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TENOR S X
The New Method for Learning to
Read Written Jazz Music
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Reading Jazz
D
Trachng
Sheet
ime ime
1. Duet 1 Prel iminary Exercise
2. Duet
1 First Time
3. Duet 2 Prel iminary Exercise 1
4. Due t 2 - Preliminary Exercise 2
5. Duet 2 Prel iminary Exercise 3
6. Duet 2 - The Smoothie
7. Duet 3 Prel iminary Exercise 1
8. Duet 3
-
Preliminary Exercise 2
9. Duet 3 Dah t's Da h Vay
10. Duet 4 Prel iminary Exercise 1
11. Duet 4 Prelimina ry Exercise 2
12. Duet 4 - Pop It
13. Duet 5 - Preliminary Exercise 1
14. Duet 5
Preliminary Exercise 2
15. Due t 5 Slip "N Slide
16. Duet 6 Prel iminary Exercise
17. Duet 6 - One More Time
18. Duet 7
Preliminary Exercise 1
19. Duet 7 - Preliminary Exercise 2
20. Duet 7 - Preliminary Exercise 3
21. Duet 7 - Same Lick - Different Look
22. Due t 8
-
Preliminary Exercise 1
23. Due t 8 Preliminary Exercise 2
24. Duet 8 - Skippin'
25. Duet 9 - Preliminary Exercise 1
26. Duet 9
-
Preliminary Exercise 2
27. Duet 9 - Two Short
-
Not Too S hort
28. Duet 10 Preliminary Exercise 1
29. Duet 10
-
Preliminary Exercise 2
30. Duet 10 Prelimina ry Exercise 3
31. Duet 10 The Frondescence of Fall
32. Duet 11 - Preliminary Exercise 1
33. Duet 11 Prelimina ry Exercise 2
34. Due t 11 A Little Mino r Blooz e
35. Duet 12 Prel iminary Exercise 1
36. Duet 12 Prel iminary Exercise 2
37. Duet 12 A 01' Ian
38. Duet 13 Prel iminary Exercise 1
39. Duet 13 Prel iminary Exercise 2
40. Duet 13 Restin, Fore and Aft
41. Duet 14 - Preliminary Exercise
42. Duet 14 Prel iminary Exercise
43. Duet 14
-
Preliminary Exercise
44. Duet 1 4 Say It Again, Virginia
D
45. Duet 15 Prel iminary Exercise
46. Duet 15 Two Brothers
47. Duet 16 Prel iminary Exercise
48. Duet 16 Preliminary Exercise
49. Duet 16 Two Others
50. Duet 1 7 Prel iminary Exercise
51. Duet 17 Preliminary Exercise
52. Duet 17
-
Cha Da
53. Duet 18 Preliminary ~x e rc is e
54. Duet 18 Bleu Skies
55. Duet 19 Preliminary Exercise
56. Duet 19 Just For Jack
57. Duet 20 - Preliminary Exercise
58. Duet 20 Egual Octavo
59. Duet 21
-
Preliminary Exercise
60. Duet 21 Bright Eyes
61. Duet 22 Preliminary Exercise
62. Duet 22 Barbara's Blues
63. Duet 23
-
Preliminary Exercise
64. Duet 23 Jersey's Bounce
65. Duet 24 - Preliminary Exercise
66. Duet 24 - Kickin' It Aroun d
67 . D.uet 25 Prelimina ry Exe rcise
68. Duet 25
- Preliminary Exercise
69. Duet 25 - Charlie Jack
70. Due t 26 Preliminary Exercise
71. Duet 26 September's Song
72. Duet 27 Preliminary Exercise
73. Duet 27 Sippimissi Mud
74. Duet 28 Preliminary Exercise
75. Duet 28 - Melody For M ichelle
76. Duet 29 Prel iminary Exercise
77. Duet 29 Lull-A-Byin' Rhythm
78. Duet 30 Prel iminary Exercise
79. Duet 30 Triplication
Total
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PREFACE
How This Text Can Help You
Throughout the country, thousands of music educators spend untold hours teaching jazz ensemble music by rote
as, with few exceptions, students entering their bands have only had traditional, classically oriented training. Few
are able to read written jazz music accurately, no less interpret the parts using idiomatic articulations.
This was also my situation, even though the members of the azz ensemble were the best musicians in the school at
which I aught. It was difficult to find time in an already overcrowded schedule to teach reading and interpretation of
written jazz music. This self-study text and tape was developed in answer to this problem. say self-study as most of
the students using i t were able to work through the duets by themselves with little or no help on my part. Indeed, he
play-along format made learning to play in a jazz style easy and enjoyable. Completion of this text is now a
prerequisite to membership in the jazz ensemble and excerpts from the duets are used for auditions. The result is
that, from the first rehearsal, students are not only reading music, but working toward making it swing.
Although designed for scholastic use, the text may be of assistance to classical musicians who find themselves
called upon to perform works in the jazz idiom, and music educators with little or no azz experience who wish to
conduct jazz ensembles or works in a jazz style.
Why Jazz Music Is Difficult to Read
Traditionally trained musicians encounter difficulty in reading jazz for three reasons. First, the rhythm patterns,
although written in four quarter time with an even subdivision of the beat, are usually performed with an uneven
subdivision of the beat. Secondly, performance of these rhythm patterns is complicated by an inconsistency in their
notation by jazz arrangers and composers. One pattern may be written in several different ways, all of which are to
be performed in an identical manner. Lastly, the phrasing and articulation are often poorly notated, i f notated at all,
the arranger assuming the performer will interpret the music with characteristic phrasing and articulation. It is to
these three problems that this text is addressed.
How the Text Was Written
The rhythm patterns selected for use in this text were drawn from over four hundred pages of written jazz music
currently in print. Any rhythm pattern that appeared three or more times was included in the book. These rhythm
patterns were sorted into fourteen categories with one category (syncopated quarter notes) having thirteen
subdivisions. The rhythm patterns are presented in the text in order of increasing complexity.
Prior to writing the duets, five intermediate method books were analyzed with regard to range, key signatures, note
and rest values used, etc. This survey was used as a guide in limiting the technical difficulty of the duets.
There is a considerable range in the number of articulation marks supplied in he parts, from preliminary exercises in
which every note is marked to duets in which there are few (if any) markings. This was done to simulate the wide
variety in the amount of articulative markings to be found in the music students will play.
