in 3rds in the first part of the tune.
Gma7
G7
Cma7
B7
Em7
A7
D7sus4
Gma7
40
5
Gma7
G7
Cma7
B7
Em7
A7
D7sus4
Gma7
9
2.
Em7
A7
D7sus4
Gma7
Em7
A7
13
Dma7
Em7
A7
17
Dma7
Gma7
G7
Cma7
B7
21
Em7
A7
D7sus4
Gma7
Gma7
G7
Cma7
B7
25
Em7
A7
D7sus4
Gma7
Em7
A7
D7sus4
Gma7
q=80
C part
Rock Ballad
Don't Know WhyNorah Jones/Jesse Harris/arr.a.vicari
1 .
41 Recorded by Norah Jones and also Pat Metheny, this attractive music has functional harmony, moving fromthe home key in the very first bar to the subdominant in the second bar. It winds up back in the home keyby the fourth bar. Note how the melody moves down in 3rds in the first part of the tune.
Bbma7
Bb7
Ebma7
D7
Gm7
C7
F7sus4
Bbma7
5
Bbma7
Bb7
Ebma7
D7
Gm7
C7
F7sus4
Bbma7
9
2.
Gm7
C7
F7sus4
Bbma7
Gm7
C7
13
Fma7
Gm7
C7
17
Fma7
Bbma7
Bb7
Ebma7
D7
21
Gm7
C7
F7sus4
Bbma7
Bbma7
Bb7
Ebma7
D7
25
Gm7
C7
F7sus4
Bbma7
Gm7
C7
F7sus4
Bbma7
q=80
Rock Ballad
Norah Jones/Jesse Harris/arr.a.vicariDon't Know Why
1.
Bbma7
Bb7
Ebma7
D7
Gm7
C7
F7sus4
Bbma7
42
Bbma7
Bb7
Ebma7
D7
Gm7
C7
F7sus4
Bbma7
2.
Gm7
C7
F7sus4
Bbma7
Gm7
C7
Fma7
Gm7
C7
Fma7
Bbma7
Bb7
Ebma7
D7
Gm7
C7
F7sus4
Bbma7
Bbma7
Bb7
Ebma7
D7
Gm7
C7
F7sus4
Bbma7
Gm7
C7
F7sus4
Bbma7
Bass melody
Bass lineDon't Know Why
Bbma7
Bb7
Ebma7
D7
Gm7 C7
F7sus4 Bbma7
Bbma7
Bb7
Ebma7
D7
Gm7 C7
F7sus4 Bbma7
1.
2.
Gm7 C7
F7sus4 Bbma7
Gm7
C7
Fma7
Gm7
C7
Fma7
Bbma7
Bb7
Ebma7
D7
Gm7 C7
F7sus4 Bbma7
Bbma7
Bb7
Ebma7
D7
Gm7
C7
F7sus4 Bbma7
Gm7
C7
F7sus4 Bbma7
Bb part
Hoagy Carmichaelslow swing/gospel like
Georgia
43 Georgia is a well known jazz standard and although it is firmly in the home key (major) the chords are made more colourfulwith the use of dominant sevenths. (see bar 2,5 and 7.) The middle eight is in the key of the relative minor..
Gma7
F#m7(b5) B7(b9)
Em7
Em7/D
C#m7(b5)
Cm6
5
Bm7
E7
Am7
D7
Bm7
E7 Am7 D7(#5)
9
Gma7
F#m7(b5) B7(b9)
Em7
Em7/D
C#m7(b5)
Cm6
13
Bm7
E7
Am7
A9
D7
Gma7
F#m7(b5)
B7(b9)
17
Em7
Am7
B7
Em7
C7
Em7
Am7
B7
Em7
A7
21
Em7
F#m7(b5)
B7(b9)
Em7
F#7
Bm7
E7
Am7
D7
25
Gma7
F#m7(b5) B7(b9)
Em7
Em7/D
C#m7(b5)
Cm6
29
Bm7
E7
Am7
A9
D7
Gma7
[Am7
D7]
Eb part
Hoagy Carmichaelslow swing/gospel like
Georgia44
Georgia is a well known jazz standard and although it is firmly in the home key (major) the chords are made more colourfulwith the use of dominant sevenths. (see bar 2,5 and 7.) The middle eight is in the key of the relative minor..
