jacques rizzo learning to read written jazz music (bb)

TENOR SAX

The New Method for Learning to Read Written Jazz Music

Reading Jazz CD Trachng Sheet

Time Time

1. Duet 1 - Preliminary Exercise 2. Duet 1 - First Time 3. Duet 2 - Preliminary Exercise 1 4. Duet 2 - Preliminary Exercise 2 5. Duet 2 - Preliminary Exercise 3 6. Duet 2 - The Smoothie 7. Duet 3 - Preliminary Exercise 1 8. Duet 3 - Preliminary Exercise 2 9. Duet 3 - Daht's Dah Vay 10. Duet 4 - Preliminary Exercise 1 11. Duet 4 - Preliminary Exercise 2 12. Duet 4 - Pop It! 13. Duet 5 - Preliminary Exercise 1 14. Duet 5 - Preliminary Exercise 2 15. Duet 5 - Slip "N Slide 16. Duet 6 - Preliminary 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. Duet 8 - Preliminary Exercise 1 23. Duet 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 Short 28. Duet 10 - Preliminary Exercise 1 29. Duet 10 - Preliminary Exercise 2 30. Duet 10 - Preliminary Exercise 3 31. Duet 10 - The Frondescence of Fall 32. Duet 11 - Preliminary Exercise 1 33. Duet 11 - Preliminary Exercise 2 34. Duet 11 - A Little Minor Blooze 35. Duet 12 - Preliminary Exercise 1 36. Duet 12 - Preliminary Exercise 2 37. Duet 12 - A 01' Ian 38. Duet 13 - Preliminary Exercise 1 39. Duet 13 - Preliminary Exercise 2 40. Duet 13 - Restin, Fore and Aft

41. Duet 14 - Preliminary Exercise 42. Duet 14 - Preliminary Exercise 43. Duet 14 - Preliminary Exercise 44. Duet 14 - Say It Again, Virginia D. 45. Duet 15 - Preliminary Exercise 46. Duet 15 - Two Brothers 47. Duet 16 - Preliminary Exercise 48. Duet 16 - Preliminary Exercise 49. Duet 16 - Two Others 50. Duet 17 - Preliminary Exercise 51. Duet 17 - Preliminary Exercise 52. Duet 17 - Cha - Da! 53. Duet 18 - Preliminary ~xercise 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 Around 67. D.uet 25 - Preliminary Exercise 68. Duet 25 - Preliminary Exercise 69. Duet 25 - Charlie Jack 70. Duet 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 Michelle 76. Duet 29 - Preliminary Exercise 77. Duet 29 - Lull-A-Byin' Rhythm 78. Duet 30 - Preliminary Exercise 79. Duet 30 - Triplication

Total

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 jazz ensemble were the best musicians in the school at which I taught. 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. 1 say self-study as most of the students using it were able to work through the duets by themselves with little or no help on my part. Indeed, the 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 jazz 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 the 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 that articulations used conformed to the Standardization of Stage Bands Articulations recommended by NAJE.

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 in your initial approach to the rhythm patterns. This introduction is divided into five parts: Heading, Written, Played. Preliminary Exercises, and Review.

Heading 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 articulation of the rhythm patterns with regard to (1) the duration of the notes that comprise the pattern, (2) the mafiner in which the notesare to 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 division of the beat (these are written on a one-line 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 in 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 NOT SKIP 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 preliminary 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 in a similar manner, turning off the right channel and playing with Part 1 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 - C treble clef, Bb, Eb, and bass clef - may be played together.

TABLE OF CONTENTS

DUET

5

PAGE

.............................................. 1 Quarter Notes, and Note Values Larger Than a Quarter Note 10

Duet 2, p. 14; m. 3; lL * Duet3, p.17;rn.lO.

2 Series of Eighth Notes ......................................................................................................... 12

Duet 4, p. 19; rn. 16; 4 D u e t , p.21;rn.3.

........................................................................... 3 Series of Dotted Eighth/Sixteenth Notes 16

1 4 Eighth Note Anticipations Followed by a Rest ................................................................... 18

! Duet 6, p. 22; rn. 4; Duet 7, p. 27; rn. 35.

Duet 15, p. 45; rn. 18; Duet 18, p. 51 ; rn. 29

.......................................................................................... 5 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.

........................................................................................ 6 Eighth Note Patterns Intermixed 22

Review of Patterns Found in Duets 2, 4, and 5.

