Effective Etudes For Jazz

by lUîke Carubîa and Jeff Jarvis

TITLE CD TRACKS PAGE

(with soloist/rhythm section only)

Introduction • 2

Tuning Note : Track 1

Keep Smilin' (based on When You're Smiling chord changes) Track 2/20 5

Moonmen (based on Moongloiv chord changes) Track 3/21 6

Minor Is Finer (Minor Blues in Bb) Track 4/22 7

Baggage Claim Blues (Blues in Bb chord changes) Track 5/23 8

Dido (based on Perdido chord changes) Track 6/24 10

Isle Of Melon (based on Cantaloupe Island chord changes) Track 7/25 12

It's From Heaven (based on Pennies From Heaven chord changes) Track 8/26 14

The Moon Is High (based on How High The Moon chord changes) Track 9/27 16

Blue Note Blues (Blues in F) Track 10/28 18

Softly (based on Softly As In A Morning Sunrise chord changes) Track 11/29 20

You're The Last One (based on There Will Never Be Another You chord changes) Track 12/30 22

I Got Yer Rhythm! (based on Tve Got Rhythm i n Bb chord changes) Track 13/31 24

The Sum Of Your Attributes (based on AU The Things You Are chord changes) Track 14/32 26

This Is Love (based on What Is This Thing Called Love chord changes) Track 15/33 28

My Glowing Moment (based on M y Shining Hour chord changes) Track 16/34 30

Sweet Georgia (based on Sweet Georgia Brown chord changes) Track 17/35 32

It's Nobody For Me (based on It's You Or No One chord changes) Track 18/36 34

I Got Rid Of ' E m (based on l've Got Rhythm in F chord changes) Track 19/37 36

About the Composers 38

About the Soloist 40

COPYRIGHT© 2004 BY KENDOR MUSIC, INC. (SESAC), DELEVAN NY 14042 U S A .

COVER DESIGN © MADELINE STURM/BOOM DESIGN GROUP, INC. - USED BY PERMISSION
ALL RIGHTS RESERVED - INTERNATIONAL COPYRIGHT SECURED - MADE IN USA.

1
Annotations Chord Référence
Of the many key ingrédients that constitute a Chart
good solo, some are not practical or even possi-
ble to stvidy such as innate talent, early expo- Motivated students will want to leam more
sure to certain musical styles, personality, mood, about the chord symbols above the staves. A
point of view, and instrumental ability. chord référence chart above each tltle identifies
However, compositional devices of a theoretical the chord tones of every chord symbol in the
nature can be analyzed and studied. Unlike étude. For this reason each chord has been
other jazz étude collections. Effective Etudes For voiced tertially (in thirds), starting at the root.
Jazz advances jazz conception by providing Thèse configurations are provided for chord tone
annotations beneath the staves that w i l l help analysis, not to demotistrate the most sonically
you build and expand your jazz vocabulary as pleasing voicings and/or ranges. Chord référence
you discover exactly how jazz phrases are con- charts do not appear in the piano book since left
structed and how they relate to the correspon- hand voicings for ail chords appear in the bass
ding chords. Here is a guide to the abbreviations clef staff.
used in the annotations, along w i t h explana-
tions:
Conclusion
• Melody - références to the song's melody
• Arp. - use of chord arpeggios and their varia- Effective Etudes For Jazz covers many theoretical,
tions Visual, and aurai aspects of leaming to interpret
• Scale - use of an appropriate scale or scale and improvise jazz music. But don't stop here!
fragment There is an océan of great jazz recordings that
• Root, 3, 5, 7, 9, etc. - movement toward chord w i l l inspire you to even greater heights of
tones when crossing a bar line proficiency and understanding. Take advantage
• Cliché' - use of memorized and/or commonly of every opportunity to listen to performances
used phrase or lick i by accomplished jazz artists - known or
• Motif - use and development of mélodie and imknown, recorded or live. This never-ending
rhythmic motives (short ideas used repeatedly educational process w i l l contribute to your suc-
cess as a musician and your enjoyment of jazz.
for effect).
We w i s h you every success in both endeavors.
The next set of abbreviations dénote the use of
non-harmonie tones, or notes of short duration
that do not interfère with the corresponding
chords:

• C A T - chromatic approach tone

• U N - upper neighbor tone
• L N - lower neighbor tone
• P T - passing tone
• B N - blue note

Annotations that do not appear in the legend

are spécifie and not abbreviated.

4
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