Dma7
C#m7(b5) F#7(b9)
Bm7
Bm7/A
G#m7(b5)
Gm6
5
F#m7
B7
Em7
A7
F#m7
B7 Em7 A7(#5)
9
Dma7
C#m7(b5) F#7(b9)
Bm7
Bm7/A
Abm7(b5)
Gm6
13
F#m7
B7
Em7
E9
A7
Dma7
C#m7(b5)
F#7(b9)
17
Bm7
Em7
F#7
Bm7
G7
Bm7
Em7
F#7
Bm7
E7
21
Bm7
C#m7(b5)
F#7(b9)
Bm7
C#7
F#m7
B7
Em7
A7
25
Dma7
C#m7(b5) F#7(b9)
Bm7
Bm7/A
Abm7(b5)
Gm6
29
F#m7
B7
Em7
E9
A7
Dma7
[Em7
A7]
C part
Hoagy Carmichaelslow swing/gospel like
Georgia
45 Georgia is a well known jazz standard and although it is firmly in the home key (major) the chords are made more colourfulwith the use of dominant sevenths. (see bar 2,5 and 7.) The middle eight is in the key of the relative minor..
Fma7
Em7(b5) A7(b9)
Dm7
Dm7/C
Bm7(b5)
Bbm6
5
Am7
D7
Gm7
C7
Am7
D7 Gm7 C7(#5)
9
Fma7
Em7(b5) A7(b9)
Dm7
Dm7/C
Bm7(b5)
Bbm6
13
Am7
D7
Gm7
G9
C7
Fma7
Em7(b5)
A7(b9)
17
Dm7
Gm7
A7
Dm7
Bb7
Dm7
Gm7
A7
Dm7
G7
21
Dm7
Em7(b5)
A7(b9)
Dm7
E7
Am7
D7
Gm7
C7
25
Fma7
Em7(b5) A7(b9)
Dm7
Dm7/C
Bm7(b5)
Bbm6
29
Am7
D7
Gm7
G9
C7
Fma7
[Gm7
C7]
Bass
Hoagy Carmichaelslow swing/gospel like
Georgia 46
Fma7
Georgia is a well known jazz standard and although it is firmly in the home key (major) the chords are made more colourfulwith the use of dominant sevenths. (see bar 2,5 and 7.) The middle eight is in the key of the relative minor..
Em7(b5) A7(b9)
Dm7
Dm7/C
Bm7(b5)
Bbm6
5
Am7
D7
Gm7
C7
Am7
D7 Gm7 C7(#5)
9
Fma7
Em7(b5) A7(b9)
Dm7
Dm7/C
Bm7(b5)
Bbm6
13
Am7
D7 Gm7
G9
C7
Fma7
Em7(b5)
A7(b9)
17
Dm7
Gm7
A7
Dm7
Bb7
Dm7
Gm7
A7
Dm7
G7
21
Dm7
Em7(b5)
A7(b9)
Dm7
E7
Am7
D7
Gm7
C7
25
Fma7
Em7(b5) A7(b9)
Dm7
Dm7/C
Bm7(b5)
Bbm6
29
Am7
D7 Gm7
G9
C7
Fma7
[Gm7
C7]
MODESTreble clef
47
Ionian mode ( fits chords- maj7, 6)
Dorian mode ( fits chords- m7)
Phyrgian mode ( fits chords- m7b2)
Lydian mode ( fits chords- maj 7+11)
Mixolydian mode ( fits chord- dominant 7)
Aeolian mode ( fits chords- m7b6)
Locrian mode ( fits chords- m7b5)
MODESBass clef
Ionian mode ( fits chords- maj7, 6)
48
Dorian mode ( fits chords- m7)
Phyrgian mode ( fits chords- m7b2)
Lydian mode ( fits chords- maj 7+11)
Mixolydian mode ( fits chord- dominant 7)
Aeolian mode ( fits chords- m7b6)
Locrian mode ( fits chords- m7b5)
Bb part
q = 96
Miles Davis
swingSo What
49
So What is a classic modal tune based on the dorian mode. It moves up a semi tonefor the middle section and then back to the original key for the last 8 bars.It is a different concept to the standard jazz tunes in that there are no functionalchords (II, V, I e.t.c.) and the improvising although easier, needs a more creative approach.Try exploring ranges, dynamics, motivic development and rhythm.
