Jazzphrasing

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by Greg Fishman

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Jazz Phrasing for Saxophone Volume 1

Published by Greg Fishman Jazz Studios Evanston, Illinois 60202 U.S.A.

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ISBN: 0-9766153-6-1

©2009 Greg Fishman

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All rights reserved. International copyright secured. No part of this application or any of the play-along tracks may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying or recording, or by any information storage and retrieval system, without permission in writing from the publisher. Violation of copyright is subject to all applicable laws. Published by Greg Fishman Jazz Studios 824 Custer Avenue, Evanston, Illinois 60202 U.S.A. www.gregfishmanjazzstudios.com

Jazz Phrasing for Saxophone Volume 1

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Table of Contents

4 5 6 9 11

Milwaukee Avenue …………………………………………………… Ogden Avenue.…………..……………………………………………. Narragansett Avenue….……..………………………………………. Belden Avenue…….....……………………………………………….. Chicago Avenue.……….……………………………………………... Quincy Street.....………………………………………………………. Rockwell Street.………………………………………………………. Dearborn Street…….…………………………………………………. Franklin Street……………………….………………………………… Pearson Street…...…………………………………………………….

12 14 16 18 20 22 24 26 28 30

About the Author......……………….………………………………….

33

Thematic Index..……………………………………………………….

34

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Preface.………………………………………………………………… Credits………………………………………………………………….. Suggested Use of Application……………………………………….. Style and Analysis……………………………………………………. Detailed Overview of the Songs.…………………………………….

©2009 Greg Fishman All rights reserved. International copyright secured.

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PREFACE

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Applying good phrasing to music is like using good punctuation in written or spoken language. It involves the grouping of ideas to make the meaning of the words clear to the listener. The words are grouped into sentences, and the sentences are then grouped into paragraphs. The same is true when interpreting a piece of music. Good phrasing requires a musician to interpret the notes he plays, and determine which notes need to be grouped together to form a complete musical idea. Throughout this application, each song is designed to train your ear to hear the logical grouping of phrases through the use of sequence and thematic development. While the art of good phrasing involves the interpretation of note groupings and their relationships, it also involves deciding where you’re going to take a breath. Read the following sentences aloud to compare examples of good and bad phrasing. Good phrasing, spoken in one continuous breath:

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“Ladies and gentlemen, it gives me great pleasure to introduce the senior class president.”

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Bad phrasing, spoken with extra breaths, disrupting the flow and grouping of the words: “Ladies and gentlemen, it gives (breath) me great pleasure to introduce the senior class (breath) president.”

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The difference between these two sentences is very similar to the difference between a professional musician’s phrasing and a student’s phrasing. Both may be playing the correct notes with the correct rhythm, but the professional musician knows how to group the notes in a smooth, flowing fashion, while the student takes breaths at random, not even aware that he’s disrupting the phrasing. Jazz Phrasing for Saxophone has been carefully designed to help you learn to phrase like a professional player.

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These are pieces that will be fun for all musicians who love melodic writing with good thematic development.

–– Greg Fishman

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Published by: Greg Fishman Jazz Studios, Evanston, Illinois www.gregfishmanjazzstudios.com E-mail: [email protected]

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Application Developer and Designer: Ignacio Bermeo Juarez, naSh E-mail: [email protected]

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CREDITS

Edited by: Judy Roberts Cover photo: Jos. L. Knaepen Graphic design: Bogdan Nastase Music engraving: Greg Fishman

Recorded at Studiomedia, Evanston, Illinois, U.S.A. Engineered, mixed and mastered by Scott Steinman

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Greg Fishman – Alto and Tenor Saxophone Dennis Luxion – Piano Eric Hochberg – Bass Phil Gratteau – Drums

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Greg Fishman is a Rico artist and plays Rico reeds exclusively.

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SUGGESTED USE OF THIS PLAY-ALONG APPLICATION

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The songs in this application will provide a fun way for all aspiring jazz saxophonists to learn key elements of the jazz language. The concept behind Jazz Phrasing for Saxophone is to convey the essence of jazz phrasing through melodic songs written in the style of classic jazz standards.