Final revisions were made after two years of use with students from two different school systems. The duets were
rated by four prominent jazz educators representing middle school through collegiate levels in categories
developed by the National Association of Jazz Educators. The consensus of these ratings was
(1)
grade of difficulty
(rated I-VII): III/IV, or medium difficulty, and
2)
musical rating (rated A-F): A minus, or excellent. It was also noted hat
articulations used conformed to the Standardization of Stage Bands Articulations recommended by NAJE.
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INTRODUCTION
This text is designed to help you read written jazz rhythm patterns accurately using idiomatic articulations. The most
commonly used jazz rhythm patterns are presented, one at a time, in order of increasing complexity in a series of
duets. Each duet is preceded by an introductory section to guide you i n your initial approach to the rhythm patterns.
This introduction is divided into five parts: Heading, Written, Played. Preliminary Exercises, and Review.
Head ing The rhythm patterns presented in each duet is stated in the heading. Careful reading of the heading will
help you understand the arrangement of the notes that form each pattern.
Written. Directly below the heading, the musical notation (and any alternate notations) of the rhythm pattern is
shown, with reference to a particular measure in the duet where that rhythm pattern may be found. Compare the
various alternate notations, one to another, to understand how notes of different duration are used in conjunction
with rests and ties to write the same rhythm pattern in different ways. Also, compare the notation of particular
measures in the duet to which you are referred. These comparisons will help you develop an understanding of the
manner in which the various alternate notations are used.
Played. This section explains the articulat ion of the rhythm patterns with regard to (1) the duration of the notes that
comprise the pattern, (2) he mafiner in which the notesare o beattacked and/or released, and (3) theaccentuation
of any particular tones within the pattern.
Preliminary Exercises. These exercises provide an initial approach to playing the patterns. A short heading is often
included as an aid to your understanding the design or purpose of the exercise.
Cue notes above the staff are used in two ways: (1) to illustrate the uneven divis ion of the beat (these are written on
a
one-l ine staff), or (2) as an aid to understanding the alternate notations of the pattern (these are written under a
bracket). Phonetics representing the sound of the articulations are included below the staff so that you can chant
each exercise, using dah's and daht's.
Make a preliminary study of each exercise to make certain you understand the purpose of the exercise (check the
heading) and the way i n which the patterns are notated (check the cue notes above the staff). Each exercise should
be practiced in three ways. First, listen to the recording while following the music. Second, chant the exercise,
using phonetics. Tap your toe to the beat while chanting. Careful attention to the articulations with regard to
emphasis and inflection will help you get the feeling of each figure. DO NOTSKIP THlS STEP. IT IS IMPORTANT
THAT YOU REPEAT THlS STEP UNTIL YOU HAVE THE PATTERN SKIPPING ALONG REALLY SWINGING.
Lastly, play the pattern on your instrument. Again, repeat this step, matching your articulation to that on the
recording, until you have the figures swinging.
Review. This section is used to alert you to the second and third appearance of a rhythm pattern in the duets.
Reference is made to a particular measure where the pattern may be found, and the duet in which the pattern first
appeared.
study in^
the Duets. Approach the duets in the same manner as the prel iminary exercises. First, analyze the rhythm
patterns while listening to the recording. Second, practice chanting the phonetics while tapping your toe and
fingering the notes you are chanting on your instrument. Concentrate on the articulation. Again, this second step is
most important. REPEAT THlS STEP UNTIL THE FINGERING MOVES EFFORTLESSLY AND THE CHANTING
SWINGS. Lastly, play the duet on your instrument, matching the articulation to that on the recording.
Practice Both Parts. Part I is on the left channel and Part II is on the right channel; the rhythm section is on both
channels. After you have Part I really swinging, turn off the left channel and play Part I by yourself with Part II and
the rhythm section on the right channel. Practice Part II n a similar manner, turning off the right channel and playing
with Part and the rhythm section after the figures are swinging.
The Table of Contents forms an index of the first three appearances of a particular rhythm pattern in the duets, and
may be used as a guide to work on a particular pattern you feel needs practice.
Class Applications. The duets may be used for class instruction as the various parts treble clef, Bb, Eb, and bass
clef may be played together.
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TABLE OF CONTENTS
DUET
PAGE
Quarter Notes, and Note Values Larger Than
a
Quarter Note
10
Duet 2, p. 14; m. 3;
l Duet3, p.17;rn.lO.
2 Series of Eighth Notes
.........................................................................................................
2
Duet 4, p. 19; rn. 16;
u e t , p.21;rn.3.
...........................................................................
Series of Dotted Eighth/Sixteenth Notes 16
4 Eighth Note Anticipations Followed by
a
Rest
...................................................................
8
Duet 6, p. 22; rn. 4;
Duet 7, p. 27; rn. 35.
Duet 15, p. 45; rn. 18;
Duet 18, p. 51
n.
29
..........................................................................................Tied Eighth Note Anticipations 20
Duet 6, p. 23; rn. 22;
Duet 8 p. 29; rn. 5.
Duet 10, p. 33; m. 15;
Duet 15, p. 44;
rn.
2.
........................................................................................
Eighth Note Patterns Intermixed 22
Review of Patterns Found in
Duets 2, 4, and 5.
7
Syncopated Quarter Note-Basic Pattern ............................................................................ 4
Duet 8, p. 29;
m.
22;
Duet 9, p. 31; rn. 32.
Duet 15, p.45; m. 13- 14;
uet 16, p. 46;
m.
1.
Duet 9, p. 31 m. 16;
uet 29, p. 73; rn. 19.
8
Syncopated Quarter Note-with the Final Note of the Pattern Tied into a Quarter or
Larger Value Note .......................................................................................................... 8
Duet 11, p. 35;
m.
15-16;
Duet 12, p. 36; m 3.
J
A
Duet 9, p. 31
m.
6;
-
Duet 11, p. 35; rn. 26 27.
Duet 9, p. 31; rn. 23;
T].
uet 11, P 35; rn. 23 24.
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DUET PAGE
9
Syncopated Quarter Note-with
a
Quarter or Larger Value Rest Following the
Basic Pattern .................................................................................................................
30
Duet
17
p.
49; rn 13;
Duet
18 p 50;
rn.
1.
Duet 18
p.
50; rn. 1 2.
Duet 15 p. 44; rn. 6 7;
Duet18
p.51; rn.32-33.
Duet 18 p. 51; rn. 30-31;
n
uet
27
p.
69; rn. 26
10
Syncopated Quarter Note-with an Eighth Rest Substituted for the Initia l Eighth
Note of the Basic Pattern................................................................................................
32
Duet
12
p.
37;
rn.
17;
Duet
15
p.
44;
rn
10.
Duet
24
p.
63;
rn.
