the jamming book - jazzschool- · pdf filethe jamming book compiled by andrea vicari a book...

The Jamming Book

compiled byAndrea Vicari

A book with parts for Bb, Eb, C and Bass all in One!

CONTENTS PAGEAll tunes are presented with parts for Bb, Eb, C and bass. Bass clef melody is provided and where appropriate there are separate piano parts.

1. C Jam Blues & Sonnymoon B b2. Eb3. C 4. Bass5. Billies Bounce Bb6. Eb7. C8. Bass9. Fly me to the moon Bb10. Eb11. C12. Bass13. Honeysuckle Rose14. Eb15. C16. Bass17. Scrapple from the Apple Bb18. Eb19. C20. Bass21. Autumn Leaves Bb22. Eb23. C24. Bass25. St Thomas Bb and Eb26. C and Bass27. Someday my Prince will come Bb28. Eb29. C30. Bass31. Purple Gazelle Bb 32. Bb harmony33. Purple Gazelle Eb 34. Eb harmony

35. Purple Gazelle C36. C harmony37. Purple Gazelle Bass 38. Bass clef harmony39. Don’t know Why Bb40. Eb41. C42. Bass

43. Georgia B b44. Eb45. C46. Bass47. Modes in treble clef48. Modes in bass clef49. So What Bb50. Eb51. C52. Bass53. Mi lestones Bb54. Eb55. C56. Bass 57. Bass clef melody58. Wayne’s Thang bass melody59. Bb60. Eb61. C62. Bass63. Canteloupe Island Bb and Eb64. C and Bass65. Piano66. Bass clef melody67. Watermelon man Bb and Eb68. Piano and Bass69. C melody and bass clef melody70. Mercy, mercy mercy Bb & Eb71. C and bass72. (Cold duck time) Bb and Eb73. Piano74. Bass75. Morning Bb76. Eb77. C melody78. Bass melody79. Piano80. Bass81. | got Rhythm Bb82. Eb83. C84. Bass85. Rhythm-a-ning Bb86. Eb87. C88. Bass89. Manu s c r i p t90. Manu s c r i p t

Bb q = 120

C Jam Blues

1

D7

G7

swing

D7

G7

D7

A7

G7

D7

Sonnymoon for TwoSonny Rollins

C7

F7

C7

F7

C7

G7

F7

C7

Eb

q = 120

C Jam Blues

A7

D7

swing

A7

2

D7

A7

E7

D7

A7


G7

C7

G7

C7

G7

D7

C7

G7

C part

q = 120

C Jam Blues

3

C7

F7

swing

C7

F7

C7

G7

F7

C7


Bb7

Eb7

Bb7

Eb7

Bb7

F7

Eb7

Bb7

q = 120

Bass C Jam Blues

C7

F7

swing

C7

4

F7

C7

G7

F7

C7


Bb7

Eb7

Bb7

Eb7

Bb7

F7

Eb7

Bb7

Bb Billies Bounce

C.Parker

5

G7

C7

G7

3

C7

G7

Bm7

E7(b9)

Am7

D7

G7

G blues scale

Bag's Groove Milt Jackson

A7

D7

A7

E7

D7

A7

A blues scale

Eb

Billies BounceC.Parker

D7

G7

D7

3

6

G7

D7

F#m7

B7(b9)

Em7

A7

D7

D blues scale

Bag's Groove Milt Jackson

E7

A7

E7

B7

A7

E7

E blues scale

C part Billies BounceC.Parker

7

F7

Bb7

F7

3

Bb7

F7

Am7

D7(b9)

Gm7

C7

F7

F blues scale

Bag's GrooveMilt Jackson

G7

C7

G7

D7

C7

G7

G blues scale

Bass clefBillies Bounce C.Parker

F7

Bb7

F7

3

8

Bb7

F7

Am7

D7(b9)

Gm7

C7

F7

F blues scale

Bag's GrooveMilt Jackson

G7

C7

G7

D7

C7

G7

G blues scale

Bb

Fly Me to the Moon

9

Fly Me to the Moon is made up from the primary triads of Bb major.They are arranged in a cycle of 5ths which creates both major and minor II V I progressions.

Gm7

Cm7

F7

Bbmaj7

Bb7

5

Ebmaj7b

3

Am7b5

D7b9

Gm7

G7

9

Cm7

F7

Bbmaj7

Gm7

13

Cm7

F7

Bbmaj7

Am7b5 D7b9

17

Gm7

Cm7

F7

Bbmaj7

Bb7

21

Ebmaj7b

Am7b5

D7b9

Gm7

G7

25

Cm7

F7

Dm7b5

G7b9

29

Cm7

F7

Bbmaj7

Am7b5 D7b9

Eb

Fly Me to the Moon

Fly Me to the Moon is made up from the primary triads of Ab major.They are arranged in a cycle of 5ths which creates both major and minor II V I progressions.