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One of the challenges in writing this book was to create pieces that stayed true to the jazz tradition while keeping the technical challenges at a comfortable level. I looked to Duke Ellington for inspiration. Thinking about the beautiful simplicity of his tune, “C Jam Blues,” I realized what true talent it takes to write something simple that swings, and also maintains a high level of musical integrity. I also thought about Benny Golson’s well-known tune, “Killer Joe,” and the clarity of the phrasing in his writing, as well as the great mood he set with a simple three-note theme.

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Jazz Phrasing for Saxophone features ten songs which start out very simply, gradually adding little musical twists and turns as the pieces evolve. I feel that this approach is the best way to teach students how to grasp the concept of jazz phrasing as well as melodic, harmonic and rhythmic development. PLAY-ALONG TRACKS

This application features two versions of each song. The first version is a saxophone demonstration track of each song, featuring my saxophone lead, plus the rhythm-section. The second version of each song is the rhythm-section track, without saxophone.

TRANSPORT BUTTONS

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The play-along tracks are designed so that you can play the melody with the rhythm-section, or perhaps try out some of your own ideas, and improvise over the track. Maybe you'll want to play some variations on the written part, or practice arpeggiating the chords for the piece.

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There are seven transport buttons on this application which control playback functions. These are: “Rhythm & Sax,” “Play All,” “Rewind,” “Stop,” “Fast-Forward,” “Rhythm Only” and “Play All.” Each of these buttons is described in detail below. “RHYTHM & SAX,” “RHYTHM ONLY,” and “PLAY ALL” BUTTONS

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“Rhythm & Sax” features tracks with the saxophone and the rhythm-section. If you'd like to play one song along with the sax demonstration tracks, simply press the brown “Rhythm & Sax” button in the lower left corner of the display. “Rhythm Only” features tracks with the rhythm-section only. If you’d like to play one song along with the rhythm-section version of the track, press the black “Rhythm Only” button in the lower right corner of the display.

If you’d like to play through all of the songs along with the sax demonstration tracks, simply press the black “Play All” button on the lower left side of the display.

6

If you'd like to play through all of the songs with the rhythm-section tracks, press the black “Play All” button on the lower right side of the display. PAUSE CONTROLS

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The brown “Rhythm & Sax” and “Rhythm Only” buttons turn into “Pause” buttons any time that the track is being played. To pause the track and then continue where you left off, simply press the brown “Pause” button. As a special feature of this application, there are separate pause buttons for the sax version and for the rhythm-section versions of the tracks.

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You can press the pause button on the lower left side of the display while listening to the sax version, and then press the pause button on the lower right side of the display to continue the track from your current location with the “Rhythm Only” version. These dual pause buttons can be very useful if you want to hear just a few bars of the saxophone demonstration and then continue the playback with the rhythm-only track without having to start the track over from the beginning. Fast-forward, rewind and stop buttons are indicated by the symbols below: The fast-forward button is indicated by this symbol: >>| The rewind button is indicated by this symbol: |<< The stop button is indicated by this symbol: X

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Tap and release the desired button to move forward or backwards in increments of approximately one second in the track. Instead of holding the button continuously, press and release it repeatedly to move throughout the play-along track.

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TIME DISPLAY

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For added convenience, a time display is provided in the bottom center of the page. This display shows the current location track time on the left side of the display, and total track time on the right side of the display. For example, if the display reads: 1.29 / 3.34, it means that you’re one minute and twenty-nine seconds into the track, which has a total time of three minutes and thirty-four seconds.

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NAVIGATION MENU

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A navigation menu is included with this application. This menu gives you instant access to all of the text and songs without having to go through the pages in order. To access this menu, tap on the icon which appears in the middle at the top of the display. AUTOMATED PAGE-TURNS For your convenience, the display pages will turn automatically with the play-along tracks, allowing you to keep both hands on the saxophone for each song. When you reach the end of a page, read ahead just a bit so that you can anticipate the page turn. The page turns are synchronized to turn at just the right time when playing with both the sax demonstration track and with the rhythm-section track. 7

It is also possible to manually turn the page with a swiping motion across the page, from right-to-left to turn the pages forward, and from left-to-right to turn the pages back. RECOMMENDED USE OF THE TRACKS

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Use the saxophone demonstration tracks to familiarize yourself with the phrasing, articulation, and general feel of each piece. Play along with these tracks and match the phrasing, time feel and articulation.