7 Syncopated Quarter Note-Basic Pattern ............................................................................ 24

Duet 8, p. 29; m. 22; Duet 9, p. 31; rn. 32.

Duet 15, p.45; m. 13- 14; a Duet 16, p. 46; m. 1.

Duet 9, p. 3.1; m. 16; a Duet 29, p. 73; rn. 19.

8 Syncopated Quarter Note-with the Final Note of the Pattern Tied into a Quarter or Larger Value Note .......................................................................................................... 28

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].+ Duet 11, P. 35; rn. 23 - 24.

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. Duet 27, p. 69; rn. 26

10 Syncopated Quarter Note-with an Eighth Rest Substituted for the Initial 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; a Duet 29, p. 72; rn. 2.

11 Syncopated Quarter Note-Expansion of the Basic Pattern by the Inclusion of ..................................................................................................... Two 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' 1 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

I-- Duet 23, p. 61 ; rn. 1 - 2.

1. - jnI 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; A Duet 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.

DUET

7

PAGE

14 Syncopated Quarter Note-Expansion of the Basic Pattern by the Inclusion of Three or More Quarter Notes ..................................................................................... 40

I'J JJJ.+ - - Duet 22, p. 59; m. 18 - 19.

JJ' j I' ,, Duet 18, p. 51 ; rn. 20. - V

15 syncopated Quarter Note-Expansion of the Pattern with an Eighth Rest Substituted ............................... for the Initial 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

) J 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 with Eighth Rests Substituted .................................. for 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 with a Quarter or Larger Value Note Tied into the Initial Eighth Note by the Inclusion of Two Quarter Notes ............. 50

1. J'JJ l' ,, Duet 19, p. 52; m. 2 - 3; - - Duet 23, p. 61 ; m. 17.

19 Syncopated Quarter Note-with a Ouarter or Larger Value Note Tied into the lnitial Eighth Note of the Basic Pattern and the Final Eighth Note Tied into 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.

..................................................................... 20 Even Eighth Notes in Latin American Music 54

Various rhythm patterns from previous duets.

DUET PAGE

21 Even Eighth Notes in Jazz- Rock Music ............................................................................. 56

Various rhythm patterns from previous duets.

22 Eighth Note Triplets ......................................................................................................... 58

Duet 23, p. 61 ; m. 3; Duet 24, p. 63; m. 15.

23 Kickbeat Patterns ............................................................................................................. 60

Duet 24, p. 63; m. 21; k Duet 25, p. 65; m. 26.

24 Kickbeat Patterns .............................................................................................................. 62

),?, ,, Duet 25, p. 65; m. 22;

d. Duet 26, p. 67; m. 18; 1 I I - R Duet 27, p. 68; m. 2.

25 Charleston Patterns ........................................................................................................... 64

1 ) ) Duet 28, p. 70; A. 1.

.( I Y

Duet 29, p. 72; rn. 1. I

I. b ) Duet 27, p. 68; rn. 2; - Duet 28, p. 71 ; rn. 16.

26 Charleston Patterns ........................................................................................................... 66

1'11 1 V I

Duet 27, p. 68; m. 1.

27 Punctuation ....................................................................................................................... 68

h ) Duet 28, p. 71 ; m. 20; ., I -

- Duet 29, p. 73; m. 14 - 15.

Duet 29, p. 73; rn. 21.

DUET PAGE

28 Individual Eighth Note Anticipations ................................................................................ 70

h Duet 29, p. 73; m. 20. J

k .I I r -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

DUET 1 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) with the tone stopped by the tongue (tongue 'daht'). Quarter notes marked tenuto

( 1 ) are played 'long' (held for their 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. 4 in the Preliminary Exercise below.

Preliminary Exercise

Important: Make sure you follow the directions found on page 4 when playing the exercises

below and the duet that follows.

FIRST TIME

DUET 2

Series of Eighth Notes

Written

J L - * 11, m. 11

Played

The rhythmic basis of jazz is 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,

3 3 a i s played ff i , or ; This change from the traditional even division of the beat in which

each eighth note receives one-half of the beat is 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 I in Duet 2 should be played somewhat softer than Part 1 in measures 1-8 even though

the same dynamic level ( d ) i s indicated in the parts. Harmony parts written 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 is 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.

I f the las t note of the phrase, however, i 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, but 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 full 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. I l), '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.

(PLRYED d ~ g same?