Em7
6
10
Fm7
14
18
Em7
22
Eb part
q = 96
Miles Davis
swingSo What
So What is a classic modal tune based on the dorian mode. It moves up a semi tonefor the middle section and then back to the original key for the last 8 bars.It is a different concept to the standard jazz tunes in that there are no functionalchords (II, V, I e.t.c.) and the improvising although easier, needs a more creative approach.Try exploring ranges, dynamics, motivic development and rhythm.
Bm7
50
6
10
Cm7
14
18
Bm7
22
C part q = 96
Miles Davis
swingSo What
51 So What is a classic modal tune based on the dorian mode. It moves up a semi tonefor the middle section and then back to the original key for the last 8 bars.It is a different concept to the standard jazz tunes in that there are no functionalchords (II, V, I e.t.c.) and the improvising although easier, needs a more creative approach.Try exploring ranges, dynamics, motivic development and rhythm.
Dm7
Ebm7
Dm7
51
Bass clef melody
So What
Dm7
Ebm7
Dm7
Bass
q = 96Miles Davis
swingSo What
52
So What is a classic modal tune based on the dorian mode. It moves up a semi tonefor the middle section and then back to the original key for the last 8 bars.It is a different concept to the standard jazz tunes in that there are no functionalchords (II, V, I e.t.c.) and the improvising although easier, needs a more creative approach.Try exploring ranges, dynamics, motivic development and rhythm.
Dm7
1.
2.
Dm7
Ebm7
Dm7
FORM AABA
SOLOS
Dm7
(Bass walks on solos)
Dm7
Ebm7
Dm7
(After last solo to take it back to the top)
Dm7
q = 200
Bb PartMilestones
Fast Swing Miles Davis
53
Am7
(A dorian)
5
9
Am7
13
Cm7
17
Bm7
(B aeolian)
21
Cm7
25
Bm7
29
Bbm7
33
Am7
(A dorian)
37
q = 200
Eb Part Fast Swing
MilestonesMiles Davis
Em7
(E dorian)
54
5
9
Em7
13
Gm7
17
F#m7
(F# aeolian)
21
Gm7
25
F#m7
29
Fm7
33
Em7
(E dorian)
37
q = 200
C part
Fast Swing
MilestonesMiles Davis
55
Gm7
(G dorian)
5
9
Gm7
13
Bbm7
17
Am7
(A aeolian)
21
Bbm7
25
Am7
29
Abm7
33
Gm7
(G dorian)
37
Bass
q = 200Fast Swing
MilestonesMiles Davis
Milestones uses the Dorian mode in the first section and the Aeolian mode in the middle. The head must beplayed tightly with the articulation for a really driving swing tune!
Walking bass in quavers
Gm7
(G dorian)
56
5
9
Gm7
13
Bbm7
17
Am7
21
Bbm7
25
Am7
29
Bbm7
33
Gm7
(G dorian)
37
Gm7
q = 200Fast Swing
MilestonesMiles Davis
Trombone
57
Gm7
(G dorian)
5
9
Gm7
13
Bbm7
17
Am7
(A aeolian)
21
Bbm7
25
Am7
29
Abm7
33
Gm7
(G dorian)
37
q=160Kenny Garrett arr. Andrea Vicari
Wayne's ThangFunky
Bass clef melody
Intro
on cueEm7
58
3
7
Cma9(#11)
FINE 2ND X3
11
B7(#5)
Em7
3
15 1.
to tune
19 2.