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Once you're comfortable playing along with the recorded demonstration and rhythm-section tracks, experiment with playing some chord tones or voice-leading lines along with the play-along tracks. This is a great way to train your ear. TEMPOS

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The pieces in this application focus primarily on medium tempos, and each piece was written to be played at the tempo marked. However, if you feel that you can’t yet keep up with the recorded tempo, practice the piece without the play-along track until you can play it smoothly and accurately. The final “test” for any tempo is whether or not you can successfully play the entire piece in time, with the correct style and articulation, with no mistakes. When practicing without the play-along tracks, I recommend using a metronome to ensure accurate timing, increasing the metronome speed with each practice session, until you can play the piece at the marked tempo. DYNAMICS

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The intended dynamic for the pieces, in general, is forte, with the exception of the two bossa nova style pieces, which should be played at mezzo-forte. Listen carefully to the play-along tracks for subtle dynamic variations on all of the pieces. Within each piece, and each phrase, there are often what I call “micro-dynamics.” These are subtle differences between the weighting of notes in a phrase, and these have a dramatic effect on the phrasing and feel of the piece. If you listen carefully to the recording, you can hear me making these dynamic choices, too subtle and numerous to notate, but there for you to hear and study, nonetheless.

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Think of these micro dynamics as you would think of small water waves on a smooth lake…the lake is calm, but there’s still some movement in the water…as opposed to a pail of water with no motion, whatever.

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I encourage you to experiment with different dynamics on the pieces, and, as a general rule, start the pieces at a comfortably moderate dynamic level so that you leave yourself some room to build the dynamic level for the repeat of the piece. ARTICULATION

Crisp, clear articulation in music is the equivalent of good diction used in any spoken language. Throughout this application, I have included articulation markings to convey the basic style of each piece. However, I recommend repeated listenings to the play-along tracks, which will reveal more subtle nuances of articulation.

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STYLE & ANALYSIS SEQUENCE

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Sequences make a song sound more structured and melodic. They involve the use of repeated melodic, rhythmic or harmonic patterns. The pitches of the repeated pattern are often transposed to fit a new harmonic setting.

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Sequences usually occur in groups of two or three, with the original idea serving as the "model" sequence upon which subsequent sequences are based. The challenge for a composer or improvisor using sequences is knowing how many times to repeat an idea. If there are too few sequences, the song won't sound catchy, yet, if you have too many sequences, the song gets too predictable. When you have the right number of sequences, a song sounds melodically balanced.

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Play through the following example and notice the way in which sequence is used to give the song a "catchy" sound:

SECOND SEQUENCE OF MODEL 1

MODEL 2

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"Narragansett Avenue," mm.1-9

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In the example above, the opening theme is sequenced twice, for a total of three statements of the melodic idea. In the sixth measure of the example, a new idea is introduced, which is then sequenced in the eighth measure, which leads back to a restatement of the "Model 1" idea. The final note in the sequence of "Model 2" (the upbeat of beat four, measure eight) is tied to the first note of the restatement of "Model 1." This "sharing" of the last note of "Model 2" and the first note of "Model 1" links the two ideas smoothly together. As an experiment to demonstrate the importance and power of sequence, play the example above, and put rests in the fifth measure in place of the notes. Your ear will hear that the "Model 1" idea hasn't been repeated enough times, and you'll feel as though the musical thought stopped in mid-sentence. Next, play the excerpt above once more, but as originally written, without the rests in the fifth measure. When you hear the third statement of the theme in the fifth measure, you'll hear that the phrase is now balanced and complete. If you want to hear some truly amazing sequences, listen to any music by J.S. Bach, one of my all-time musical heroes. 9

VARIATIONS ON A THEME

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While sequence is used to restate a theme, often transposing the idea to fit into a new harmonic context, variation is used to elaborate on the theme by changing some of the rhythms, sometimes adding new notes in the middle of the theme, or by changing the ending of the theme.