Dm7

Gm7

C7

Fmaj7

F7

10

5

Bbmaj7b

3

Em7b5

A7b9

Dm7

D7

9

Gm7

C7

Fmaj7

Dm7

13

Gm7

C7

Fmaj7

Em7b5 A7b9

17

Dm7

Gm7

C7

Fmaj7

F7

21

Bbmaj7b

Em7b5

A7b9

Dm7

D7

25

Gm7

C7

Am7b5

D7b9

29

Gm7

C7

Fmaj7

Em7b5 A7b9

Piano

Fly Me to the Moon

11


Fm7

Bbm7

Eb7

Abmaj7

Ab7

5

Dbmaj7b

3

Gm7b5

C7b9

Fm7

F7

9

Bbm7

Eb7

Abmaj7

Fm7

13

Bbm7

Eb7

Abmaj7

Gm7b5 C7b9

17

Fm7

Bbm7

Eb7

Abmaj7

Ab7

21

Dbmaj7b

Gm7b5

C7b9

Fm7

F7

25

Bbm7

Eb7

Cm7b5

F7b9

29

Bbm7

Eb7

Abmaj7

Gm7b5 C7b9

Bass

Fly Me to the Moon


Fm7

Bbm7

Eb7

Abmaj7

Ab7

12

5

Dbmaj7b

3

Gm7b5

C7b9

Fm7

F7

9

Bbm7

Eb7

Abmaj7

Fm7

13

Bbm7

Eb7

Abmaj7

Gm7b5 C7b9

17

Fm7

Bbm7

Eb7

Abmaj7

Ab7

21

Dbmaj7b

Gm7b5

C7b9

Fm7

F7

25

Bbm7

Eb7

Cm7b5

F7b9

29

Bbm7

Eb7

Abmaj7

Gm7b5 C7b9

Bb part

Honeysuckle RoseFats Waller

13

Honeysuckle Rose is in the key of G major and has a simple II V I sequence in the first section. The middle 8is a string of dominant sevenths to land back to the home key of G.

Am7

D7

Am7

D7

Am7

D7

Am7

D7

5

Gmaj7

Em7

Am7

D7

Gmaj7

(E7)

9

Am7

D7

Am7

D7

Am7

D7

Am7

D7

13

Gmaj7

Em7

Am7

D7

Gmaj7

17

G7

[F#dim/G]

[Gº]

G7

C7

21

A7

[G#dim/A]

[Aº]

A7

D7

25

Am7

D7

Am7

D7

Am7

D7

Am7

D7

29

Gmaj7 Em7

Am7

D7

Gmaj7

Honeysuckle Rose

Eb part

Honeysuckle Rose is in the key of D major and has a simple II V I sequence in the first section. The middle 8is a string of dominant sevenths to land back to the home key of D.

Em7

A7

Em7

A7

Em7

A7

Em7

A7

14

5

Dmaj7

Bm7

Em7

A7

Dmaj7

(B7)

9

Em7

A7

Em7

A7

Em7

A7

Em7

A7

13

Dmaj7

Bm7

Em7

A7

Dmaj7

17

D7

[C#dim/D]

[Dº]

D7

G7

21

E7

[D#dim/E]

[Eº]

E7

A7

25

Em7

A7

Em7

A7

Em7

A7

Em7

A7

29

Dmaj7 Bm7

Em7

A7

Dmaj7

C part


15

Honeysuckle Rose is in the key of F major and has a simple II V I sequence in the first section. The middle 8is a string of dominant sevenths to land back to the home key of F.

Gm7

C7

Gm7

C7

Gm7

C7

Gm7

C7

5

Fmaj7

Dm7

Gm7

C7

Fmaj7

(D7)

9

Gm7

C7

Gm7

C7

Gm7

C7

Gm7

C7

13

Fmaj7

Dm7

Gm7

C7

Fmaj7

17

F7

[Edim/F]

[Fº]

F7

Bb7

21

G7

[F#dim/G]

[Gº]

G7

C7

25

Gm7

C7

Gm7

C7

Gm7

C7

Gm7

C7

29

Fmaj7 Dm7

Gm7

C7

Fmaj7

Bass clef


Honeysuckle Rose is in the key of F major and has a simple II V I sequence in the first section. The middle 8is a string of dominant sevenths to land back to the home key of F.

Gm7

C7

Gm7

C7

Gm7

C7

Gm7

C7

16

5

Fmaj7

Dm7

Gm7

C7

Fmaj7

(D7)

9

Gm7

C7

Gm7

C7

Gm7

C7

Gm7

C7

13

Fmaj7

Dm7

Gm7

C7

Fmaj7

17

F7

[Edim/F]

[Fº]

F7

Bb7

21

G7

[F#dim/G]

[Gº]

G7

C7

25

Gm7

C7

Gm7

C7

Gm7

C7

Gm7

C7

29

Fmaj7 Dm7

Gm7

C7

Fmaj7

Bb part

Charlie ParkerScrapple from the Apple

17

Scrapple is based on the chords of Honeysuckle Rose with a different cycle of 5ths for the middle eight.The melody is pure bebop-quite complex, ornate and chromatic.

Am7

D7

Am7

3

D7b9

5

Gmaj7

3

Am7

D7

3Gmaj7

Am7

Bm7

E7

9

Am7

D7

Am7

3

D7b9

13

Gmaj7

3

Am7

D7

3Gmaj7

Am7

G

17

B7

E7

21

A7

D7

25

Am7

D7

Am7

3

D7b9

29

Gmaj7

3

Am7

D7

3Gmaj7

Am7

G

Eb part



Em7

A7

Em7

3

A7b9

18

5

Dmaj7

3

Em7

A7 3

Dmaj7 Em7

F#m7

B7

9

Em7

A7

Em7

3

A7b9

13

Dmaj7

3

Em7

A7 3

Dmaj7 Em7

D

17

F#7

B7

21

E7

A7

25

Em7

A7

Em7

3

A7b9

29

Dmaj7

3

Em7

A7 3

Dmaj7 Em7

D

C part


19


Gm7

C7

Gm7

3

C7b9

5

Fmaj7

3

Gm7

C7

3Fmaj7

Gm7

Am7

D7

9

Gm7

C7

Gm7

3

C7b9

13

Fmaj7

3

Gm7

C7

3Fmaj7

Gm7

F

17

A7

D7

21

G7

C7

25

Gm7

C7

Gm7

3

C7b9

29

Fmaj7

3

Gm7

C7

3Fmaj7

Gm7

F

Bass clef



Gm7

C7

Gm7

3

C7b9

20

5

Fmaj7

3

Gm7

C7

3

Fmaj7 Gm7

Am7

D7

9

Gm7

C7

Gm7

3

C7b9

13

Fmaj7

3

Gm7

C7 3

Fmaj7 Gm7

F

17

A7

D7

21

G7

C7

25

Gm7

C7

Gm7

3

C7b9

29

Fmaj7

3

Gm7

C7

3

Fmaj7 Gm7

F

Bb part

Joseph Cosma

(or Les Feuilles Morts)