3;
uet 29 p. 72;
rn.
2.
11
Syncopated Quarter Note-Expansion of the Basic Pattern by the Inclusion of
.....................................................................................................wo Quarter Notes 34
Duet 14 p. 42; rn. 5;
Duet
15
p.
45:
rn.
12.
l
Duet
14
p.
42;
rn.
13 14;
Duet
16
p.
47;
rn.
13.
l 4 Duet 12 p.37; rn. 13- 14;
-
Duet 14 p. 43; rn. 21.
Duet
16 p.47; rn. 17-18;
Duet 26 p. 67;
rn.
30.
12
Syncopated Quarter Note-with
a
Quarteror Larger Value Note Tied into the Initial
Eighth Note of the Basic Pattern
...................................................................................36
1 I Duet 18 p. 51;
m.
15- 16;
I
Duet 23 p. 61
rn.
1 2.
1.
jn
Duet
18
p.
51
;
rn.
14- 15;
Duet
23
p.
61
rn.
1.
13
Syncopated Quarter Note-with Eighth Rests Substituted for Both Eighth Notes in
the Basic Pattern
............................................................................................................
38
Duet 17 p. 49;
rn.
15;
uet
19
p.
53;
rn.
15.
Duet 19 p. 53; rn. 19;
Duet
25
p.
65; rn 6.
Duet
17 p.49; m 13- 14;
I
Duet
27
p.
69; rn 19.
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DUET
7
PAGE
14
Syncopated Quarter Note-Expansion of the Basic Pattern by the Inclusion
of Three or More Quarter Notes
.....................................................................................
0
I JJJ.
- Duet 22, p. 59; m. 18 19.
J J j I
,
Duet 18, p. 51 rn. 20.
15
syncopated Quarter Note-Expansion of the Pattern wi th an Eighth Rest Substituted
...............................
or the Initia l Eighth Note by the Inclusion of Two Quarter Notes 44
J J
Duet 18, p. 50; m. 8;
.,
-
- Duet 27, p. 69; rn.
7
- 8.
16
Syncopated Quarter Note-Expansion of the Basic Pattern Followed by a Quarter
or Larger Value Rest by the Inclusion of Two or More Quarter Notes
...........................
46
t
Duet 19, p. 53; m. 14.
Duet 19, p. 52; m. 1 - 2;
Duet 22, p. 59; m. 22 - 23.
17
Syncopated Quarter Note-Expansion of the Pattern wi th Eighth Rests Substituted
..................................
or Both Eighth Notes by the Inclusion of Three Quarter Notes
48
Duet 22, p. 59; m. 26;
Duet23, p.61; rn.20.
18
Syncopated Ouarter Note-Expansion of the Pattern wi th a Quarter or Larger Value
Note Tied into the Initial Eighth Note by the Inclusion of Two Quarter Notes .............50
1.
J J J l,,
Duet 19, p. 52; m. 2 - 3;
Duet 23, p. 61 ; m. 17.
19
Syncopated Quarter Note-with Ouarter or Larger Value Note Tied in to the
lni tial Eighth Note of the Basic Pattern and the Final Eighth Note Tied in to
a Quarter or Larger Value Note
.....................................................................................
52
1
j n
,
Duet 22, p. 59; m. 24
-
25;
-
-,
Duet 27, p 69;
rn.
10.
J.
J y j
Duet 24, p. 63; m. 6;
-
Duet 28, p. 71; m. 31.
.....................................................................
0 Even Eighth Notes in Latin American Music 54
Various rhythm patterns
from previous duets.
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DUET PAGE
21
Even Eighth Notes in Jazz- Rock Music ............................................................................. 6
Various rhythm patterns
from previous duets.
22 Eighth Note Triplets ......................................................................................................... 8
Duet 23 p. 61
;
m.
3;
Duet 24 p. 63; m. 15.
23 Kickbeat Patterns
.............................................................................................................
0
Duet 24 p. 63; m. 21;
uet 25 p. 65; m. 26.
24 Kickbeat Patterns ..............................................................................................................2
),?, Duet 25 p. 65; m. 22;
d
Duet 26
p.
67; m. 18;
1
R
Duet 27 p. 68; m.
2.
25 Charleston Patterns ........................................................................................................... 4
)
Duet 28
p.
70;
A
.
.
Y
Duet 29 p. 72; rn. 1.
I
Duet 27 p. 68; rn. 2;
-
Duet 28 p. 71;
rn.
16.
26 Charleston Patterns
...........................................................................................................
6
1 11
Duet 27
p.
68; m. 1.
27 Punctuation
.......................................................................................................................
8
h )
Duet 28 p. 71; m. 20;
.
I
Duet 29 p. 73; m. 14 - 15.
Duet 29
p.
73;
rn.
21.
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DUET PAGE
28 Individual Eighth Note Anticipations 70
Duet 29 p. 73; m. 20.
I
8 Duet 29 p. 73; m. 31.
29
Quarter Note Triplets 72
3 7
J-J-J -
30
Eighth Note Triplet Patterns with Ties and/or
Rests
74
RELATED TOPICS
Accented upbeat eighth notes 32 63
Cutoffs
last
note of the phrase tied to an
eighth note 24
Alternate notations of the same
rhythm pattern 24
Eighth note anticipations 18
Articulation marks
accents 16 24
sforzando-piano 16
staccato 10
tenuto 10
Balance of parts 12
Conflicting rhythms playing 20
Even eighth notes
Jazz- Rock music 56
Latin American music 54
Pickups into the first beat of
a
phrase 63
Omission of clef signs and key signatures 18
Slur as
a
phrase mark 20
Cutoffs 10
last note of the phrase followed
by a rest 12
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UET
Quarter Notes, and Note Values
Larger than a Quarter Note
Written
(Part I, measure 101, - (I, rn. 31 I, m. 1)
Played
Quarter notes that have no articulation marks are usually played short (separated from the
surrounding notes) wi th the tone stopped by the tongue (tongue daht ). Quarter notes marked tenuto
are played long (held for thei r full value) and legato tongued (tongue dah ).
Note values larger than a quarter note are usually played long and legato tongued.
Cutoffs
The final note in a phrase is usually stopped
a t
the beginning of i t s last beat to provide (1) an
exact cutoff point, and
2 )
space for
a
breath. See, for example, rn. in the Preliminary Exercise below.
Preliminary Exercise
Important: Make sure you fo llow the directions found on page when playing the exercises
below and the duet that follows.