2. Eighth notes on successive beats.

j amr M nfld DR b ~ d dA DRi Dfl Di l l 3R MI( DC\ DAH DA DflW bRW DRd DFl 184 DFI MHf n ~ d

3. Staccato eighth notes; notes tied into eighth notes.

THE SMOOTHIE

The Smoothie - 2

16 DUET 3

Series of Dotted EighthISixteenth Notes

Written n (I, ,. Played

Play the dotted eighthlsixteenth pattern with the same uneven division of the beat used

with 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. Use a legato

tongue articulation on both notes (tongue dah-da).

Another articulation is occasionally used in which the dotted eighth note i s played staccato.

This articulation is used in the recording on the D.S.

Accents

In addition to staccato and tenuto marks (m. 2), several different accents are found in jazz A

music. Notes marked -& are accented and played long (held full value). Notes marked L are -

accented and played short (separated). Both types of accents are found in m. 10. Another type of

accent, written by combining two dynamic marks, i s the sfp or sfzp, indicating a loud accent (sf or s f ~ )

followed immediately by a sudden drop to a softer volume level (p). This last type of accent is often

combined with a crescendo, as in m. 14.


1. Uneven division of the beat.

t ' - - . - - - - - - - - - - - - - - - - - . B Q ~ I DPlu ~ C I D B H ~ DAA DR DRA DCI ~ C I DP.DPIH D ~ H T nn PAH a4 DRH nAK nod PR-DPU DCI DRA DCI DC~W

2. Alternate articulation with staccato dotted eighth note; accents.

DAHTIS DAH VAY

DUET 4

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 full two-thirds 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 4 and a number of subsequent duets have been written

in this manner so that you may become accustomed to reading music of this type.


Note that the eighth note anticipations in Exercise 1 'feel' differently (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' (written a half beat earlier)

in jazz. For example 4 ' ' 4 in traditional music might be written ~-

in jazz, the last note 'ant~cipating' the third beat of the measure.

POP IT!

DUET 5 Tied Eighth Note Anticipations

Written

I , m. 5 , (I, m. 71

- Played 3

Use an uneven division of the beat. In this instance, is 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 full two-thirds of a beat.

When this rhythm pattern is 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

( & instead 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. I f you have difficulty 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 third beats.

-- - - - - - - - - - - - - a~ aad D ~ H . oa!lf D R ~ PA DM D C \ H n~cl ~ R C I . , D R ~ ( DP, Dad netff

2. P,r?ticipation cf the second and fourth beats.

l ~ \ d . ( DRd Dil D M DflH - D M DAH, Dkrl bed, 1 4 MII 3r\ ~ f l d a~,d, bbd bttl bal 344 ( ~ ~ n 3 c a .-T~E st+rnG >

lu - ' --

SLIP 'N SLIDE 21

DUET 6

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.

One More Time - 2 23

DUET 7

Syncopated Quarter Note -- Basic Pattern

Written

--LU+ (I, m.81, I , 0 , -+A (1 m. 27-28)

There i s no standardize0 way of notating jazz rhythm patter~is--arrangers oftensnotate the 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 with the various ways in which the patterns are notated. Measures containing these

alternate notations are cited to show how notes of different duration, rests, and ties are used to write the

same pattern in diffekent ways., Compare, for instance, Part I, m. 10 with I, m. 29, noting how tile rhythm

i s written. ' ~ l s o compare 11, m. 9-12 with 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). - - S 3

Use an uneven division of the Seat, the written Fatiern --. being played ] ) > ; . All the notations are played the same. The first notation ( -1 usually occurs

when the pattern starts on the first or third 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 is written as two tied

eighth notes (1) to allow the rhyihm pattern to cross the bar- iine 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 ( ! ) ic similar to the pattern studied in Cuet 4 -- Eighth

Note Anticipatibns FJllowedCby a Rest ( . The patterns diife- in that, whereas 8 rest of any

length could follow the eighth note anticipation in Duet 4, the third notation of the syncopated qtlarter

note pattern leaves room for only an eighth rest ( ).

Cutoffs, continued

When the last note of a phrase is tiedinto at i eighth note which is fqllowed by a r e s t ( & - b + )

cutoff exactly on the eighth note; in this instance, cutoff 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 to this occurs when the chord changes on the tied eighth note. This note must then be

sustained long enough for the chord to 'sound'.


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 pattern beginning on beats 2 or 4. Compare m. 2, 3, and 4, one to another.

3. With the pattern beginning on various beats of the measure. Analyze the various alternate

notations before playing.