Autumn Leaves

21

This classic tune is made up of major and minor II V I sequences in the home key and it's relative minor..

A

Dm7

G7

Cma7

Fma7

6

A

Bm7(b5)

E7(b9)

Am7

A7

10

Dm7

G7

Cma7

Fma7

14

B

Bm7(b5)

E7(b9)

Am7

Am7

18

Bm7(b5)

E7(b9)

Am7

A7

22

C

Dm7

G7

Cma7

Fma7

C7

26

Bm7(b5)

E7(b9)

Am7Am7

Abm7

Gm7Am7

F#7

30

F7Bm7(b5)

E7(b9)

Am7

A7

Eb part

Joseph Cosma


Autumn Leaves


A

Am7

D7

Gma7

Cma7

22

6

A

F#m7(b5)

B7(b9)

Em7

E7

10

Am7

D7

Gma7

Cma7

14

B

F#m7(b5)

B7(b9)

Em7

Em7

18

F#m7(b5)

B7(b9)

Em7

E7

22

C

Am7

D7

Gma7

Cma7

G7

26

F#m7(b5)

B7(b9)

Em7Em7

Ebm7

Dm7Em7

C#7

30

C7F#m7(b5)

B7(b9)

Em7

E7

C part

Joseph Cosma


Autumn Leaves

23


A

Cm7

F7

Bbma7

Ebma7

6

A

Am7(b5)

D7(b9)

Gm7

G7

10

Cm7

F7

Bbma7

Ebma7

14

B

Am7(b5)

D7(b9)

Gm7

Gm7

18

Am7(b5)

D7(b9)

Gm7

G7

22

C

Cm7

F7

Bbma7

Ebma7

Bb7

26

Am7(b5)

D7(b9)

Gm7Gm7

Gbm7

Fm7Gm7

E7

30

Eb7Am7(b5)

D7(b9)

Gm7

G7

Bass clef part

Joseph Cosma


Autumn Leaves


A

Cm7 F7

Bbma7

Ebma7

24

6

A

Am7(b5)

D7(b9)

Gm7

G7

10

Cm7 F7

Bbma7

Ebma7

14

B

Am7(b5)

D7(b9)

Gm7

Gm7

18

Am7(b5)

D7(b9)

Gm7

G7

22

C

Cm7

F7

Bbma7

Ebma7

Bb7

26

Am7(b5)

D7(b9)

Gm7Gm7

Gbm7

Fm7Gm7

E7

30

Eb7Am7(b5)

D7(b9)

Gm7

G7

Bb part

Sonny RollinsSt Thomas

25

D6

This calypso piece moves quickly through the chords of D major, using the sequenceof I, IV, III, VI, II, V, I. There are some dominant seventh chords introducedwhich makes the pull towards the chord II stronger. (see bars 2,6,9.) The endinguses the major III chord and a diminished seventh.

G

F#m7

B7

Em7

A7

D6

D6

G

F#m7

B7

Em7

A7

D6

D7

C7

B7

Em7

A7

D6

F#7

G

G#dim

D/A

A7

D6

Eb Sonny Rollins

St Thomas

A6

D

C#m7

F#7

Bm7

E7

A6

7

A6

D

C#m7

F#7

Bm7

E7

A6

A7

G7

F#7

Bm7

E7

A6 C#7

D

D#dim

A/E

E7

A6

C part

Sonny RollinsSt Thomas

C6

This calypso piece moves quickly through the chords of C major, using the sequenceof I, IV, III, VI, II, V, I. There are some dominant seventh chords introducedwhich makes the pull towards the chord II stronger. (see bars 2,6,9.) The endinguses the major III chord and a diminished seventh.

F

Em7

A7

Dm7

G7

C6

26

C6

F

Em7

A7

Dm7

G7

C6

C7

Bb7

A7

Dm7

G7

C6

E7

F

F#dim

C/G

G7

C6

BassSonny Rollins

St Thomas

C6

F

Em7

A7

Dm7

G7

C6

7

C6

F

Em7

A7

Dm7

G7

C6

C7

Bb7

A7

Dm7

G7

C6 E7

F

F#dim

C/G

G7

C6

Bb part Some Day my Prince will ComeChurchill arr. Andrea Vicari3/4 swing

27

Cma7

This well known 3/4 tune can be played as a ballad or a medium swing. The bass can create different rhythmic

grooves by playing h., then q.q. and finally qqq per bar. (Save last one for solos)

E7

[F#7]

Fma7

A7(b9)

5

Dm7

A7(b9)

D7

G7

9

Em7

D#dim

Dm7

G7

13

Em7

D#dim

Dm7

G7

17

Cma7

E7

[F#7]

Fma7

A7(b9)

21

Dm7

A7(b9)

D7

G7

25

Gm7

C7 Fma7

F#dim

29

Cma7/G

Dm7/C G7

Cma7

[G7]