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F IRST
T IM
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UET
Series of Eighth Notes
Written
J L 11
m. 11
Played
The rhythmic basis of jazz i s an uneven division of the beat in which the eighth note on the
downbeat receives two-thirds of the beat and the eighth note on the upbeat on-third of the beat. That
is
s
played
i
,or
;
This change from the traditional even division of the beat in which
each eighth note receives one-half of the beat
i s
used in playing all eighth note patterns.**
Legato tongue each eighth note
as
smoothly as possible (tongue dah-da). Although unmarked
eighth notes are usually legato tongued, individual eighth notes that are marked staccato
see rn
19)
should be played short (tongue daht).
Balance of Parts
Background parts should be played
a t a
somewhat softer dynamic level than the melody.
For example, Part
I
in Duet 2 should be played somewhat softer than Part 1 in measures 1-8 even though
the same dynamic level
d )
s indicated in the parts. Harmony parts writ ten in the same rhythm
as
the
melody (see m.
9-14
should also be played
a t
a softer dynamic level than the 'lead' part. Converselv,
Part I in these instances should take the lead, playing
a t a
louder dynamic level than the harmony part.
Always listen to the other parts. Be aware of the. role your part plays in relation to them and adjust your
playing accordingly.
Cutoffs, continued
I f there are no rests
a t
the end of
a
phrase, the final note,
as
was stated in Duet
1,
i s usually
stopped
a t
the beginning of
i t s last
beat. For example, the cutoff in m. 21 of Duet 2
i s
made
a t
the start
of the fourth beat of the measure.
The slash mark i s used to show that a note, rather than a rest, falls on the beat following the two eighth
notes.
**Even eighth notes are treated in later duets.
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If the l a s t note of the phrase, however, s followed by a rest, hold the note full value and
cutoff at the start of the rest. The cutoff, for example, of the whole note in
m
10 i s at the beginning of
the first beat of m. 11.
I f the first case (m. 21), the early cutoff not only provides an exact cutoff point, bu t also
important, leaves space for a breath. In the second instance rn. lo , the rest provides
a
breathing space
so that the note may be held ful l value. Holding this note through to the rest maintains tension or life
in the musical line. Just
as
important, cutting the tone off exactly on the rest places emphasis on the
cutoff (the first beat of m.
,
setting up (or providing a dynamic preparation for) the rhythmic figure
that starts on the following beat.
Preliminary Exercises
1. Uneven division of the beat.
P LR Y ED ~ g
a m e
2. Eighth notes on successive beats.
amr
nfld
DR b ~ dA DRi Dfl i l l R MI
D \DAH DA
f lW
bRW Rd Fl 184 DFI MHf
n ~ d
3. Staccato eighth notes; notes tied into eighth notes.
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TH
SMOOTH I
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The mooth ie
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6 UET
Series of Dotted EighthISixteenth Notes
Written
I, ,
Played
Play the dotted eighthlsixteenth pattern with the same uneven division of the beat used
wi th the series of eighth notes in Duet 2 Give the dotted eighth note two-thirds of the beat and the
3
sixteenth note one-third of the beat. That is,
fl
=both being played
a
se a legato
tongue articulation on both notes tongue dah-da).
Another articulation is occasionally used in which the dot ted eighth note
i s
played staccato.
This articulation is used in the recording on
the D.S.
Accents
In addition t o staccato and tenuto marks m.
2 ,
several different accents are found in jazz
music. Notes marked
-
are accented and played long held fu ll value). Notes marked re
-
accented and played short separated).
Both types of accents are found in m. 10. Another type of
accent, wri tten by combining two dynamic marks,
i s
the sfp or sfzp, indicating a loud accent
sf
or s f ~ )
fol lowed immediately by a sudden drop to a softer volume level p). This last type of accent is often
combined wit h a crescendo, as in m.
14
Preliminary Exercises
1.
Uneven division of the beat.
t
- - .
-
-
- - -
- -
- - - - - - - - -
.
Q ~ I
DPlu ~ I
B H ~
AA
DR DRAD I
~ I
P DPIH
D ~ H T nn P H
a DRH nAK
nod P R D P U
DCI
DR
DCI
D ~ W
2.
Alternate articulation wi th staccato dotted eighth note; accents.
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D H T IS D H
V Y
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UET
Eighth Note Anticipations* Followed by a Rest
Written
n I , 3.
5 )
As before, use an uneven division of the beat, giving the downbeat eighth note two-thirds of
the beat and the upbeat eighth note one-third of the beat.
Play the downbeat eighth note long and the upbeat eighth note short (tongue dah-daht).
Inexperienced players tend to rush through the downbeat eighth note, arriving at the upbeat eighth
note too soon. Make sure you hold the downbeat eighth note a fu ll two-th irds of abeat.
Clef Sians and Kev Sionatures
Much of the music you encounter will be written by copyists who only include clef and key
signatures on the first staff of each page. Duet and a number of subsequent duets have been writ ten
in this manner so that you may become accustomed to reading music of this type.
Preliminary Exercises
Note that the eighth note anticipations in Exercise 1 feel dif ferent ly (and receive a slightly
different emphasis or inflection) than those in Exercise
2,
as different beats of the measure (strong
versus weak) are anticipated.
1. Anticipation of the first and third beats.
2.
Anticipation of the second and fourth beats.
Notes that are written on the beat in traditional music are often anticipated (wr itten a half beat earlier)
in jazz. For example
'
'
in traditional music might be written
~
n jazz, the last note ant~cipating he third beat of the measure.
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POP IT
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UET
Tied Eighth Note Anticipations
Written
I , m. 5 , I,m.
71
-
Played
3
Use an uneven division of the beat. In this instance,
i s
played
-J
As with the pattern in Duet 4, care must be taken not to rush through the downbeat eighth note, arriving a t
the tied upbeat eighth note too soon. Be sure to hold the downbeat eighth note a fu ll two-thirds of a beat.
When this rhythm pattern i s written on the first or third beat, the second notation (u
is sometimes found. Here, a dotted quarter note i s wqitten instead of an eighth note tied to a quarter note
nstead of
), Play both notations the same way.
Playing Conflicting Rhythms
At the end of m. 6, Part II anticipates the first beat of the msasure: Part I, in conflict with this,
plays directly on the downbeat of m. 7 The player of Part I must be careful to place his note exactly on the
first beat of the measure and not be influ enced by the anticipation in Part II. These rcles are reversed in the
following measure. Here, Part II must be careful not to be influenced by the anticipetior? in Part I. If you
have dif ficul ty playing conflicting rhythms, practice chanting the parts using phonetics.
