TABLE of CONTENTS

TABLE of CONTENTS
CD / JAZZ WORKSHOP PLAYERS LIST❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚
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PURPOSE OF THE BOOK ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚
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NOTES TO TEACHERS ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚
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HOW TO USE THE BOOK AND CD ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚
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Lessons
Page
1 HISTORY OF JAZZ BASS AND DRUMS ❚ ❚ ❚ ❚ ❚
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Tunes/CD Tracking with Description
• Assignment
2 NOTATION ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚
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Specific Notation
Non-Specific Notation
Reading Rhythms
Counting Rhythms
Counting Rests
Rote Learning
Assignment
Playing Assignment ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚
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3 IMPROVING READING SKILLS ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚
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Steps for Reading Music
Reading Assignment 1
Momentum and Continuity
Assignment 2
Playing Assignment ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚
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4 LEAD SHEET INTERPRETATION ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚
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• Melodic Interpretation
• Assignment
• Playing Assignment ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚
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5 EFFECTIVE PRACTICE ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚
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Isolating Sections
Slowing down difficult passages
Breaking down component parts
“Speed up your ears” by slowing down the tape
Recording and Analyzing Your Playing
Individual Learning Processes
Balance Between Individual Practice, Groupzzzzzzzzz
Rehearsals and Performing
• Essentials for Individual Practice
• Group Practice and Performance Assignment
• Playing Assignment ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚
❚ ❚ ❚ ❚ ❚ EQUINOX(#1)
slow minor blues
❚ ❚ ❚ ❚ ❚ ALL BLUES (#2)
medium 3/4 jazz blues
❚ ❚ ❚ ❚ ❚ NARDIS (#3)
medium 4/4 swing w/kicks
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32
❚ ❚ ❚ ❚ ❚ MAIDEN VOYAGE (#4)
ostinato w/straight 8ths
6 HOW TO PRACTICE WITH RECORDINGS ❚ ❚ ❚
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Slowing Down the Recording
How to Practice With Videos
Memorization
Repetition
Implicit and Explicit Learning
Orchestrating Fills and Set-ups
Assignment
Playing Assignment ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚
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7 SET-UPS AND FILLS ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚
41
❚ ❚ ❚ ❚ ❚ HERE’S THAT RAINY DAY (#5)
jazz ballad
• Set-up and Fill Guidelines
• Orchestrating Fills and Set-ups for Drummers
• Assignment
• Playing Assignment ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚
42
8 TIME ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚
46
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Rushing or Dragging
Practicing with a Metronome or Drum Machine
The Best Metronome
Rushing During Fills
Assignment
Playing Assignment ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚
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9 JAZZ FEEL ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚
53
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Feel
Rhythmic Interpretation
Jazz Feel
Getting a Tight Sound
Assignment
Playing Assignment ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚
56
10 FORM ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚
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Song Form
Arrangement Form
Form Terminology
Melody and Form
Assignment
Playing Assignment ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚
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11 IMPROVISATION ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚
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How to Study and Practice Improvisation
Ideas for Building Solos
Imitation and Innovation
Assignment for Practicing Improvisation
Playing Assignment ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚
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12 LATIN FEEL ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚
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• The Egg Factor
• Assignment
• Playing Assignment ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚
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13 COMPING AND TIME PLAYING ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚
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• Comping Guidelines
• Playing Assignment ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚
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❚ ❚ ❚ ❚ ❚ BLUES FOR BRECKER (#6)
medium up w/ kicks
❚ ❚ ❚ ❚ ❚ SOMEDAY MY PRINCE WILL COME (#7)
medium 3/4 swing
❚ ❚ ❚ ❚ ❚ OLEO (#8)
medium up bebop (rhythm changes)
❚ ❚ ❚ ❚ ❚ THE BIG DIPPER (#9)
straight 8ths – ECM
❚ ❚ ❚ ❚ ❚ ANOUSCHKA (#10)
medium up w/changing feel
❚ ❚ ❚ ❚ ❚ RECADO BOSSA NOVA (#11)
bossa nova w/kicks
❚ ❚ ❚ ❚ ❚ FILHA BONITA (#12)
samba/partido alto w/kicks
14 TOUCH, TONE, AND DYNAMICS ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚
82
• Interdynamics
• Equipment Guidelines
• Playing Assignment ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚
84
15 FUNK FEEL ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚
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• Assignment
• Playing Assignment ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚
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16 LISTENING AND DEVELOPING “EARS” ❚ ❚ ❚ ❚ ❚
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Live Music
Focused Listening
Memorizing Through Repeated Listening
Listening and Group Sound
Groups and Players by Style
Where to Get Recordings
Playing Assignment ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚
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17 REHEARSAL PREPARATION ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚
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Sketches
Bring a Tape Player and Recordings
Isolating and Vamping
Improving Group Time
Relaxation
Count-offs
Endings
Further Study and Listening
Playing Assignment ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚
100
❚ ❚ ❚ ❚ ❚ MAMBO DE LA LUNA (#13)
mambo
❚ ❚ ❚ ❚ ❚ DAMN RIGHT I AM SOMEBODY (#14)
funk chart
❚ ❚ ❚ ❚ ❚ THE CHICKEN (#15)
funk lead sheet
❚ ❚ ❚ ❚ ❚ REVELATION (#16)
shuffle to half-time shuffle
RHYTHMIC ETUDES ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚
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BASS LINE THEORY BY STYLE ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚
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• Jazz Bass Lines ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚
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• Bass Positions/Register ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚
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• Brazilian Bass Lines ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚
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• Afro-Cuban Bass Lines ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚
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• Funk Bass Lines ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚
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• Fusion Bass Lines ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚
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SUMMARY OF FEELS BY STYLE (Bass and
Drums) ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚
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• Jazz Feels ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚
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• Afro-Cuban Feels ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚
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• Brazilian Feels ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚
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• Funk Feels ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚
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PLAYERS VOCABULARY ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚
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BIBLIOGRAPHY ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚
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ABOUT THE AUTHOR ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚
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EPILOGUE ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚
133
❚ ❚ ❚ ❚ ❚ Rhythmic Etudes (#17 – #25)
Tuning notes: B∑ and A concert (#26)