Eb part Some Day my Prince will ComeChurchill arr. Andrea Vicari3/4 swing

Gma7



B7

[C#7]

Cma7

E7(b9)

28

5

Am7

E7(b9)

A7

D7

9

Bm7

A#dim

Am7

D7

13

Bm7

A#dim

Am7

D7

17

Gma7

B7

[C#7]

Cma7

E7(b9)

21

Am7

E7(b9)

A7

D7

25

Dm7

G7

Cma7

C#dim

29

Gma7/D

Am7/G D7

Gma7

[D7]

C part Some Day my Prince will ComeChurchill arr. Andrea Vicari3/4 swing

29

Bbma7



D7

[E7]

Ebma7

G7(b9)

5

Cm7

G7(b9)

C7

F7

9

Dm7

C#dim

Cm7

F7

13

Dm7

C#dim

Cm7

F7

17

Bbma7

D7

[E7]

Ebma7

G7(b9)

21

Cm7

G7(b9)

C7

F7

25

Fm7

Bb7 Ebma7

Edim

29

Bbma7/F

Cm7/Bb F7

Bbma7

[F7]

Bass

Churchill arr. Andrea Vicari

3/4 swingSome Day my Prince will Come

(play h. bass notes and then q for solos)melody for reference

Bbma7



D7

[E7]

Ebma7

G7(b9)

30

5

Cm7

G7(b9)

C7

F7

9

Dm7

C#dim

Cm7

F7

13

Dm7

C#dim

Cm7

F7

17

Bbma7

D7

[E7]

Ebma7

G7(b9)

21

Cm7

G7(b9)

C7

F7

25

Fm7

Bb7

Ebma7

Edim

29

Bbma7/F

Cm7/Bb F7

Bbma7

[F7]

Bb Tune

Duke Ellington(or Angelica)

Purple Gazelle

31

This fun tune was made famous by Duke Ellington and also Chris McGregor and the blue notes. The harmonyis made up of major and minor II V Is and moves away from the home key, especially in the middle section.

F^

Gm7

C7

5

F^

Gm7

C7

9

F^

Am7(b5)

D7(b9)

Gm7

gliss

Bbm7

Eb7

13

F^

C7

F[7]

17

Bbm7

Eb7

F^

5 5

21

Bbm7

Eb7

Gm7

C7

5

25

F^

Gm7

C7

29

F^

Gm7

C7

33

F^

Am7(b5)

D7(b9)

Gm7

36

Bbm7

Eb7

F^

C7

F[7]

gliss

Bb part harmony

Duke Ellington arr Andrea Vicari(or Angelica)

Purple Gazelle

F^

Gm7

C7

32

5

F^

Gm7

C7

9

F^

Am7(b5)

D7(b9)

Gm7

gliss

Bbm7Bbm7

Eb7

13

F^

C7

F[7]

17

Bbm7

Eb7

F^

5 5

21

Bbm7

Eb7

Gm7

C7

5

25

F^

Gm7

C7

29

F^

Gm7

C7

33

F^

Am7(b5)

D7(b9)

Gm7

gliss

36

Bbm7Bbm7

Eb7

F^

C7

F[7]

Eb saxophone

Duke Ellington arr. Andrea Vicari(or Angelica)

Purple Gazelle

33


C^

Dm7

G7

5

C^

Dm7

G7

9

C^

Em7(b5)

A7(b9)

Dm7

Fm7

Bb7

13

C^

G7

C[7]

gliss

17

Fm7

Bb7

C^

5 5

21

Fm7

Bb7

Dm7

G7

5

25

C^

Dm7

G7

29

C^

Dm7

G7

33

C^

Em7(b5)

A7(b9)

Dm7

36

Fm7 Bb7

C^

G7

C[7]

gliss

Eb Saxophone harmony


Purple Gazelle

C^

Dm7

G7

34

5

C^

Dm7

G7

9

C^

Em7(b5)

A7(b9)

Dm7

gliss

Fm7

Bb7

13

C^

G7

C[7]

17

Fm7

Bb7

C^

5 5

21

Fm7

Bb7

Dm7

G7

5

25

C^

Dm7

G7

29

C^

Dm7

G7

33

C^

Em7(b5)

A7(b9)

Dm7

gliss

36

Fm7

Bb7

C^

G7

C[7]

C part


Purple Gazelle

35


Medium Latin

Eb^

Fm7

Bb7

5

Eb^

Fm7

Bb7

9

Eb^

Gm7(b5)

C7(b9)

Fm7

Abm7

Db7

13

Eb^

Bb7

Eb[7]

gliss

17

Abm7

Db7

Eb^

5 5

21

Abm7

Db7

Fm7

Bb7

5

25

Eb^

Fm7

Bb7

29

Eb^

Fm7

Bb7

33

Eb^

Gm7(b5)

C7(b9)

Fm7

36

Abm7

Db7

Eb^

Bb7

Eb[7]

gliss

C part harmony


Purple Gazelle

Eb^

Fm7

Bb7

36

5

Eb^

Fm7

Bb7

9

Eb^

Gm7(b5)

C7(b9)

Fm7

gliss

Abm7Abm7

Db7

13

Eb^

Bb7

Eb[7]

17

Abm7

Db7

Eb^

5 5

21

Abm7

Db7

Fm7

Bb7

5

25

Eb^

Fm7

Bb7

29

Eb^

Fm7

Bb7

33

Eb^

Gm7(b5)

C7(b9)

Fm7

gliss

36

Abm7Abm7

Db7

Eb^

Bb7

Eb[7]