The Slur as a Phrase Mark
Long slurs in jazz are regarded as phrase marks tind do not affect the articulation of the notes;
that is, eighth notes are still legato tongued, quarter notes are played short, etc. Measures
3 8
(which are
slurred) and measures 21-26 (which are not slurred) are played the same.
Preliminary Exercises
1. Anticipation of the first and th ird beats.
- - -
- - - - -
- - -
a~ aad
D ~ H .
a lf
D R ~
A DM
D C \ H n~c l
R C I .
D R ~ P ad
n tff
2. P,r?ticipation cf the second and fourth beats.
l ~ \ d . DRd D i l
D M DflH
D M
DAH
Dkrl
bed, 1 4
M 3r\ ~ f l d ~ d bbd
bttl bal 344
~ ~ n 3 c aT~E st+rnG
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-
SLIP
N
S L I E 2
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UET
Eighth Note Patterns Intermixed
Written
-J
(I,
rn. 71 J3+
I,
m. 5 . (11, m. 21
Played
Review the Played sections of Duets 2,
3,
and 5
Short slurs are usually played as written,
i.e.,
slurred.
Accents 4
Quarter notes marked with both
a
rooftop accent and
a
staccato dot
J
) are usually
accented and played very short I, rn. 13).
Preliminarv Exercise
Eighth note patterns intermixed; accents.
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One
M o r e T im e
3
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UET
Syncopated Quarter Note
--
Basic Pattern
Written
--LU+
I, m.81,
I ,
0 , A (1 m. 27-28)
There
i s
no standardize0 way of notat ing jazz rhythm patter~is--arrangers ftensnotate he same
pattern in different ways. Although the three patterns above look different, they are usually played the
same.
Alternate notations of the same musical phrase are used in different places in the duets, so you
may become familiar wi th the various ways in which the patterns are notated. Measures containing these
alternate notations are cited to show how notes of dif ferent duration, rests, and ties are used to write the
same pattern in diffekent ways., Compare, for instance, Part I, m. 10 wi th
I
m. 29, noting how tile rhythm
i s
writ ten. ' ~ l s oompare 11 m. 9-12 wit h 11 m. 28-31; 1 m. 20 with
I,
m. 24; and
I,
m. 32-33 with I, m.
36-37.
Played
The syncopated quarter note i s played short and the eighth riotes long (tongue dah-daht-dah).
- -
Use an uneven division of the Seat, the written Fat iern - being played ]
>
Al l the notations are played the same. The first notation
( -
usually occurs
when the pattern starts on the fi rst or th ird beat of the measure. See. for exampie,
,
m. 8, beat three and
I,
m. 20, beat one.
In the second notation, (
,
the syncopated quarter, note
i s
written
as
two tied
eighth notes (1) to allow the rh yi hm pattern to cross the bar- ine separating two measures ( I m. 13, the
pattern beginning on beat 4), or (2) in order to allow the measure l o be divided into two equal halves
(1
i
m. 9, beat 2 .
The third notation ( )
i c
similar to the pattern studied in Cuet 4 -- Eighth
Note Anticipatibns FJllowedCby Rest (
.
The patterns diife- in that, whereas
r st
of any
length could fol low the eighth note anticipation in Duet 4, the thir d notation of the syncopated qtlarter
note pattern leaves room for only an eighth rest
(
).
Cutoffs, continued
When the last note of a phrase is t iedinto a t i eighth note which is fqllowed by a r e s t ( - b + )
cutoff exactly on the eighth note; in this instance, cuto ff at the start of the fourth beat. In m. 27 of the
duet, the cutoff
i s
on the eighth note at the start of the second beat.*
'An exception t o this occurs when the chord changes on the tied eighth note. This note must then be
sustained long enough for the chord to 'sound'.
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Preliminary Exercises
Review the directions found on page
4
under Preliminary Exercises before playing the
exercises below.
1.
With the pattern beginning on beats
1
or
3
Compare
m. 2
with m.
3
and m.
5
with
rn 6.
2.
With the pat tern beginning on beats
2
or
4.
Compare m.
2 3
and
4
one t o another.
3
With the pattern beginning on various beats of the measure.
Analyze the various alternate
notations before playing.
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S A M E
L IC K D I F F E R E N T L O O K
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S a m e Lick Di f ferent
o o k
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Written
UET
Syncopated Quarter Note wi th the Final Eighth Note of the
Basic Pattern Tied into a Quarter or Larger Value Note
Compare m. 1-3 wi th m. 32-34, and m. 5 9with m. 24 28. n the tnlra notatlon above and
in several subsequent duets), alternate notations appear in which an eighth note tied to a quarter note s
wri tten as a dotted quarter note.
Played
Preliminarv Exercises
--
1, Compare m. 1 with m. 2.
Compare m. 2 with m. 4.
2.
Different notations of the same pattern beginning on various beats of the measure.
Compare m. 1-4 wi th m.
5 8.
I,
m.
5).
from Duet 5;
- I
m. 221, from ~ u e t
.
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Skippin
-
¶
?b
7 i
I 1 1 1 1 r
L 1
I .
I
19
+ kt
2
+7- +-
t
u r
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DUET
Syncopated Quarter Note wi th a Quarter or Larger
Value Rest Following the Basic Pattern
Written
I ,
A. 5 ,
(I, rn. 13-14),
-
7 (I, m. 22)
Compare m. 13-14 to m. 17-18. Compare rn. 5, 22, and 26, one to another. Compare
m. 28,30, and 34, one to another.
Played
reliminary Exercises
1. Compare
rn.
1 to rn. 2, and rn. 3 .to m. 4. Compare rn.
5,
6, and 7, one to another. Use an
uneven division of the beat.
il ., I w L .
L
1 '/ '
U ,
h I
h
n~ I ff n I
- I
l f r [
A
A
A
11.A
I
A
A A
I A A A 4 A
-
-
2.
Various notations of the .same pattern, begirining on diffe rent beats of the measure.
Compare rn. 1-3 wit h m. 5-8.
Reliew
- --
J.
(I, m. 6 nd the alternate notation
r
I, I.. 23 rom Duet 8.
-.(I
rn. 16). an alternate notation of from Duet 7.
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T W O S H O R T N O T T O O S H O R T
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UET1
Syncopated Quarter Note wi th an Eighth Rest Substituted
for the Initial Eighth Note of the Basic Pattern
Written
. (I, m. 41,+ Q+ 11 . m.
5
Played
D M d
Syncopated quarter notes that have no articulation marks (see above) are usually played short.
Those marked
are played long and legato tongued
11 ,
m. 5 and 6 . Those marked
are played long and accented (I, m. 27-28).