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The example above contains three variations on the original theme used in "Franklin Street." Notice the way in which the original idea has evolved. Carefully compare each variation and notice what has changed from the original version of the theme. This type of analysis is quite valuable, as you'll want to develop the ability to use the theme and variation concept in your own improvisations. SUGGESTIONS FOR FURTHER ANALYSIS As you get familiar with the ten pieces in this book, make a mental note of the phrases which are your favorites. Try to analyze what you like about the phrase. If you can figure out why you like it, and determine the musical construction of the idea, you'll be able to take the concept and incorporate it into your own playing and writing.

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Tempo

Form

Milwaukee Avenue

q = 108 BLUES

Ogden Avenue

q = 144

Length Saxophone of Key Form Signature

Page Number

CD Track Numbers

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DETAILED OVERVIEW OF THE SONGS

AABA

32 Bars

D Major

14

3. & 4.

q = 126

AABC

32 Bars

A Minor

16

5. & 6.

Belden Avenue

q = 138

AABA

56 Bars

A Major

18

7. & 8.

Chicago Avenue

q = 132

32 Bars

D Major

20

9. & 10.

AABA

32 Bars

C Major

22

11. & 12.

q = 144

AABA

32 Bars

E Minor

24

13. & 14.

q = 160

ABAB

32 Bars

A Major

26

15. & 16.

Franklin Street

q = 112

ABAC

32 Bars

B Minor

28

17. & 18.

Pearson Street

q = 144

ABAC

36 Bars

C Major

30

19. & 20.

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C Major

q = 152

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Quincy Street

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Rockwell Street

Dearborn Street

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AABA

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Narragansett Avenue

12

1. & 2.

12 Bars

11

GREG FISHMAN

COUNT OFF: 2 BARS (6 CLICKS)

Milwaukee Avenue Swing (q = 108)

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©2009 Greg Fishman Jazz Studios All Rights Reserved. Copyright Secured.

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GREG FISHMAN

COUNT OFF: 2 BARS (6 CLICKS)

Ogden Avenue Swing (q = 144)

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GREG FISHMAN

COUNT OFF: 2 BARS (6 CLICKS)

Narragansett Avenue Swing (q = 126)

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©2009 Greg Fishman Jazz Studios All Rights Reserved. Copyright Secured

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GREG FISHMAN

COUNT OFF: 2 BARS (6 CLICKS)

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Bossa Nova (q = 138)

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©2009 Greg Fishman Jazz Studios All Rights Reserved. International Copyright Secured.

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COUNT OFF: 2 BARS (6 CLICKS)

GREG FISHMAN

Chicago Avenue ÿ EÈ

Swing (q = 132)

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> œ œ œ.

E7

Ó

œ œ n œ >œ œ.

˙.

GH

>œ w J

⁄

Ó

#

Œ

b

E 7

œ n >œ ˙

nœ .

AÈ

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b >œ J

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˙

BÈ

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©2009 Greg Fishman Jazz Studios All Rights Reserved. Copyright Secured.

˙.

œ > nœ ˙ .

FÈ

Œ

B7

# œ. œ >œ Bï

œ.

Ó A7

#

FÈ

Œ >œ œ

. # œ ‰ Jœ >œ J

Dÿ

w

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>œ J

&

23

&

27

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## œ . ## 1.

&

31

#

FÈ

Ó

Dÿ

## œ 2.

Dÿ

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33

b

E 7

&

36

&

38

## ˙

C7

-œ . J œ # œ.

A7

œ œ ˙ >œ œ

œ n >œ b

D 7

œ n >œ ˙

Ó

B7

˙.

Œ

C7

C7

Dÿ

# # œ # œ œ >œ ˙

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Ó

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>œ œ.

˙

b

D 7

bœ A\

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>œ J

B7

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E7

b

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b

n˙ B7

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Ó

¤

D 7

˙

EÈ

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b >œ A7

íœ

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> œ- œ

21

GREG FISHMAN

COUNT OFF: 2 BARS (6 CLICKS)

Quincy Street Swing (q = 152)

G7

ÿ DÈ

œ œ œ œ -œ œ. . Œ &c . f

DÈ

5

8

&

A7

˙.

