The Jazz Combo: From Lead Sheet to Performance Dr. Daniel Brame Deerfield High School Jazz Band Illinois Music Education Conference January 26, 2018

Transcription

1 What does a lead sheet convey? Melody, often in basic rhythms Chord progression, often in simplified form What doesn t a lead sheet convey? Specific rhythm hits or bass lines Counterlines or background figures Common variations in rhythms or pitches The azz Combo: From Lead Sheet to Performance Dr. Daniel Brame Deerfield High School azz Band Illinois Music Education Conference anuary 26, 2018 Not all fakebooks are created equal Hal Leonard Sher Music Aebersold Charles Mingus: More Than a Fakebook (Hal Leonard) Thelonius Monk Fake Book (Hal Leonard) Fakebook index: Importance of listening to source recordings Standard tunes exist in multiple, often classic versions o Autumn Leaves, Cannonball Adderley, Something Else o Round Midnight, Miles Davis, Round About Midnight o My Favorite Things, ohn Coltrane, My Favorite Things Listening often reveals details not present in lead sheet Where to start For simple tunes, start ith lead sheet If in standard block notation, add syncopation For complex tunes, start ith original recording Intros Vamps, ith and ithout layering

2 Dominant prolongation Last four bars of the tune Rubato solo Improvised solo Big band style Rumble Head Solo vs. ensemble Rhythm section melody Unison vs. harmonized

3 Melody ith backgrounds Counterpoint Solo Section Solo order o traditional order is horns to piano/guitar to bass to drums o begin and end ith strong, energetic soloists o for change of pace, start ith bass or drums Solo break o can be one or to bars o often begins on I chord

4 Backgrounds Full vs. partial rhythm section Trading fours Stop time Solo over vamp o find a 2-chord pattern that goes ith the changes o I-IV or ii-v often ork ell Transition back to head Interlude Variation on head Contrafact Shout chorus Ending Outchorus should the arrangement be the same as the opening chorus? Unlayer

5 Reverse any layering process used at the top Start at bridge especially appropriate for a head longer than 32 bars or a ballad End ith head vs. vamp out Tags o 3 times and out o iii-vi extension (orks ell if last four bars are ii-v-i) Long vs. short note Shout vs. hisper o both might be determined by here the tune falls in the set o good ending chords: for maor tunes, ma7#11, 6/9; for bluesier tunes, 7#11, 7#9; for minor tunes, min6/9, min(ma7) Basie and Ellington endings Cadenza for ma7 use lydian, for dom7 use lydian dominant, for min use ascending melodic minor Other considerations Change style Segues, mash-ups, classical or orld music Non-traditional azz instruments Original tunes

6 Suggested Listening Each of these albums features larger combos ith 3+ horns and full rhythm sections. The tunes are more fully arranged than the typical unison head-solos-unison head format. Miles Davis, Birth of the Cool ( ) Dave Pell Octet, azz for Dancing and Listening ( ) Charles Mingus, Mingus Ah-Um (1959) Oliver Nelson, Blues and the Abstract Truth (1961) Art Blakey and the azz Messengers, Caravan (1962) Wynton Marsalis Septet, The Marciac Suite (1999) SFazz Collective, Live: SFAZZ Center Music of Miles Davis & Original Compositions (2016)

7 C Instruments Climb a Tree (original leadsheet - block notation) Daniel Brame CΔ7 & 4 4. E7. A7 #... E7 # A 7 #. D7 #. G 7 C Δ7 E &. 7. A7 #... FΔ7 &. F 6 E 7. # A 7 & G 7 C6 E b 7 G by Daniel Brame. All rights reserved.

8 Climb a Tree (performance version - syncopated) C Δ7. E 7 # A 7 # D 7.. B 7(# 9) E7 # #. A 7 # D7 #. # # G 7 G 7( # b 9 ) 5. b CΔ7 E7. # A7 #.. FΔ7 &. F 6. E 7. b # A7 D 7 & n. G 7 # n C 6 E b 7 D 7 G 7 Climb a Tree - 2

9 C Instruments Bossa Nova & bb c CÑ DorLyMix F7. CÑ F7. Daniel Brame & bb CÑ F7. CÑ F7. & b b Ab N b b. & b b b. b. & b b D7 # n # n. n. & b b #. # n n Ó b n Gñ Copyright 2008 by Daniel Brame. All rights reserved.

10 C Instruments Bi Bost Bat Daniel Brame DÑ & 4.. G7 -. C. CÑ b. F7 &. b -. b Bb BbÑ Ó b. b - b. Eb7 Ab 1 2 Aï Aï & b bb b Ab bb Ó Play head tice before solos, taking the first and second endings. Play head tice after solos, taking the first and third endings by Daniel Brame. All rights reserved.

11 About the clinician Daniel Brame has been Director of Bands at Deerfield High School since In this position, he leads concert bands, azz bands, marching band and teaches music theory. During his tenure at DHS, the band program has gron from 45 students to over 120, and a concert band and to azz combos have been added. Dr. Brame holds a doctorate in music education from Boston University. His dissertation as a study of comprehensive musicianship in high school band programs in Illinois and Wisconsin. He also has a bachelor's degree in music education from Northestern University and a master's in music education from DePaul University. He has served as a staff arranger for the Northestern University Wildcat Marching Band and the Chicago Bar Association Christmas Spirits sho. His marching band charts have also been performed by several college and high school bands across the country. Dr. Brame has published articles in The Instrumentalist and Teaching Music and as a contributor to Musicianship: Composing in Band and Orchestra, published by GIA. In 2016, he received the Chicagoland Outstanding Music Educator Aard from Quinlan and Fabish Music. You can contact me at dbrame@dist113.org ith any questions or comments about the material. About the ensemble The Deerfield High School azz Band meets as a full credit class four days a eek. With flexible and nontraditional instrumentation, the ensemble can function as a mini-big band, an expanded combo, a piano trio, or any other combination. Our main emphasis is developing each student's self-expression through improvisation, arranging, and composition. The DHS azz Band performs four formal concerts each year as ell as a number of informal and community gigs. They have participated in the Evanston azz Festival and azz in the Meados and have played at the Palm Court azz Cafe in Ne Orleans. In 2013, the Dr. Brame and the band presented a clinic titled Seven Steps to the Blues at the Illinois Music Education Conference in Peoria. Alumni of the group include professional performers, composers, and producers in Ne York, Philadelphia, Los Angeles, and Chicago. The music program at Deerfield High School includes three concert bands, one curricular azz band and to after-school combos, marching band, three orchestras, and four choirs, in addition to classes in music theory and beginning guitar. The staff includes three full-time directors and an accompanist.