Em7
Cma9(#11)
D7sus4
23
solos
Em7
suggested scales
27
Cma9(#11)
31
B7(#5)
35 1.
Em7
39 2.
Em7
Cma9(#11)
D7sus4
q=160
Bb partKenny Garrett arr. Andrea Vicari
Wayne's ThangFunky
59 This piece has a simple chord sequence going from chord I to chord VI and then chord V. However the rate of change is slow (every four bars) and it feels more like a a modal tune. The groove is quite funky in the head and the start of the solos- a change to walking bass and more of a swing feel can create rhythmic interest. (Kenny Garrett does this on his album 'Triology'). Note in the solo section the blues scale of the home key fits all chords.
Intro
on cueF#m7
3
7
Dma9(#11)
3
11
C#7(#5)
F#m7
3
15 1.
To Tune
19 2.
F#m7
Dma9(#11)
E7sus4
23
solos
F#m7
suggested scales
27
Dma9(#11)
31
C#7(#5)
35 1.
F#m7
39 2.
F#m7
Dma9(#11)
E7sus4
Eb part
q=180Kenny Garrett arr. Andrea Vicari
Wayne's ThangFunky
This piece has a simple chord sequence going from chord I to chord VI and then chord V. However the rate of change is slow (every four bars) and it feels more like a a modal tune. The groove is quite funky in the head and the start of the solos- a change to walking bass and more of a swing feel can create rhythmic interest. (Kenny Garrett does this on his album 'Triology'). Note in the solo section the blues scale of the home key fits all chords.
Intro
on cueC#m7
60
3
7
Ama9(#11)
FINE 2ND X
311
G#7(#5)
C#m7
3
15 1.
to tune
19 2.
C#m7
Ama9(#11)
B7sus4
23
solos
C#m7
suggested scales
27
Ama9(#11)
31
G#7(#5)
35 1.
C#m7
39 2.
C#m7
Ama9(#11)
B7sus4
q=160Kenny Garrett arr. Andrea VicariC melody
Wayne's ThangFunky
61 This piece has a simple chord sequence going from chord I to chord VI and then chord V. However the rate of change is slow (every four bars) and it feels more like a a modal tune. The groove is quite funky in the head and the start of the solos- a change to walking bass and more of a swing feel can create rhythmic interest. (Kenny Garrett does this on his album 'Triology'). Note in the solo section the blues scale of the home key fits all chords.
Intro
on cueEm7
3
7
Cma9(#11)
FINE 2ND X
3
11
B7(#5)
Em7
3
15 1.
to tune
19 2.
Em7
Cma9(#11)
D7sus4
23
solos
Em7
suggested scales
27
Cma9(#11)
31
B7(#5)
35 1.
Em7
39 2.
Em7
Cma9(#11)
D7sus4
q=160Kenny Garrett arr. Andrea Vicari
Wayne's ThangFunky/swing
Bass Guitar
Intro
62
3
on cueEm7
7
Cma9(#11)
11
B7(#5)
FINE 2ND XPlay an E!
15 1.
Em7
to tune
19 2.
Em7
Cma9(#11)
D7sus4
23
solosMaintain groove and then optional swing
Em7
27
Cma9(#11)
31
B7(#5)
35 1.
Em7
39 2.
Em7
Cma9(#11)
D7sus4
Bb partHerbie Hancock
Canteloupe IslandFunky
63
Canteloupe Island is one of Herbie Hancock's most famous compositions. There are three different chords and the groove is maintained with a set piano and bass pattern.
Gm7
Eb7
Em7
Gm7
Eb partHerbie Hancock
Funky
Canteloupe Island
Dm7
Bb7
Bm7
Dm7
Bass
Herbie HancockCanteloupe Island
Funky
64
Canteloupe IslandC melodyHerbie Hancock
Funky
Canteloupe Island is one of Herbie Hancock's most famous compositions. There are three different chords and the groove is maintained with a set piano and bass pattern.