When playing accented upbeat eighth notes (I, m. i-2), reverse the normal tonguing pattern
(tongue da-dah rather than dah-da). Use a push with the breath and diaphratn rather than a tongue accent
on the upbeat eighth note.
Preliminary Exercises
.
1.
Compare m. 1 to m. 2. Use uneven beat division.
2. Both notaticns o f the pattern beginning 9n variousbeats. Compare the articalatior, found
in m.
1
to that found in m.
5.
Also compare m.
2
withm.
6
(notation) and m.
3 4
with m.
7-8
3. Accented upbeat eighth notes.
Review
(I , rn. 15 , and alternate notation o f
fl
from Duet 5
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T H E
F R O N D E s C E N C E O F F LL
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DUET
Syncopated Quarter Note
--
Expansion of the Basic Pattern
by the Inclusion of Two Quarter Notes
Written
J L L b
1 ,
m.
1 . I r
= I, rn.
51,
n b
J , 1,
rn-
1-2)1
Compare the notation of rn.
1
with
rn. 5, rn. 7-8
with rn..
11-12,
and rn.
17
wi th rn.
19.
-.
Played
Rd
~ R b~U< II
Preliminary Exercises
1.
Compare
rn.
1
to rn.
2,
rn.
2
to rn.
4,
and rn. to rn.
7.
2
Different notations of the same pattern beginning on various beats of the measure.
Compare rn.
1
with rn.
3.
Review
JJ h
alternate notations of the
I, rn.
15-16),n
same pattern from Duet 8
ITTLE
rn.
and
LO
rn.
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A
L i t t l e
Minor Blooze
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DUET 2
Syncopated Quarter Note with
a
Quarter or Larger Value Note
Tied into the Init ial Eighth Note of the Basic Pattern
Written
I 1 b
r
I
1, m.
1-21,
( ' I m. l
-
Played 3
I d
Preliminary Exercises
1.
Compare
rn.
1 to m. 2. Use an uneven beat division.
2. Both notations of the pattern played consecutively.
- -
-
- - - - -
R ~ DR H
D A
R ~- 31
~ A I I
B
DBK DRHT
41
D R H
IK n n ~
Review
-
I , rn. 17 and 42 rom Duet 10; , I, m. 13-14 ,
an alternate notation of
?
?
I
from Duet
11.
Compare m.
3
with m.
27 1 1
OLs
N
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A 01
ian
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D U E T
3
Syncopated Quarter Note wi th Eighth Rests Substituted
for Both Eighth Notes in the Basic Pattern
Written
J
1 ,
m.
51 I 9 i SLf
(1.m. 24)
Compare the notat ion o f m.
5
9,
and 24, one to another.
layed
;
Preliminarv Exercises
1.
Exercise wi th eighth restsreplacing eighth notes. Play these eighth rests (silently in your
mind) so that you don t rush the figure, arriving at the syncopated quarter note too soon.
2.
Different notations of the pattern beginning on various beats of the measure. Compare
m. 1-4 wi th m, 5-8.. Play (think) the eighth rests.
R E S T IN F O R E A N D A FT
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Rest in , Fo re nd
f t
-
9
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U E T
4
Syncopated Quarter Note Expansion of the Basic Pattern
by the Inclusion of Three or More Quarter Notes
Written
Pattern expanded to include three quarter notes: 1, m. 71,
J J
p n
b,
-
I,
rn. 23-24), - I, m. 15-16 . Compare these three
notations, one to another.
Six quarter notes:
I, m. 37-38).
Four quarter notes: j ;
Played
Although quarter notes in this and other patterns are usually played short, an alternate
articulation i s sometimes used in which the l a s t quarter note in a series of syncopated quarter notes i s
played long. This articulation i s used in rn.
31,
33-34, and
37-38.
usual articulation)
naH
onHc D n r h ~ f
30
- - - -
9
r
I
alternate articulation)
v
Rd Mf
~ R W Dfl
Preliminary Exercises
1.
Usual articulation, uneven division of the beat.
4
I
,
7 , 6 ,
n I
I I
n I h l R n l
I
I I I I I
A
A I A
- L -
I
I m . 9 - 1 0
I, rn. 33-34).
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2. Differe nt n otations of the same patter n beginning on various beats of the measure.
3
Altern ate articulation wit h the last quarter note of the series played long.
Review
u l , m . 5 ) , p n I, m. 13- 14) , and
I, m. 21
,
alternate notations of the same pattern from Duet 11.
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SAY IT A G A IN V IR G IN IA
D.
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Say t
Again Virginia
D. -
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44
DUET 5
Syncopated Quarter Note Expansion of the Pattern with an
Eighth Rest Substituted for the Initial Eighth Note
by the Inclusion of Two Quarter Notes
Written
I
(I, m. 8, and
rn.
18-19)
Played
T
8 b J > b 8
DAM W1f
R
P re l i m in a~ xerc ises
-
.
-
~k at ~ R W n k
aR;H a i
H T
a i ~
A K m I RII l l ;K
TH
-.
Review
b Jj.4
-
I
(I , m.
6-7)
from Duet 9; (I, m. 10) from Duet 1 ;
-.
(I; m. 12) from Duet 11.
TWO
ROTHERS
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.
..
. ..
. / . .
, '.. m . .
: I
:.,
. a ,
, : .
. .
, . ,
. .
-
: : ..
.
,
. . .
. . .
I . I
.
. . .
. .
,
,
~,..L..I;>~.,.
.
: . . . . :.
. .
.
Two
B r o t h e r s -
Il
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UET
6
Syncopated Quarter Note Expansion of the Basic Pattern
Followed by
a
Quarter or Larger Rest
by
the
Inclusion of Two or More Quarter Notes
Written
b l > d
I ,
m.
31
-n
I, m.
5 61 ndJj
jAjd
- - -
layed 9
-J-J++ +
Preliminary Exercises
1. Compare rn. 1 to m. 2, rn.
3
to m. 4, and m. 2 to m. 4.
2. Both notations of the pattern.
Review
a
I, m.
,
an alternate notation of
h
rom Duet
7;
n
I, rn.
13
and - 5 1 1 -
I,
m. 17-18 , alternate notations of the
same pattern from Duet 1 1.
TWO OTHERS
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Two
t h e r s
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UET
Syncopated Quarter Note -- Expansion of the Pattern wit h
Eighth Rests Substituted for Both Eighth Notes
by the Inclusion of Three Quarter Notes
Written
(I, m. 6 )
Played
nflH4 DOH
D A ~
Even Eighth Notes
A series of eighth notes that lead into a climax, or the beginning of a melody or phrase, that
are marked with accents
m
r
) or with tenuto marks a
>>>>
are played evenly , i.e., with each eighth note receiving one-half of the beat.
