Audio primer tracks part one basics

1 Scales. Major, blues, acoustic (or melodic minor,

ascending form), octatonic (or diminished), whole-

tone.
2 Arpeggios. Various seventh chords.
3 Melody without chords, then with chords.
4 Syncopation. First four bars of Scott Joplin’s “The

Entertainer” as written (with syncopation), then the

same four bars with the syncopation removed.
5 Backbeat or change step. A stride left-hand chord

progression is played twice; the first time without a

back-beat, the second time with a back-beat.
6 Harmonic substitution. A ii7-V7-I progression

stated simply, then gradually embellished with

extensions and tritone substitutions.
7 Counterline/countermelody with guitar and

piano. Two blues choruses: The first chorus is

performed without a counterline; the second chorus

includes a counterline on the piano.
8 Inside/outside melodic lines with guitar and

piano. A ii7-V7-I progression is played twice: first

the guitarist plays inside over the chords, then he

plays outside over the chords.
9 Locked hands. A brief demonstration of this

technique.

10 Rhythm changes with piano, bass, and drums. A

32-bar chorus of rhythm changes.

11 Blues changes with piano, bass, and drums.

Demonstration of blues chord changes.

PART TWO – JAZZ INSTRUMENTS AND PERFORMANCE EFFECTS

Trumpet

12 Open

13 Cup mute

14 Harmon mute

without stem

(Miles Davis

sound)

15 Harmon mute with

stem (wah-wah

effect)
Saxophone Family

16 Soprano

17 Alto

18 Tenor

19 Baritone

Clarinet

20 Swing clarinet

sound

21 Obbligato part in

Dixieland setting

Trombone

22 Open

23 Cup mute

24 Growl effect

25 Glissando and

tailgate effect

Drum Set

26 Snare

27 High tom

28 Low tom

29 Bass

30 Ride cymbal

(swing beat)

31 Hi-hat with chick

sound (foot pedal)

32 Hi-hat with swing

beat; combine

foot/hand

33 Sample crash

cymbals

34 All drums/cymbals

together in swing

groove

35 All drums/cymbals

with brushes in

swing groove

Acoustic and Electric Guitar

36 Acoustic chords:

comping

37 Acoustic melody

38 Acoustic bossa

nova style

39 Early electric

sound

40 Jazz-rock (fusion)

sound

41 Jazz-rock with

wah-wah pedal

42 Phasing, echo, and

other effects

Acoustic Bass

43 Walking bass

PART THREE – BUILDING THE JAZZ BAND THROUGH SIX BLUES CHORUSES

Bass, Drums, Piano, Trumpet, and Tenor Saxophone

44 First chorus: Bass and drums playing alone in a

swing walking style

45 Second chorus: Add piano comping.

46 Third chorus: Trumpet solo breaks on bars 1-2, 5-

6, and 9-10.

47 Fourth chorus: Trumpet and saxophone trade

twos. Example of antiphony or call-and-response.

48 Fifth chorus: Tenor saxophone solo accompanied

by three-quarter-note stop time.

49 Sixth chorus: Tenor saxophone solo accompanied

by trumpet playing a background riff.

Musicians: Keith Waters (1, 2, 3, 6, 9, and all ensemble work), piano; Henry Martin (4 and 5), piano; Ron Miles, trumpet; Rich Chiaraluce, clarinet and soprano, alto, and tenor saxophones; Mark Harris, baritone saxophone; Joe Hall, trombone; Bill Kopper, guitar; Ken Walker, bass; and Todd Reid, drums.

Recorded February 12 and 13, 2001, at the Career Education Center, Denver, Colorado. Engineer: Joe Hall. Assistant engineers: Ty Blosser, Jerry Wright, and John Romero. Produced by Henry Martin and Keith Waters.

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