Fm7
Db7
Dm7
Fm7
Canteloupe IslandFunky
Fm7
Db7
Dm7
play Dm7 or for added interest try Ab13
Fm7
Herbie HancockCanteloupe IslandFunky
Piano
intro- 4 bars of Fm7
65
Fm7
3
5
Db7
7
9
Dm7
11
play Dm7 or for added interest try Ab13
13
Fm7
15
Bass clef melody
Canteloupe IslandHerbie Hancock
Funky
Canteloupe Island is one of Herbie Hancock's most famous compositions. There are three different chords and the groove is maintained with a set piano and bass pattern.
Fm7
66
Db7
Dm7
Fm7
This tune is quite similar to Canteloupe Island with the groove having a set bass and pianofigure. The sequence is a 16 bar blues.
Groovy Herbie Hancock
Watermelon Man
F7
Bb7
F7
C13
Bb13
C13
Bb13
C13
Bb13
F7
Bb part
GroovyHerbie Hancock
Watermelon Man
67
G7
This tune is quite similar to Canteloupe Island with the groove having a set bass and pianofigure. The sequence is a 16 bar blues.
C7
G7
D13
C13
D13
C13
D13
C13
G7
Eb part
GroovyHerbie HancockWatermelon Man
D7
G7
D7
A13
G13
A13
G13
A13
G13
D7
Herbie HancockWatermelon Man
GroovyPiano
F7
This tune is quite similar to Canteloupe Island with the groove having a set bass and pianofigure. The sequence is a 16 bar blues.
68
Bb7
F7
C13
Bb13
C13
Bb13
C13
Bb13
F7
Bass Herbie HancockWatermelon ManGroovy
F7
Bb7
F7
Bb13
C13
Bb13
C13
Bb13
F7
C melody
GroovyHerbie Hancock
Watermelon Man
69
F7
This tune is quite similar to Canteloupe Island with the groove having a set bass and pianofigure. The sequence is a 16 bar blues.
Bb7
F7
C13
Bb13
C13
Bb13
C13
Bb13
F7
q = 100Jo Zawinul
Mercy Mercy
Bass clef melody
Bb7
Eb7
Bb7
Eb7
Bb7
Eb7
Bb7
Eb7
Bb7
F7sus4
Bb7
F
Cm7
Dm7
Gm
F Gm
F Gm
Bb partq = 100
Jo ZawinulMercy Mercy
C7
F7
C7
F7
70
C7 F7
C7
F7
C7
G7sus4
C7
G
Dm7
Em7
Am
G Am
G Am
Eb part Jo Zawinulq = 100
Mercy Mercy
G7
C7
G7
C7
G7
C7
G7
C7
G7
D7sus4
G7
D
Am7
Bm7
Em D
Em D
Em
q = 100Piano Jo ZawinulMercy Mercy
71
Bb7
Eb7
Bb7
Eb7
Bb7
Eb7
Bb7
Eb7
Bb7
F7sus4
Bb7
F
Cm7
Dm7
Gm
F Gm
F Gm
q = 100Jo Zawinul
Mercy Mercy
Bass Bb7
Eb7
Bb7
Eb7
19
Bb7
Eb7
Bb7
Eb7
Bb7
F
Cm7
Dm7
F7sus4
Bb7
Gm
F Gm
F Gm
Bb saxophoneq=120
Eddie HarrisConfit de Canard(or really Cold Duck Time)
intro
head
72
G7
C7
G7
C7
G7
C7
G7
C7To coda on repeat
Ebma7
CODA
Ebma7 Fma7
G7
Ebma7 Fma7
G7pno fill.....................................................
Ebma7
Ebma7 Fma7
G7pno fill.....................................................
Ebma7
CODA
Ebma7 Fma7
G7
q=120
Eb saxophone
Eddie Harris
Confit de Canard(or really Cold Duck Time)
intro
D7
head
G7
D7
G7
D7
G7
D7
G7 To coda on repeat
Bbma7
CODA
Bbma7 Cma7
D7
Bbma7 Cma7
D7pno fill.....................................................