SAME LICK-DIFFERENT LOOK

Same Lick-Different L o o k - 2

Written

DUET 8

Syncopated Quarter Note -- with the Final Eighth Note of the

Basic Pattern Tied into a Quarter or Larger Value Note

Compare m. 1-3 with m. 32-34, and m. 5-9 with m. 24-28. In the tnlra notatlon above (and in several subsequent duets), alternate notations appear in which an eighth note tied to a quarter note is

written 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 with m. 5-8. -

n , (I, m. 5). from Duet 5; -(I, m. 221, from ~ u e t 7. -

Skippin' - 2

¶f

?b n 4

17 1 fi

I 1 111 r\ w L.1 I"' . ' l I I I

Y I

19

+*kt 20

+7-'+- t u r l v a I

DUET 9

Syncopated Quarter Note -- with 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 T 7

I Preliminary 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 I n~ I I ff n I I I I - I 1 I l u f rl [ I I I I / A' A A' I 11.A ' ' I A I A A I A ' A A I 4 . A - - - - -

2. Various notations of the .same pattern, begirining on different beats of the measure.

Compare rn. 1-3 with m. 5-8.

Reliew

- -- p J. (I, m. 6) and the alternate notation r] (I, (I.. 23) from Duet 8.

-.(I, rn. 16). an alternate notation of &from Duet 7.

TWO SHORT-NOT TOO SHORT

DUET 1 0

Syncopated Quarter Note -- with an Eighth Rest Substituted

for the Initial Eighth Note of the Basic Pattern

Written .&. (I, m. 41, .+&Q+ ( 1 1 . m. 5)

Played

DAM bd Syncopated quarter notes that have no articulation marks (see above) are usually played short.

Those marked 1 - 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.

THE FRONDEsCENCE OF FALL

DUET 11 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 n - = (I, rn. 51, - n - b J b ,# (1, rn- 1-2)1

Compare the notation of rn. 1 with rn. 5, rn. 7-8 with rn.. 11-12, and rn. 17 with rn. 19.

-. Played

DRd ~ R M bb~U< BII

Preliminary Exercises 1. Compare rn. 1 to rn. 2, rn. 2 to rn. 4, and rn. 5 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

BLO

rn.

A Little Minor Blooze - 2

DUET 1 2

Syncopated Quarter Note -- with a Quarter or Larger Value Note Tied into the Initial Eighth Note of the Basic Pattern

Written I 1 b

r- ,I (1, m. 1-21, & ( ' I m. l )

- R

Played B 3 I Id

Preliminary Exercises 1. Compare rn. 1 to m. 2. Use an uneven beat division.

2. Both notations of the pattern played consecutively.

- - - - - - , - - - D R ~ DR'H DA D R ~ - 31 ~ A I I DB DBK DRHT 41 D R H M'IK na n d ~

Review - (I, rn. 17 and 42) from Duet 10; n - ), (I, m. 13-14),

an alternate notation of ? A A ? -,I from Duet 11. Compare m. 3 ( % ) with m. 27 1 1,

A OLs IAN

A 01' ian - 2 3 7

DUET 13

Syncopated Quarter Note -- with Eighth Rests Substituted

for Both Eighth Notes in the Basic Pattern

Written 'J ( 1 , m. 51, I , . 9 , i4SLf (1.m. 24)

Compare the notation of m. 5, 9, and 24, one to another.

- Played p ; ,,

Preliminarv Exercises

1. Exercise with 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 with m, 5-8.. 'Play' (think) the eighth rests.

RESTIN, FORE AND AFT

Restin', Fore and Aft - 2 39

DUET 1 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 ! A 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: h j A 8 1 ;

Played Although quarter notes in this and other patterns are usually played short, an alternate

articulation i s sometimes used in which the las t quarter note in a series of syncopated quarter notes is played long. This articulation i s used in rn. 31, 33-34, and 37-38.

T T T T

(usual articulation) naH onHc D n A r h R ~ f 30 - - - - 3 3 9 3

) 8 8 r\ I (alternate articulation) C v

\

DRd DMf ~ R W ( DflA Preliminary Exercises

1. Usual articulation, uneven division of the beat.

4-

I , , , 6 7 , . , 6 . , L

n I I I I n I I h l R n l I I I I I I A A' I A A A .

v - --L- - v I - -

I m . 9 - 1 0 b - (I, rn. 33-34).

2. Different notations of the same pattern beginning on various beats of the measure.

3. Alternate articulation with 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.

SAY IT AGAIN, VIRGINIA D.