Œ

Ÿ

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14

18

22

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b œ b œ n œ œ b œ. b œ œ œ .

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#œ œ

A7

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Gî

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EÈ

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F7

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Œ

DÈ

œ œ œ œ -œ œ. b œ ‰ J ⁄

E7

œ # œ œ œ # œ n œ Œ

-œ . œ # œ œ Ó œ #œ nœ œ œ œ

©2009 Greg Fishman Jazz Studios All Rights Reserved. Copyright Secured.

∑

D7

&Œ

21

œ #œ nœ œ œ œ

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24

EÈ

-œ œ.

&

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2.

&

33

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>œ n œ. ‰ J ‰ J

Gï

CH > . œ nœ ‰ J ‰ J

30

b œ œ b -œ œ.

œ #œ nœ œ œ œ

Œ

G7

Gï

b œ œ b -œ œ.

Ó

¤ DÈ

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Œ

G7

CH

Œ ∑

œ œ œ

Œ

DÈ

œ œ -œ œ. œ ‰ œJ œ ∑

..

23

GREG FISHMAN

COUNT OFF: 2 BARS (6 CLICKS)

Rockwell Street ÿ EÈ

Swing (q = 144)

#

& c .. Ó

5

# Ó &

Ÿ

9

# Π& &

12

# ˙ FÈ

⁄

# œ. &

17

#

& Ó

21

24

f

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œ.

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b -œ

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#œ œ w

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> œ nœ w

©2009 Greg Fishman Jazz Studios All Rights Reserved. Copyright Secured.

Ó ∑

Œ

œ. œ œ ˙

b -œ

˙

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w

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25

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˙

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COUNT OFF: 2 BARS (6 CLICKS)

GREG FISHMAN

Dearborn Street Swing (q = 160)

&

5

BÈ

ÿ B- È.

E- È

Ó

E7

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17

#

F ï

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20

26

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©2009 Greg Fishman Jazz Studios All Rights Reserved. Copyright Secured.

#

E7

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23

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27

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30

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33

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n˙

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F ï

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..

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27

GREG FISHMAN

COUNT OFF: 2 BARS (6 CLICKS)

Franklin Street

5

&

##

9

# œ >œ œ œ >œ œ >œ œ n œ >œ ˙ # œ Œ

EÈ

## Π&

12

Bmi

&

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18

28

#

C Ì

n -œ # >œ Œ

A7

Œ

C Ì

#

F ï

#

>œ w ‰ J

F ï

Bmi

-œ œ nœ #œ œ #œ œ

œ œ œ #œ > Bmi

> ‰ œJ œ b œ œ œ œ .

Dÿ

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Ó

#

#

F 7

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Bï

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15

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Bmi >œ œ > # œ ## n œ # œ œ œ >œ œ œ œ . j Ó . c Œ . #œ & œ > > f

Bmi

Ÿ

#

ÿ Bmi

Swing (q = 112)

#

F 7

œ b œ œ >œ Œ # ^œ ⁄

Œ

Bmi

œ- >œ Ó

©2009 Greg Fishman Jazz Studios All Rights Reserved. Copyright Secured.

#

F ï

∑

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j œ Ó > íœ

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# œ >œ œ n œ # œ >œ Bï

> ‰ #œ .

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21

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30

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36

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39

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Bmi

1.

> ‰ œ œ œ ˙. J

Bmi

> ‰ n œJ # œ œ # -œ œ Ó #

F ï

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#

F ï

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n >œ j ‰ nœ #œ

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33

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Gÿ

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..

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#

Gî

>œ œ œ ‰ œ J

œ œ -œ œ. Œ

Bmi

> ‰ n Jœ # œ œ # -œ œ

29

COUNT OFF: 2 BARS (6 CLICKS)

Bossa Nova (q = 144)

ÿ AË

-œ œ.

& c .. Ó

4

7

10

13

16

&

˙ F∫

& œ. &

b

B7

&

19

30

˙

b

A∂

w

b

A∂

œ .