Bbma7
Bbma7 Cma7
D7pno fill.....................................................
Bbma7
Bbma7 Cma7
D7
C melodyq=120
Eddie Harris
Confit de Canard(or really Cold Duck Time)
Piano
73
intro
F7
5
Pno.
F7
head
Bb7
F7
Bb7
9
Pno.
F7
Bb7
F7
Bb7
To coda on repeat
Dbma7
Dbma7
13
Pno.
Ebma7
F7 Piano fill/solo break
17
Pno.
coda
Dbma7 Ebma7
F7 pno fill.....................................................
Dbma7
21
Pno.
Dbma7 Ebma7
F7 pno fill.....................................................
Dbma7
25
Pno.
Dbma7 Ebma7
F7
Bass q=120Eddie HarrisConfit de Canard
(or really Cold Duck Time)
F7
74
F7
Bb7
F7
Bb7
F7
Bb7
F7
Dbma7
Bb7To coda on repeat
Dbma7
CODA
Dbma7 Ebma7
F7
Dbma7
Dbma7 Ebma7
F7
Dbma7
Dbma7 Ebma7
F7
Dbma7
Dbma7 Ebma7
F7
Bass melodyq=120
Eddie HarrisConfit de Canard(or really Cold Duck Time)
intro
F7
head
Bb7
F7
Bb7
F7
Bb7
F7
Dbma7
Bb7
To coda on repeat
Dbma7
CODA
Dbma7 Ebma7
F7
Dbma7 Ebma7
F7 pno fill.....................................................
Dbma7
Dbma7 Ebma7
F7 pno fill.....................................................
Dbma7
Dbma7 Ebma7
F7
q = 120
Clare FischerLatin
Morning
75
Bb part
Dm7(b5)
G7(#5) Cm7
F7
Dm7(b5)
G7(#5) Cm7
F7
6
Fm7
Bb7
Ebmaj7
Abmaj7
Dm7(b5)
G7(#5) Cm7
F7
1st X only
10
Fm7
Bb7
3
Ebmaj7
Ab7
Gm7
C7(#9)3
14
Fm7
Bb7
C#7
C7
18
Dm7(b5)
G7(#5)G7(#5) Cm7Cm7
F7F7
Dm7(b5)Dm7(b5)
G7(#5)G7(#5) Cm7Cm7
F7F7
22
Fm7
Bb7
Ebmaj7
Abmaj7
Dm7(b5)
G7(#5) Cm7
F7
TO CODA
26
Dm7(b5)
CODA
G7(#5) Cm7
F7
on cue
C#maj7
FillCm7
Fill
q = 120
Clare FischerLatin
Morning
Eb part
Am7(b5)
D7(#5) Gm7
C7
Am7(b5)
D7(#5) Gm7
C7
76
6
Cm7
F7
Bbmaj7
Ebmaj7
Am7(b5)
D7(#5) Gm7
C7
1st X only
10
Cm7
F7
3
Bbmaj7
Eb7
Dm7
G7(#9)3
14
Cm7
F7
G#7
G7
18
Am7(b5)
D7(#5)D7(#5) Gm7Gm7
C7C7
Am7(b5)Am7(b5)
D7(#5)D7(#5) Gm7Gm7
C7C7
22
Cm7
F7
Bbmaj7
Ebmaj7
Am7(b5)
D7(#5) Gm7
C7
TO CODA
26
Am7(b5)
CODA
D7(#5) Gm7
C7
on cue
G#maj7
Fill
Gm7
Fill
C melody
q = 120
Clare FischerLatin
Morning
77
Cm7(b5)
F7(#5) Bbm7
Eb7
Cm7(b5)
F7(#5) Bbm7
Eb7
6
Ebm7
Ab7
Dbmaj7
Gbmaj7
Cm7(b5)
F7(#5) Bbm7
Eb7
1st X only
10
Ebm7
Ab7
3