In this instance, the notes
are marked even eighths (I, m. 4, 8, and 23). As they are accented, they would be
(as
with accented
quarter notes) played short.
Preliminary Exercises
1. With eighth rests replacing the eighth notes.
2
Even and uneven eighth note patterns. Each of the even eighth notes receives one-half
of the beat.
~ e v i e k
and
,
alternate notations of the same pattern from
Duet 13
1, rn.
13-14, m. 15);
I, n.
13) from Duet 9.
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CHA-DA
u
-
L
II
II
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D U E T 8
Written
Syncopated Quarter Note Expansion of the Pattern
with a Quarter or Larger Value Note Tied
into the In itial Eighth Note by the
Inclusion of Two Quarter Notes
I J ? j
j
-
,
an alternate notation of
,-) ? j
1 , m. 5
Played
7 j T
j t b
u i RIK i n ar
Prelirninarv Exercise
1.
Compare rn.
1
with m. 2, and rn. wi th m. 3.
Review
1
.I
d , and - n
alternate notations of the same pattern from
Duet
2
1 , m. 14-15 ; -+and
j J) /
alternate notations of the
same pattern from Duet 14 1, m. 16 and 20);
,
from Duet 15 (1, rn. 8). Compare
the rhythm pattern in rn.
5
with that in rn. 8.
-
M~QE~ME
d~6
L E U S K I E S
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Bleu
k i e s
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D U E T
I S
Syncopated Quarter Note With a Quarter or Larger Value Note
Tied into the Initial Eighth Note of the Basic Pattern
and the Final Eighth Note Tied into
a Quarter or Larger Value Note
Written
J. I, rn. 5-6) and J
,
1
I,
m. 22-23), alternate notations of
-- k;
Compare rn. 5-6 with m. 22-23.
Played
Prelirninarv Exercises
Compare rn. 1 with rn. 2; also compare rn. 4-5 with rn. 5-6.
Review
I, rn. 2-3) from Duet 18;
>
i 7
- I, rn. 14) and
l Jh 4
-
I, m. 1-2). alternate notations of the same pattern from Duet 16; and
I, m. 15) and
d
,
I, rn. 19), alternate notations
of
the same pattern from Duet
13.
J U S T
F O R
J CK
f l n c ~ € l ~
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J u s t
f o r
Jack
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Even Eighth Notes in Lat in American Music
Written
A variety of rhythm patterns from previous duets are used to illustrate the even eighth note
articulations found in Latin American music.
Played
An even division of the beat i s used, as opposed to the uneven beat division used in jazz.
Series of eighth notes are played with each note receiving one-half of a beat ( ), rather than
the uneven beat division recommended in previous duets (
-
. Syncopated quarter note
patterns are also played evenly. For instance,u
s played (wen beat
-3-
-3-
division), not > ) bl_ (uneven beat division).
Note values larger than a quarter note are held fu ll value.
Eighth notes may be played
staccato or legato tongued and held full value. In Duet
20
staccato ( or tenuto
( marks are used to indicate the desired articulation.
- - - -
Patterns in which eighth notes and quarter notes are intermixed may be played with eighth
notes long and quarter notes short as in previous duets, or an inverse articulation in which the eighth
notes are played short and the quarter notes long. Thus, may be played
:
/
or, using an inverse articulation, - - -
.
In either case, even beat
division i s observed. The desired articulations are marked in Duet
20.
Preliminary Exercise
Both tenuto and staccato eighth notes are used in rn.
1-4;
regular and inverse articulations
are used in m.
58.
Compare
m. 5
with
m. 7.
Use an even division of the beat with all patterns.
- n - . - - . -
- - - ,
Mil
MKl
&<
D R M
II R
INN
bRd PII DRM anur ~ d
MH
ldg.
Md i
l a d M
E B U L
OCT VO
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guel c tavo
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DUET 2 l
Even Eighth Notes in Jazz-Rock Music
Written
A variety of rhythm patterns from previous duets are used to illustrate the even eighth note
articulations found in Jazz-Rock music.
Played
As in the previous duet on Latin American music, two styles of articulation are used in
playing Jazz-Rock music. In the first style, which i s more often found, eighth notes are played short and
quarter notes long
),
In the second, the opposite articulation is used in
which as in jazz the eighth notes are played long and the quarter notes short i n
1
Even subdivision of the beat is used in both styles, ,and accent marks, slurs, etc. retain the same meaning
as in previous duets.
In the duet below, m.
7-22
are played with short eighth notes and long quarters the first
time, and with long eighth notes and short quarters on the repeat.
Preliminary Exercise
Compare the articulation of the first line to that of the second line.
R IGHT
EYES
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Br ight Eyes
7
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D U E T
Eighth Note Triplets
Written
1. m. 2)
Played
Eighth note triplets are given the same duration as in traditional music;
i.e.,
each note of
the triplet receives one-third of a beat.
Each eighth note in the triplet i s usually legato tongued. An
alternate articulation, used especially in faster tempi, involves slurring the three notes that make up the
triplet.
Preliminary Exercise
Triplets mixed with eighth note anticipations; use an uneven division of the beat when
playing the eighth note anticipations.
Review
1, m. 26 from. Duet 17;
n
fl
I, rn. 24-25) from
~ ~ e t l 9 ; 4 - ? J ,
I, m. 22-23) from Duet 14
B A R B A R A S
B L U E S
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Berbera e Blues 9
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UET
3
Kickbeat Patterns
Written*
I, m. 5 .
I, m. 9). Compare m. 16 wi th m. 18 and m.
23
with m. 25.
Played
Accent the dotted quarter note, sustaining i t for
i t s
fu ll value. Inexperienced players, in
their desire to accent the kickbeat, often rush through the eighth rest, arriving at the dotted quarter
note too soon. To avoid this, concentrate on the rest that precedes the kickbeat note a full
two-thirds of beat. y mentally emphasizing this rest, you will achieve a strong, accurately placed
accent on the kickbeat.
7
i -
Preliminarv Exercise
Compare the first three measures, one to another.
Mentally emphasize the rest that
precedes the kickbeat note, giving
it
a full two-thirds of a beat.
Review
I
U
,
(I, m. 1-2 and I
-
(I,m. I , alternate notations of the
same pattern from Duet 12;
I, m. 20) from Duet 17; and
a
(I, m. 3) from Duet 22.