Ó -œ

œ œ bœ nœ Ó

FÈ

Œ

AË

w

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Aï

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-œ

. - œ. ‰ Jœ ‰ b œj œ ⁄

œ ˙ J

-œ j b œ œ ‰ œj ‰ b œ - . Ÿ

œ-

œ.

C9

œ.

w EÈ

Œ

D9

G7

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b

A∂

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Ó

-œ œ J

# œ-

Pearson Street

GÈ

Ó

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& Ó &

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GREG FISHMAN

Œ œ œ œ #œ

©2009 Greg Fishman Jazz Studios All Rights Reserved. International Copyright Secured.

œ- # œ. ‰ œ .

DÌ

˙

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‰ œj œ œ œ œ GÈ

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n œ.

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b

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37

40

GZ

˙

Œ

G7/F

-œ œ. ‰ œJ ‰ b œ J

DÈ

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œ œ ‰ bœ J

-œ # œ. œ. b>Jœ ‰ J ‰

GZ

b

B9

n˙

Aï

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b˙ ˙

EÌ

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B9

˙

> œ œ- # œ. ‰ œ. ‰ Jœ & J

2.

b

B[

DÈ

Fÿ

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59

&

63

32

b

D‹

w

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C/E

˙

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Cÿ

œ

b

A∂

Œ ˙

C/E

˙

Cÿ

A∂

œ Œ ˙

C/E

œ Œ œ

b

E ∂

b

˙

˙

GÈ

˙

b

E ∂

CZ

bœ .

˙

œ.

GÈ

CZ

˙

b

E ∂

˙

Œ

œ. ‰ J ‰ œ J

˙

GZ

œ.

bœ .

œ. >œ J

DÈ

˙ #

FÌ

j› Œ œ œ

œ J

. . œ Œ œ œ fi

Cÿ

w u

˙

DÈ

œ J j œ

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#

FÌ

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/s ax pl ay

al on

Saxophonist and flutist Greg Fishman is an accomplished performer, recording artist, author, teacher and clinician. Born in Chicago in 1967, he began playing professionally at age fourteen. Greg graduated from DePaul University in Chicago with a degree in Jazz Performance, and earned a Masters Degree in Jazz Pedagogy from Northwestern University. He is among the foremost experts on the music of Stan Getz and is the author of three Getz transcription books published by Hal Leonard. His self-published books, Jazz Saxophone Etudes, Volumes 1 – 3, Jazz Saxophone Duets, Volumes 1 – 3, Jazz Phrasing for Saxophone, Volumes 1 – 3, Hip Licks for Saxophone, Jazz Guitar Etudes, Jazz Trumpet Duets and Tasting HarmonyTM are in circulation worldwide and have been endorsed by top educators and jazz performers, including Michael Brecker, Jerry Coker, Dave Liebman and Phil Woods.

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About the Author

Greg is a contributing author of jazz theory articles for Jazz Improv magazine, JAZZed, Chicago Jazz Magazine, IAJE Jazz Educators Journal, and was featured on the cover of Saxophone Journal, for whom he also writes. He is the author of the liner notes for the Verve reissue of the Getz recording The Steamer. Greg has toured and performed worldwide with his own group, and with such artists as Phil Woods, the Woody Herman Band, Louis Bellson, Slide Hampton, Conte Candoli, Lou Levy, Clark Terry, Jackie and Roy, Don Menza, Ira Sullivan, Judy Roberts, Jeremy Monteiro, Jimmy Heath, Lou Donaldson, Harry Allen, Jeff Hamilton, Eddie Higgins, and Benny Golson.

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Greg is the co-founder, along with Brazilian guitarist/vocalist, Paulinho Garcia, of the award-winning duo, "Two for Brazil.” They perform worldwide, and have recorded five CDs. Greg’s current discography features additional jazz releases in the U.S., Singapore, and Japan.

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In addition to clubs and concerts in the U.S., Greg has been featured at the Concord-Fujitsu jazz festival in Japan, the NorthSea Jazz Festival in the Netherlands, and in numerous concerts in Hong Kong, Bangkok, Singapore, China and Israel.

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Greg teaches jazz master classes and college workshops nationally and internationally, and is on the faculty of the Jamey Aebersold Summer Jazz Workshop.