Dbmaj7
Gb7
Fm7
Bb7(#9)3
14
Ebm7
Ab7
B7
Bb7
18
Cm7(b5)
F7(#5)F7(#5) Bbm7Bbm7
Eb7Eb7
Cm7(b5)Cm7(b5)
F7(#5)F7(#5) Bbm7Bbm7
Eb7Eb7
22
Ebm7
Ab7
Dbmaj7
Gbmaj7
Cm7(b5)
F7(#5) Bbm7
Eb7
TO CODA
26
Cm7(b5)
CODA
F7(#5) Bbm7
Eb7
on cue
Bmaj7
FillBbm7
Fill
q = 120
Clare FischerLatin
Morning
Bass melody
Cm7(b5)
F7(#5) Bbm7
Eb7
Cm7(b5)
F7(#5) Bbm7
Eb7
78
6
Ebm7
Ab7
Dbmaj7
Gbmaj7
Cm7(b5)
F7(#5) Bbm7
Eb7
1st X only
10
Ebm7
Ab7
3
Dbmaj7
Gb7
Fm7
Bb7(#9)3
14
Ebm7
Ab7
B7
Bb7
18
Cm7(b5)
F7(#5)F7(#5) Bbm7Bbm7
Eb7Eb7
Cm7(b5)Cm7(b5)
F7(#5)F7(#5) Bbm7Bbm7
Eb7Eb7
22
Ebm7
Ab7
Dbmaj7
Gbmaj7
Cm7(b5)
F7(#5) Bbm7
Eb7
TO CODA
26
Cm7(b5)
CODA
F7(#5) Bbm7
Eb7
on cue
Bmaj7
Fill
Bbm7
Fill
q = 120 A
Morning
Clare Fischer
Latin
Piano
79
Cm7(b5) F7(#5)
Bbm7
Eb7
Cm7(b5)
F7(#5)
4
Pno
Bbm7
Eb7
Ebm7
Ab7
Dbmaj7
Gbmaj7
7
Pno
Cm7(b5)
F7(#5)
Bbm7
Eb7
To CODA after last A
B9
Pno
Ebm7
Ab7
Dbmaj7
Gb7
Fm7
Bb7(#9)
13
Pno
Ebm7
Ab7
B7
Bb7
Repeat A once
17
Pno
CODA
Cm7(b5)
F7(#5)
Bbm7
Eb7
on cueBmaj7
fill......
FORM AABA
Bbm7
fill......
q = 120
BassMorning
Clare Fischer
Latin
80
Cm7(b5)
F7(#5)
Bbm7
Eb7
Cm7(b5)
F7(#5)
Bbm7
Eb7
Ebm7
5
Ab7
Dbmaj7
Gbmaj7
Cm7(b5)
F7(#5)
Bbm7 Eb7
9
Ebm7
Ab7
Dbmaj7
Gb7
Fm7
Bb7(#9)
13
Ebm7
Ab7
B7
Bb7
17
Cm7(b5)
F7(#5)
Bbm7
Eb7
Cm7(b5)
F7(#5)
Bbm7
To coda last X
Eb7
Ebm7
21
Ab7
Dbmaj7
Gbmaj7
Cm7(b5)
F7(#5)
Bbm7 Eb7
25
FORM AABA
Cm7(b5)
F7(#5)
Bbm7
Eb7
Bmaj7
Bbmin7
Bb part GershwinI got rhythm
81I Got Rhythm is the basis for many tunes. These are known as tunes on 'rhythm changes'.The first 16 bars have chords I,VI,II,V, and the middle eight is a sequence of dominantsevenths moving through the cycle of 5ths.
C
Am7
Dm7
G7
C
Am7
Dm7
G7
5
C
Am7
Dm7
G7
C
G7
C
9
E7
A7
13
D7
G7
17
C
Am7
Dm7
G7
C
Am7
Dm7
G7
211.
C
Am7
Dm7 G7
Tune only
C
A7
25
2.
Dm7
G7
C
Solos only
Dm7
G7
C
Eb part GershwinI got rhythm
I Got Rhythm is the basis for many tunes. These are known as tunes on 'rhythm changes'.The first 16 bars have chords I,VI,II,V, and the middle eight is a sequence of dominantsevenths moving through the cycle of 5ths.