The kickbeat notations shown here are similar to the notations of those syncopated quarter
note p'atterns in which the last eighth note of the pattern is tied into a quarter note in that both
notations
contain a dotted quarter note on the upbeat. (See Duet 8 which contains the pattern
h P
notated
and Duet 19 which presents the pattern-
notated
w.
The patterns dif fer in that, in the case of the syncopated quarter note
patterns, the dotted quarter note
i s
the second of tw o consecutive syncopated notes while, in the
kickbeat pattern, this configuration of two consecutive syncopations is not found.
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J E R S E Y g S O U N C E
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UET
4
Kickbeat Patterns
Written*
(I,
m. 51,
-&&+ I,
m.
8).
C \
Played
Preliminary Exercise
Kickbeat note preceded by an eighth note (m. 2 5, and 7); kickbeat note preceded by a tied
eighth note (m. 3 and 6). Note that tied eighth note anticipations are found on beat
3,
m. 2 and beat
1
rn 6.
Use uneven beat division.
Review
,
I, m. 23 , kickbeat pattern from Duet
23; . .
fl - *
[I, m. 6) not a
kickbeat pattern but a syncopated quarter note pattern from Duet 19;
A
(I; m.
81,
not a
-
kickbeat pattern but a tied eighth note anticipation from Duet 5: I, m. 15) from Duet
-( m, 1-21 from Duet
lo;
& ??
1,
m.
4
from Duet 17. Compare
2; > > >
the notation of the syncopated quarter note pattern in m.
5
with that of the same pattern in
rn
9.
The kickbeat notat ion in which the dotted quarter note is preceded by a tied eighth note
) i s
similar to the notation of the syncopated quarter note pattern found in Duet 8
a -
.
The tw o patterns differ in that, in the syncopated quarter note pattern, the dotted
-
quarter
i s
the second of two consecutively syncopated notes, while, in the kickbeat pattern, this
configuration of two consecutive syncopations is not found.
The kickbeat pattern in which the dotted quarter note
i s
preceded by an eighth note
&)
i s
similar to the notation of the tied eighth note anticipation found in Duet 5 in which the anticipatory
eighth note
i s
written as
a
dotted quarter note nr notated
L ,
specially in those instances
in which the dotted quarter note
i s
fol lowed by note values rather than rest values. The tied eighth note
anticipations can be distinguished from the kickbeat in music that contains articulative markings
s
the
dotted quarter note would be shown accented. In those instances in which the articulation
i s
not marked,
the determination of the category of the pattern, and hence the accentuation, if any, i s
left to the
discretion of the player and the manner in which he views the dotted quarter note within the context of
the phrase. In ensembles, the phrasing of the lead player should be followed.
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K IC K IN IT A R O U N D
~ O ~ M
LJIU PP
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64
UET 5
Charleston Patterns
Written
J J
I,
m. I ,
/ C /
11
m.
9 m. 101, 1 7
?A
I, m.
6).
Played
-
r or
~ R H
nau;
AH
nd14 r
Preliminarv Exercises
1. Variations o f the Charleston Pattern, beginning on the first beat of the measure. Compare
m. 1 with m. 2, m. 5 with m.
6,
and m. 9 with m.
10.
-
- - -
-
-
-
- -
pdd4
Plrl bid bAd
D \ Ah< Md
DflH
Dfl
~ R i f
I R d-
Dad
bAi
2. Charleston patterns beginning on the thi rd beat of the measure.
1
- - .
-
-
- - .
-
- -
-
nRM DArl DO
OH
DAd DRd DRH i DAlf DAti ) ld
4 I I H ~ PAH
Review
I, m. 6) from Duet 13; I , m. 26) from Duet 23;
-
I, m. 22 from Duet 24.
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C H R L IE J C K
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D U E T 6
Charleston Patterns
Written
).
h
- I, m. 5 7
m I,
m.
24 .
Played
Preliminary Exercise
With the pattern beginning on the first beat
of
the measure in m.
2
and 3, and the third beat
of the measure in m. 6 and 7. Compare m. 1 with m.
2
and rn
5
with m. 6.
Review
1.
I, m. 18) from Duet
24.
Compare m. wi th rn 30.
V
S E P T E M B E R S
S O N G
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S e p t e m b e r s
Song -
7
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Punctuation
Written*
(I,m.5),-II,m. 15). 1,mm.23)
Played
-?
-
A Y
Preliminary Exercise
Compare m.
1
with m.
2,
m. 2 with m. 3, m.
5
with m. 6, gnd m. 6 wi th m.
7
Mentally
, '
emphasizing the rest preceding the punctuation w il l help to accurately place these notes. Arrows point
to these rests in the exercise below.
Review
1
b n
I,
m. lo ), not a Charlestow or kickbeat pattern, but a syncopated
quarter note pattern from Duet 19; '
-
; I, m. I , a Charleston pattern from Duet 26;
(I, m. 20), a Charleston pattern from Duet 25.
*The notation of the punctuation pattern
i s
similar to that of the syncopated quarter note
pattern found in Duet 13 in which an eighth rest
is
substituted for both eighth notes in the basic pattern
( In the syncopated quarter note pattern, the quarter note is followed by an eighth rest
which
i s
then followed by a note value
( )
In the punctuation pattern, the quarter
note i s followed by a quarter or larger rest value
( -I.
S IP P I M IS S I M U
~ P P E Q ~ E L ~ I ~ ~ Gl4
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Sippimissi Mud
-
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M e l o d y f o r M i c he le
7
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D U E T
29
Quarter Note Triplets
Written
3 l
J L -I, m. 5
Played
Quarter note triplets are given the same duration as in traditional music; that
is
each note
i s
held for two-thirds of a beat.
3
Preliminary Exercise
Compare m. 1, 2, and 3, one to another.
Note the breakdown of the uneven beat division in
line 2.
Review
-
I, m. 14-15 , from Duet 7;
1,
m.
31 from Duet
28
LU LL A BY1
N
R H Y T H M
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Lull-A-Byin Rhythm
7
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DUET 3
Eighth Note Triplet Patterns
wi th Ties and/or Rests
Written
I,
m.
31
b
I, m. 161,
m
1,
m- 91
Played
The triplet patterns shown abwe are to be played as written.
a
r
la1
3R
nru
DA
uf
Dn IUI dH R
Preliminary Exercise
Compare m. 1 with m.
2,
and m. 2 with m.
3
Review
= d
I, m.
4 .
Charleston pattern from Duet 25; ] 1,
I..
. a
syncopated quarter note pattern from Duet 12.
TR
PLICAT1
N