Say I t Again, Virginia D. - 2

44 DUET 15

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 AR ' Pre l im ina~ Exercises

- , - . - - a~k at ~ R W n k aR;H a i ~ A H T a i ~ DA;K m I)RII 3ll;K DTH

-.

Review b ) Jj.4 - I (I, m. 6-7) from Duet 9; (I, m. 10) from Duet 10;

-.

(I; m. 12) from Duet 11.

TWO BROTHERS

- . . . . ., . . , . . .. , . . / . . '. 8,' ,'.. m. . . /, : I :.,

. a , ,

./ ' , : . . '. , . ,

. . : ,- I: .,.; : : .."

( I , . , . . '

. . . . , '. . . . . . . I . ' . . ' I . . ,. . . . . . . . . . . , ,

~,..L..I;>~.,. . .: . . . . . . . . :. . . . . . .

Two Brothers - 2 4 5

I

Il

DUET 16 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 y ( I , m. 31, -n ? J - 1 Y (I, m. 5-61 -ndJj jAjd 7 U -

- - - Played 3 9 3

-J-J++'+


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. 1 ), an alternate notation of .h from 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

Two Others - 2 4 7

DUET

Syncopated Quarter Note -- Expansion of the Pattern with

Eighth Rests Substituted for Both Eighth Notes

by the Inclusion of Three Quarter Notes

Written .J (I, m. 6)

Played 7 7

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

A A A A

are marked with accents (m or ) 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. -


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, rn. 13) from Duet 9.

CHA-DA!

I M u - - LI - II'

I I I I 1 I I - I I - II

DUET 1 8

Written

Syncopated Quarter Note -- Expansion of the Pattern

with a Quarter or Larger Value Note Tied

into the Initial 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 - 5

1 1 j* h t b ' u i BRIK i n < ' ar '

Prelirninarv Exercise

1. Compare rn. 1 with m. 2, and rn. 2 with m. 3.

Review I 1 .I 'd ,' and - -n / , alternate notations of the same pattern from

Duet 12 ( 1 , m. 14-15); -+and J j J)' - / , alternate notations of the

same pattern from Duet 14 (1, m. 16 and 20); b ,' from Duet 15 (1, rn. 8). Compare

the rhythm pattern in rn. 5 with that in rn. 8. -

M ~ Q E ~ M E Sd~6 BLEU SKIES

Bleu S k i e s - 2

DUET 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 , I. - -1 (I, m. 22-23), alternate notations of

I -- ! 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; b ! > f i ! 7 - (I, rn. 14) and

h l Jh.4 - - I (I, m. 1-2). alternate notations of the same pattern from Duet 16; and A (I, m. 15) and Y bdb , ,! (I, rn. 19), alternate notations of the same pattern from Duet 13.

JUST FOR JACK f l n a c a ~ € l ~

Just for Jack - 2 5 3

Even Eighth Notes in Latin 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 7

the uneven beat division recommended in previous duets ( -& ). Syncopated quarter note

patterns are also played evenly. For instance, u, i s played (wen beat -3- -3-

division), not 1 > ) bl_ (uneven beat division).

Note values larger than a quarter note are held full value. Eighth notes may be played

staccato or legato tongued and held full value. In Duet 20, staccato ( 1 or tenuto

( 1 ) 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 &< DR'M GII BRi INN bRd DPII DRM anur a ~ d 1 MH ldg.( Md i d l a d DM

EBUAL OCTAVO

Eguel Octavo - 2

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 is 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 i In 1 f 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.


Compare the articulation of the first line to that of the second line.

BRIGHT EYES

Bright Eyes - 2 5 7

DUET 22

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 is 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 ' - bfl (I, rn. 24-25) from

~ ~ e t l 9 ; 4 - ? J - Y ,' (I, m. 22-23) from Duet 14.

BARBARA'S BLUES

Berbera'e Blues - 2 59

DUET 23

Kickbeat Patterns

Written*

& (I, m. 5). (I, m. 9). Compare m. 16 with m. 18 and m. 23 with m. 25.

Played Accent the dotted quarter note, sustaining it for i t s full 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 a beat. By mentally emphasizing this rest, you will achieve a strong, accurately placed accent on the kickbeat.

-7

hi - 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 8 'U ,' (I, m. 1-2) and ,I - (I, m. I ) , alternate notations of the

3

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

hJP - notated and Duet 19 which presents the pattern -& notated w. .) The patterns differ in that, in the case of the syncopated quarter note patterns, the dotted quarter note i s the second of two consecutive syncopated notes while, in the kickbeat pattern, this configuration of two consecutive syncopations is not found.