G
Em7
Am7
D7
G
Em7
Am7
D7
82
5
G
Em7
Am7
D7
G
D7
G
9
B7
E7
13
A7
D7
17
G
Em7
Am7
D7
G
Em7
Am7
D7
211.
G
Em7
Am7 D7
Tune only
G
E7
25
2.
Am7
D7
G
Solos only
Am7
D7
G
C part GershwinI got rhythm
83I Got Rhythm is the basis for many tunes. These are known as tunes on 'rhythm changes'.The first 16 bars have chords I,VI,II,V, and the middle eight is a sequence of dominantsevenths moving through the cycle of 5ths.
Bb
Gm7
Cm7
F7
Bb
Gm7
Cm7
F7
5
Bb
Gm7
Cm7
F7
Bb
F7
Bb
9
D7
G7
13
C7
F7
17
Bb
Gm7
Cm7
F7
Bb
Gm7
Cm7
F7
211.
Bb
Gm7
Cm7 F7
Tune only
Bb
G7
25
2.
Cm7
F7
Bb
Solos only
Cm7
F7
Bb
Bass melody GershwinI got rhythm
I Got Rhythm is the basis for many tunes. These are known as tunes on 'rhythm changes'.The first 16 bars have chords I,VI,II,V, and the middle eight is a sequence of dominantsevenths moving through the cycle of 5ths.
Bb
Gm7
Cm7
F7
Bb
Gm7
Cm7
F7
84
5
Bb
Gm7
Cm7
F7
Bb
F7
Bb
9
D7
G7
13
C7
F7
17
Bb
Gm7
Cm7
F7
Bb
Gm7
Cm7
F7
211.
Bb
Gm7
Cm7 F7
Tune only
Bb
G7
25
2.
Cm7
F7
Bb
Solos only
Cm7
F7
Bb
29
Sample bass line for first 16 bars
Bb
Gm7
Cm7
F7
Bb partT. MonkRhythm-a-ning
85 This tune is based on 'rhythm changes'. It uses chord VI major as in bar 1 to make the pull to chordII more effective. The melody is quirky, rhythmic and at times dissonant (clashy).
C
A7
Dm7
G7
C
A7
Dm7
G7
5
C
A7
Dm7
G7
C
9
E7
A7
13
D7
G7
17
C
A7
Dm7
G7
C
A7
Dm7
G7
21
C
A7
Dm7
G7
C
Eb partT. MonkRhythm-a-ning
This tune is based on 'rhythm changes'. It uses chord VI major as in bar 1 to make the pull to chordII more effective. The melody is quirky, rhythmic and at times dissonant (clashy).
G
E7
Am7
D7
G
E7
Am7
D7
86
5
G
E7
Am7
D7
G
9
B7
E7
13
A7
D7
17
G
E7
Am7
D7
G
E7
Am7
D7
21
G
E7
Am7
D7
G
C part
T. MonkRhythm-a-ning
87 This tune is based on 'rhythm changes'. It uses chord VI major as in bar 1 to make the pull to chordII more effective. The melody is quirky, rhythmic and at times dissonant (clashy).
Bb
G7
Cm7
F7
Bb
G7
Cm7
F7
5
Bb
G7
Cm7
F7
Bb
9
D7
G7
13
C7
F7
17
Bb
G7
Cm7
F7
Bb
G7
Cm7
F7
21
Bb
G7
Cm7
F7
Bb
Bass melodyT. MonkRhythm-a-ning
This tune is based on 'rhythm changes'. It uses chord VI major as in bar 1 to make the pull to chordII more effective. The melody is quirky, rhythmic and at times dissonant (clashy).
Bb
G7
Cm7
F7
Bb
G7
Cm7
F7
88
5
Bb
G7
Cm7
F7
Bb
9
D7
G7
13
C7
F7
17
Bb
G7
Cm7
F7
Bb
G7
Cm7
F7
21
Bb
G7
Cm7
F7
Bb