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When not on tour, Greg is based in the Chicago area where he performs locally and teaches at Greg Fishman Jazz Studios. Visit www.gregfishmanjazzstudios.com for theory articles, practice tips and samples from all of Greg’s books.

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To contact Greg Fishman for clinics, masterclasses and private lessons via Skype or in person, e-mail Greg at: [email protected]. Greg Fishman is a Rico artist and plays Rico reeds exclusively. “...His solos are shrewdly conceived yet delivered with apparent ease and elegance. He develops harmonies that sometimes startle the ear as he forges lines that take unexpected twists and turns...” –– Chicago Tribune “Greg Fishman dares to explore new musical heights. Every lesson in Greg’s books is a must for all musicians, and this latest book is no exception. Greg, you’ve done a beautiful, musical thing again!” –– James Moody

33

THEMATIC INDEX C7

. > œ œ b œ œ &

F7

œ.

Œ

œ b >œ œ

/s ax pl ay

Opening Interval: Ascending Major 2nd Harmonic Context: 5th to 13th

˙

Swing (q = 126) Opening Interval: Descending Perfect 4th Harmonic Context: 3rd to 7th

˙

> G 7. œ ˙ J

œ.

Opening Interval: Ascending Perfect 5th Harmonic Context: 5th to 9th

œ ˙ J

ht tp

s: //

&

### œ .

œ -œ œ.

Swing (q = 132)

Opening Interval: Descending Major 2nd Harmonic Context: 9th to Root

EÈ

## Ó &

34

œ.

> œ œ

Cÿ

˙

œ.

Belden Avenue

vk

Bossa Nova (q = 138)

Aÿ

Œ

.c o

&

DÈ

˙.

Narragansett Avenue

m

&

## w

GÈ

-. > . œ bœ ˙ J

˙

Œ

b

AÈ

Ogden Avenue œ. œ # >œ Ew7

Swing (q = 144)

Dÿ

C7

(Page 12)

A7

˙.

#

G ï

œ ‰ J œ œ nœ .

Chicago Avenue Œ

#

FÈ

Ó

C7

Œ

al on

Opening Interval: Descending Minor 2nd Harmonic Context: Root to Major 7th

g

Milwaukee Avenue

Swing (q = 108)

Fÿ

j œ ˙. >

(Page 14)

Π(Page 16)

Π(Page 18)

œ ˙ J

˙.

Π(Page 20)

# œ.

©2009 Greg Fishman Jazz Studios All Rights Reserved. Copyright Secured.

> œ œ

B7

˙.

Œ

G7

DÈ

œ œ œ œ -œ œ. Œ & Opening Interval: Descending Major 2nd Harmonic Context: 5th to 11th

œ.

Opening Interval: Descending Minor 3rd Harmonic Context: 7th to 5th

E7

Aÿ

œ œ. œ œ œ

Ó

.c o

Swing (q = 112)

œ >œ ˙

m

Ó

œ.

˙

œ. Ó J

s: //

ht tp

Bossa Nova (q = 144) Opening Interval: Descending Major 2nd Harmonic Context: 9th to Root

AË

& Ó

-œ

œ.

-œ

#

(Page 26)

F ï

∑

#

(Page 28)

#

Bmi C Ì F ï >œ œ # œ > ## Œ n œ # œ œ œ >œ œ # œ œ œ . œj Ó & > > Bmi

Ó

Franklin Street

vk

Opening Interval: Ascending Minor 2nd Harmonic Context: Major 7th to Root

∑

(Page 24)

Dearborn Street

Swing (q = 160)

# # # œ œ. Œ &

A7

œ # œ œ œ -œ œ. Œ

∑

˙.

B- È

EÈ

/s ax pl ay

˙

# Ó &

(Page 22)

Rockwell Street

Swing (q = 144)

EÈ

Quincy Street

g

Opening Interval: Descending Minor 3rd Harmonic Context: 11th to 9th

al on

Swing (q = 152)

Bï

∑

Pearson Street b

A∂

œ- œ. ‰ œj ‰ b œj œ .

(Page 30)

œ ˙ J

˙

Ó

35