Bass clef part


Purple Gazelle

37


Medium Latin

Eb^

Fm7

Bb7

5

Eb^

Fm7

Bb7

9

Eb^

Gm7(b5)

C7(b9)

Fm7

Abm7

Db7

13

Eb^

Bb7

Eb[7]

gliss

17

Abm7

Db7

Eb^

5 5

21

Abm7

Db7

Fm7

Bb7

5

25

Eb^

Fm7

Bb7

29

Eb^

Fm7

Bb7

33

Eb^

Gm7(b5)

C7(b9)

Fm7

Abm7

Db7

37

Eb^

Bb7

Eb[7]

gliss

Bass part harmony


Purple Gazelle

Eb^

Fm7

Bb7

38

5

Eb^

Fm7

Bb7

9

Eb^

Gm7(b5)

C7(b9)

Fm7

gliss

Abm7Abm7

Db7

13

Eb^

Bb7

Eb[7]

17

Abm7

Db7

Eb^

5 5

21

Abm7

Db7

Fm7

Bb7

5

25

Eb^

Fm7

Bb7

29

Eb^

Fm7

Bb7

33

Eb^

Gm7(b5)

C7(b9)

Fm7

gliss

36

Abm7Abm7

Db7

Eb^

Bb7

Eb[7]

Bb part

q=80 Rock Ballad

Don't Know WhyNorah Jones/Jesse Harris/arr.a.vicari

1 .

39

Cma7

Recorded by Norah Jones and also Pat Metheny, this attractive music has functional harmony, moving fromthe home key in the very first bar to the subdominant in the second bar. It winds up back in the home keyby the fourth bar. Note how the melody moves down in 3rds in the first part of the tune.

C7

Fma7

E7

Am7

D7

G7sus4

Cma7

5

Cma7

C7

Fma7

E7

Am7

D7

G7sus4

Cma7

9

2.

Am7

D7

G7sus4

Cma7

Am7

D7

13

Gma7

Am7

D7

17

Gma7

Cma7

C7

Fma7

E7

21

Am7

D7

G7sus4

Cma7

Cma7

C7

Fma7

E7

25

Am7

D7

G7sus4

Cma7

Am7

D7

G7sus4

Cma7

q=80

Eb partRock Ballad


1 .

Recorded by Norah Jones and also Pat Metheny, this attractive music has functional harmony, moving fromthe home key in the very first bar to the subdominant in the second bar. It winds up back in the home keyby the fourth bar. Note how the melody moves down in 3rds in the first part of the tune.

Gma7

G7

Cma7

B7

Em7

A7

D7sus4

Gma7

40

5

Gma7

G7

Cma7

B7

Em7

A7

D7sus4

Gma7

9

2.

Em7

A7

D7sus4

Gma7

Em7

A7

13

Dma7

Em7

A7

17

Dma7

Gma7

G7

Cma7

B7

21

Em7

A7

D7sus4

Gma7

Gma7

G7

Cma7

B7

25

Em7

A7

D7sus4

Gma7

Em7

A7

D7sus4

Gma7

q=80

C part

Rock Ballad


1 .

41 Recorded by Norah Jones and also Pat Metheny, this attractive music has functional harmony, moving fromthe home key in the very first bar to the subdominant in the second bar. It winds up back in the home keyby the fourth bar. Note how the melody moves down in 3rds in the first part of the tune.

Bbma7

Bb7

Ebma7

D7

Gm7

C7

F7sus4

Bbma7

5

Bbma7

Bb7

Ebma7

D7

Gm7

C7

F7sus4

Bbma7

9

2.

Gm7

C7

F7sus4

Bbma7

Gm7

C7

13

Fma7

Gm7

C7

17

Fma7

Bbma7

Bb7

Ebma7

D7

21

Gm7

C7

F7sus4

Bbma7

Bbma7

Bb7

Ebma7

D7

25

Gm7

C7

F7sus4

Bbma7

Gm7

C7

F7sus4

Bbma7

q=80

Rock Ballad

Norah Jones/Jesse Harris/arr.a.vicariDon't Know Why

1.

Bbma7

Bb7

Ebma7

D7

Gm7

C7

F7sus4

Bbma7

42

Bbma7

Bb7

Ebma7

D7

Gm7

C7

F7sus4

Bbma7

2.

Gm7

C7

F7sus4

Bbma7

Gm7

C7

Fma7

Gm7

C7

Fma7

Bbma7

Bb7

Ebma7

D7

Gm7

C7

F7sus4

Bbma7

Bbma7

Bb7

Ebma7

D7

Gm7

C7

F7sus4

Bbma7

Gm7

C7

F7sus4

Bbma7

Bass melody

Bass lineDon't Know Why

Bbma7

Bb7

Ebma7

D7

Gm7 C7

F7sus4 Bbma7

Bbma7

Bb7

Ebma7

D7

Gm7 C7

F7sus4 Bbma7

1.

2.

Gm7 C7

F7sus4 Bbma7

Gm7

C7

Fma7

Gm7

C7

Fma7

Bbma7

Bb7

Ebma7

D7

Gm7 C7

F7sus4 Bbma7

Bbma7

Bb7

Ebma7

D7

Gm7

C7

F7sus4 Bbma7

Gm7

C7

F7sus4 Bbma7

Bb part

Hoagy Carmichaelslow swing/gospel like

Georgia

43 Georgia is a well known jazz standard and although it is firmly in the home key (major) the chords are made more colourfulwith the use of dominant sevenths. (see bar 2,5 and 7.) The middle eight is in the key of the relative minor..