JERSEYgS BOUNCE

DUET 24

Kickbeat Patterns

Written* -i. (I, m. 51, -&&+ (I, m. 8).

C-\

Played 3

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

-(I, m, 1-21 from Duet lo; &!?? ( 1 , m. 4) from Duet 17. Compare 22; > > > the notation of the syncopated quarter note pattern in m. 5 with that of the same pattern in rn. 9.

"The kickbeat notation 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 two 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), especially in those instances

in which the dotted quarter note is followed by note values rather than rest values. The tied eighth note

anticipations can be distinguished from the kickbeat in music that contains articulative markings as 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.

KICKIN' IT AROUND

~ O ~ E M SLJIUG &PP

64 DUET 25

Charleston Patterns

Written J+J+ (I, m. I , -/ C! / 11. m. 9),].(1, m. 101, 1 7 ?A' Y

(I, m. 6).

Played - J or or & ~ R H < 'nau; AH, nd14.r

Preliminarv Exercises

1. Variations of 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 DC\ 3Ah< Md, DflH 'Dfl ~ R i f I R d - Dad bAi -

2. Charleston patterns beginning on the third beat of the measure.

' 1 ' - - . - - - - . - - - a - nRM DArl DO DOH DAd DRd, DRH 2 i DAlf DAti - I)(ld 24 D I I H ~ PAH -

Review

(I, m. 6) from Duet 13; ( I , m. 26) from Duet 23; -- .- (I, m. 22) from Duet 24.

CHARLIE JACK

DUET 26

Charleston Patterns

Written ). .h - (I, m. 5 , . 7 A m ! (I, m. 24).

Played


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

I 1. 8

(I, m. 18) from Duet 24. Compare m. 1 with rn. 30. /V

SEPTEMBER'S SONG

September's Song - 2 6 7

Punctuation

Written* - &(I,m.5),-II,m. 15). 6 (1,mm.23)

Played -? -* ~AY(


Compare m. 1 with m. 2, m. 2 with m. 3, m. 5 with m. 6, gnd m. 6 with m. 7. Mentally

, ' emphasizing the rest preceding the punctuation will help to accurately place these notes. Arrows point

to these rests in the exercise below.

Review 1. b n 1 - - (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 is then followed by a note value (.&), In the punctuation pattern, the quarter

note i s followed by a quarter or larger rest value (&-I.

SIPPIMISSI MUD ~ P P E Q A ~ E S L ~ I ~ ~ G h0l400

Sippimissi Mud - 2 - h ,

DUET 28

Individual Eighth Note Anticipations

Written (I, m. 5),&(ltm- 11) -'. '" - d

v- (I, m. 91, -4' !' (I, rn. 7).

- - Played 3 3

h

Jlb, or J-d >-A - DAM - bAl-

Or +A+- Mil,

Preliminary Exercise Compare m. 1 with m. 2, and m. 2 with m. 3. Accurace placement of the syncopated note

will be aided by mentally emphasizing the downbeat preceding the anticipation. In the first line of the

exercise below, an arrow points to this downbeat. Note that, to find the downbeat eighth note, the dotted quarter note should be regarded as a quarter note tied to an eighth note, as is shown above the staff.

-.

- ~ n d , 1tw.r ned nsd, DRK Mil- mwf - Review

u J I - (1, m. 20), punctuation from Duet 27.

MELODY FOR MICHELE

Melody fo r Michele - 2 7 1

DUET 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

y )-) , (I, m. 14-15), from Duet 27; (1, m. 31) from Duet 28.

LU LL-A-BY1 N' RHYTHM

Lull-A-Byin' Rhythm - 2 73

DUET 30

Eighth Note Triplet Patterns with Ties and/or Rests

Written -

(I, m. 31, b1 (I, m. 161, mL (1, m- 91,

Played - The triplet patterns shown abwe are to be played as written.

a+ 3 b rR la1 3R nru DA buf Dn1 1 PIUI, - BdH DR


Compare m. 1 with m. 2, and m. 2 with m. 3.

-

Review - = d (I, m. 4). Charleston pattern from Duet 25; ].h (1, I.. 6). a

syncopated quarter note pattern from Duet 12.

TR I PLI CAT1 0 N

Triplication - 2 7 5

jacques rizzo learning to read written jazz music (bb)

Education