Gma7

F#m7(b5) B7(b9)

Em7

Em7/D

C#m7(b5)

Cm6

5

Bm7

E7

Am7

D7

Bm7

E7 Am7 D7(#5)

9

Gma7

F#m7(b5) B7(b9)

Em7

Em7/D

C#m7(b5)

Cm6

13

Bm7

E7

Am7

A9

D7

Gma7

F#m7(b5)

B7(b9)

17

Em7

Am7

B7

Em7

C7

Em7

Am7

B7

Em7

A7

21

Em7

F#m7(b5)

B7(b9)

Em7

F#7

Bm7

E7

Am7

D7

25

Gma7

F#m7(b5) B7(b9)

Em7

Em7/D

C#m7(b5)

Cm6

29

Bm7

E7

Am7

A9

D7

Gma7

[Am7

D7]

Eb part


Georgia44

Georgia is a well known jazz standard and although it is firmly in the home key (major) the chords are made more colourfulwith the use of dominant sevenths. (see bar 2,5 and 7.) The middle eight is in the key of the relative minor..

Dma7

C#m7(b5) F#7(b9)

Bm7

Bm7/A

G#m7(b5)

Gm6

5

F#m7

B7

Em7

A7

F#m7

B7 Em7 A7(#5)

9

Dma7

C#m7(b5) F#7(b9)

Bm7

Bm7/A

Abm7(b5)

Gm6

13

F#m7

B7

Em7

E9

A7

Dma7

C#m7(b5)

F#7(b9)

17

Bm7

Em7

F#7

Bm7

G7

Bm7

Em7

F#7

Bm7

E7

21

Bm7

C#m7(b5)

F#7(b9)

Bm7

C#7

F#m7

B7

Em7

A7

25

Dma7

C#m7(b5) F#7(b9)

Bm7

Bm7/A

Abm7(b5)

Gm6

29

F#m7

B7

Em7

E9

A7

Dma7

[Em7

A7]

C part


Georgia

45 Georgia is a well known jazz standard and although it is firmly in the home key (major) the chords are made more colourfulwith the use of dominant sevenths. (see bar 2,5 and 7.) The middle eight is in the key of the relative minor..

Fma7

Em7(b5) A7(b9)

Dm7

Dm7/C

Bm7(b5)

Bbm6

5

Am7

D7

Gm7

C7

Am7

D7 Gm7 C7(#5)

9

Fma7

Em7(b5) A7(b9)

Dm7

Dm7/C

Bm7(b5)

Bbm6

13

Am7

D7

Gm7

G9

C7

Fma7

Em7(b5)

A7(b9)

17

Dm7

Gm7

A7

Dm7

Bb7

Dm7

Gm7

A7

Dm7

G7

21

Dm7

Em7(b5)

A7(b9)

Dm7

E7

Am7

D7

Gm7

C7

25

Fma7

Em7(b5) A7(b9)

Dm7

Dm7/C

Bm7(b5)

Bbm6

29

Am7

D7

Gm7

G9

C7

Fma7

[Gm7

C7]

Bass


Georgia 46

Fma7

Georgia is a well known jazz standard and although it is firmly in the home key (major) the chords are made more colourfulwith the use of dominant sevenths. (see bar 2,5 and 7.) The middle eight is in the key of the relative minor..

Em7(b5) A7(b9)

Dm7

Dm7/C

Bm7(b5)

Bbm6

5

Am7

D7

Gm7

C7

Am7

D7 Gm7 C7(#5)

9

Fma7

Em7(b5) A7(b9)

Dm7

Dm7/C

Bm7(b5)

Bbm6

13

Am7

D7 Gm7

G9

C7

Fma7

Em7(b5)

A7(b9)

17

Dm7

Gm7

A7

Dm7

Bb7

Dm7

Gm7

A7

Dm7

G7

21

Dm7

Em7(b5)

A7(b9)

Dm7

E7

Am7

D7

Gm7

C7

25

Fma7

Em7(b5) A7(b9)

Dm7

Dm7/C

Bm7(b5)

Bbm6

29

Am7

D7 Gm7

G9

C7

Fma7

[Gm7

C7]

MODESTreble clef

47

Ionian mode ( fits chords- maj7, 6)

Dorian mode ( fits chords- m7)

Phyrgian mode ( fits chords- m7b2)

Lydian mode ( fits chords- maj 7+11)

Mixolydian mode ( fits chord- dominant 7)

Aeolian mode ( fits chords- m7b6)

Locrian mode ( fits chords- m7b5)

MODESBass clef

Ionian mode ( fits chords- maj7, 6)

48

Dorian mode ( fits chords- m7)

Phyrgian mode ( fits chords- m7b2)

Lydian mode ( fits chords- maj 7+11)

Mixolydian mode ( fits chord- dominant 7)

Aeolian mode ( fits chords- m7b6)

Locrian mode ( fits chords- m7b5)

Bb part

q = 96

Miles Davis

swingSo What

49

So What is a classic modal tune based on the dorian mode. It moves up a semi tonefor the middle section and then back to the original key for the last 8 bars.It is a different concept to the standard jazz tunes in that there are no functionalchords (II, V, I e.t.c.) and the improvising although easier, needs a more creative approach.Try exploring ranges, dynamics, motivic development and rhythm.

Em7

6

10

Fm7

14

18

Em7

22

Eb part

q = 96

Miles Davis

swingSo What


Bm7

50

6

10

Cm7

14

18

Bm7

22

C part q = 96

Miles Davis

swingSo What

51 So What is a classic modal tune based on the dorian mode. It moves up a semi tonefor the middle section and then back to the original key for the last 8 bars.It is a different concept to the standard jazz tunes in that there are no functionalchords (II, V, I e.t.c.) and the improvising although easier, needs a more creative approach.Try exploring ranges, dynamics, motivic development and rhythm.

Dm7

Ebm7

Dm7

51

Bass clef melody

So What

Dm7

Ebm7

Dm7

Bass

q = 96Miles Davis

swingSo What

52


Dm7

1.

2.

Dm7

Ebm7

Dm7

FORM AABA

SOLOS

Dm7

(Bass walks on solos)

Dm7

Ebm7

Dm7

(After last solo to take it back to the top)

Dm7

q = 200

Bb PartMilestones

Fast Swing Miles Davis

53

Am7

(A dorian)

5

9

Am7

13

Cm7

17

Bm7

(B aeolian)

21

Cm7

25

Bm7

29

Bbm7

33

Am7

(A dorian)

37

q = 200

Eb Part Fast Swing

MilestonesMiles Davis

Em7

(E dorian)

54

5

9

Em7

13

Gm7

17

F#m7

(F# aeolian)

21

Gm7

25

F#m7

29

Fm7

33

Em7

(E dorian)

37

q = 200

C part

Fast Swing


55

Gm7

(G dorian)

5

9

Gm7

13

Bbm7

17

Am7

(A aeolian)

21

Bbm7

25

Am7

29

Abm7

33

Gm7

(G dorian)

37

Bass

q = 200Fast Swing


Milestones uses the Dorian mode in the first section and the Aeolian mode in the middle. The head must beplayed tightly with the articulation for a really driving swing tune!

Walking bass in quavers

Gm7

(G dorian)

56

5

9

Gm7

13

Bbm7

17

Am7

21

Bbm7

25

Am7

29

Bbm7

33

Gm7

(G dorian)

37

Gm7

q = 200Fast Swing


Trombone

57

Gm7

(G dorian)

5

9

Gm7

13

Bbm7

17

Am7

(A aeolian)

21

Bbm7

25

Am7

29

Abm7

33

Gm7

(G dorian)

37

q=160Kenny Garrett arr. Andrea Vicari

Wayne's ThangFunky

Bass clef melody

Intro

on cueEm7

58

3

7

Cma9(#11)

FINE 2ND X3

11

B7(#5)

Em7

3

15 1.

to tune

19 2.

Em7

Cma9(#11)

D7sus4

23

solos

Em7

suggested scales

27

Cma9(#11)

31

B7(#5)

35 1.

Em7

39 2.

Em7

Cma9(#11)

D7sus4

q=160

Bb partKenny Garrett arr. Andrea Vicari

Wayne's ThangFunky

59 This piece has a simple chord sequence going from chord I to chord VI and then chord V. However the rate of change is slow (every four bars) and it feels more like a a modal tune. The groove is quite funky in the head and the start of the solos- a change to walking bass and more of a swing feel can create rhythmic interest. (Kenny Garrett does this on his album 'Triology'). Note in the solo section the blues scale of the home key fits all chords.

Intro

on cueF#m7

3

7

Dma9(#11)

3

11

C#7(#5)

F#m7

3

15 1.

To Tune

19 2.

F#m7

Dma9(#11)

E7sus4

23

solos

F#m7

suggested scales

27

Dma9(#11)

31

C#7(#5)

35 1.

F#m7

39 2.

F#m7

Dma9(#11)

E7sus4

Eb part


Wayne's ThangFunky

This piece has a simple chord sequence going from chord I to chord VI and then chord V. However the rate of change is slow (every four bars) and it feels more like a a modal tune. The groove is quite funky in the head and the start of the solos- a change to walking bass and more of a swing feel can create rhythmic interest. (Kenny Garrett does this on his album 'Triology'). Note in the solo section the blues scale of the home key fits all chords.

Intro

on cueC#m7

60

3

7

Ama9(#11)

FINE 2ND X

311

G#7(#5)

C#m7

3

15 1.

to tune

19 2.

C#m7

Ama9(#11)

B7sus4

23

solos

C#m7

suggested scales

27

Ama9(#11)

31

G#7(#5)

35 1.

C#m7

39 2.

C#m7

Ama9(#11)

B7sus4

q=160Kenny Garrett arr. Andrea VicariC melody

Wayne's ThangFunky

61 This piece has a simple chord sequence going from chord I to chord VI and then chord V. However the rate of change is slow (every four bars) and it feels more like a a modal tune. The groove is quite funky in the head and the start of the solos- a change to walking bass and more of a swing feel can create rhythmic interest. (Kenny Garrett does this on his album 'Triology'). Note in the solo section the blues scale of the home key fits all chords.

Intro

on cueEm7

3

7

Cma9(#11)

FINE 2ND X

3

11

B7(#5)

Em7

3

15 1.

to tune

19 2.

Em7

Cma9(#11)

D7sus4

23

solos

Em7

suggested scales

27

Cma9(#11)

31

B7(#5)

35 1.

Em7

39 2.

Em7

Cma9(#11)

D7sus4


Wayne's ThangFunky/swing

Bass Guitar

Intro

62

3

on cueEm7

7

Cma9(#11)

11

B7(#5)

FINE 2ND XPlay an E!

15 1.

Em7

to tune

19 2.

Em7

Cma9(#11)

D7sus4

23

solosMaintain groove and then optional swing

Em7

27

Cma9(#11)

31

B7(#5)

35 1.

Em7

39 2.

Em7

Cma9(#11)

D7sus4

Bb partHerbie Hancock

Canteloupe IslandFunky

63

Canteloupe Island is one of Herbie Hancock's most famous compositions. There are three different chords and the groove is maintained with a set piano and bass pattern.

Gm7

Eb7

Em7

Gm7

Eb partHerbie Hancock

Funky

Canteloupe Island

Dm7

Bb7

Bm7

Dm7

Bass

Herbie HancockCanteloupe Island

Funky

64

Canteloupe IslandC melodyHerbie Hancock

Funky


Fm7

Db7

Dm7

Fm7

Canteloupe IslandFunky

Fm7

Db7

Dm7

play Dm7 or for added interest try Ab13

Fm7

Herbie HancockCanteloupe IslandFunky

Piano

intro- 4 bars of Fm7

65

Fm7

3

5

Db7

7

9

Dm7

11

play Dm7 or for added interest try Ab13

13

Fm7

15

Bass clef melody

Canteloupe IslandHerbie Hancock

Funky


Fm7

66

Db7

Dm7

Fm7

This tune is quite similar to Canteloupe Island with the groove having a set bass and pianofigure. The sequence is a 16 bar blues.

Groovy Herbie Hancock

Watermelon Man

F7

Bb7

F7

C13

Bb13

C13

Bb13

C13

Bb13

F7

Bb part

GroovyHerbie Hancock

Watermelon Man

67

G7


C7

G7

D13

C13

D13

C13

D13

C13

G7

Eb part

GroovyHerbie HancockWatermelon Man

D7

G7

D7

A13

G13

A13

G13

A13

G13

D7

Herbie HancockWatermelon Man

GroovyPiano

F7


68

Bb7

F7

C13

Bb13

C13

Bb13

C13

Bb13

F7

Bass Herbie HancockWatermelon ManGroovy

F7

Bb7

F7

Bb13

C13

Bb13

C13

Bb13

F7

C melody

GroovyHerbie Hancock

Watermelon Man

69

F7


Bb7

F7

C13

Bb13

C13

Bb13

C13

Bb13

F7

q = 100Jo Zawinul

Mercy Mercy

Bass clef melody

Bb7

Eb7

Bb7

Eb7

Bb7

Eb7

Bb7

Eb7

Bb7

F7sus4

Bb7

F

Cm7

Dm7

Gm

F Gm

F Gm

Bb partq = 100

Jo ZawinulMercy Mercy

C7

F7

C7

F7

70

C7 F7

C7

F7

C7

G7sus4

C7

G

Dm7

Em7

Am

G Am

G Am

Eb part Jo Zawinulq = 100

Mercy Mercy

G7

C7

G7

C7

G7

C7

G7

C7

G7

D7sus4

G7

D

Am7

Bm7

Em D

Em D

Em

q = 100Piano Jo ZawinulMercy Mercy

71

Bb7

Eb7

Bb7

Eb7

Bb7

Eb7

Bb7

Eb7

Bb7

F7sus4

Bb7

F

Cm7

Dm7

Gm

F Gm

F Gm

q = 100Jo Zawinul

Mercy Mercy

Bass Bb7

Eb7

Bb7

Eb7

19

Bb7

Eb7

Bb7

Eb7

Bb7

F

Cm7

Dm7

F7sus4

Bb7

Gm

F Gm

F Gm

Bb saxophoneq=120

Eddie HarrisConfit de Canard(or really Cold Duck Time)

intro

head

72

G7

C7

G7

C7

G7

C7

G7

C7To coda on repeat

Ebma7

CODA

Ebma7 Fma7

G7

Ebma7 Fma7

G7pno fill.....................................................

Ebma7

Ebma7 Fma7

G7pno fill.....................................................

Ebma7

CODA

Ebma7 Fma7

G7

q=120

Eb saxophone

Eddie Harris

Confit de Canard(or really Cold Duck Time)

intro

D7

head

G7

D7

G7

D7

G7

D7

G7 To coda on repeat

Bbma7

CODA

Bbma7 Cma7

D7

Bbma7 Cma7

D7pno fill.....................................................

Bbma7

Bbma7 Cma7

D7pno fill.....................................................

Bbma7

Bbma7 Cma7

D7

C melodyq=120

Eddie Harris

Confit de Canard(or really Cold Duck Time)

Piano

73

intro

F7

5

Pno.

F7

head

Bb7

F7

Bb7

9

Pno.

F7

Bb7

F7

Bb7

To coda on repeat

Dbma7

Dbma7

13

Pno.

Ebma7

F7 Piano fill/solo break

17

Pno.

coda

Dbma7 Ebma7

F7 pno fill.....................................................

Dbma7

21

Pno.

Dbma7 Ebma7

F7 pno fill.....................................................

Dbma7

25

Pno.

Dbma7 Ebma7

F7

Bass q=120Eddie HarrisConfit de Canard

(or really Cold Duck Time)

F7

74

F7

Bb7

F7

Bb7

F7

Bb7

F7

Dbma7

Bb7To coda on repeat

Dbma7

CODA

Dbma7 Ebma7

F7

Dbma7

Dbma7 Ebma7

F7

Dbma7

Dbma7 Ebma7

F7

Dbma7

Dbma7 Ebma7

F7

Bass melodyq=120

Eddie HarrisConfit de Canard(or really Cold Duck Time)

intro

F7

head

Bb7

F7

Bb7

F7

Bb7

F7

Dbma7

Bb7

To coda on repeat

Dbma7

CODA

Dbma7 Ebma7

F7

Dbma7 Ebma7

F7 pno fill.....................................................

Dbma7

Dbma7 Ebma7

F7 pno fill.....................................................

Dbma7

Dbma7 Ebma7

F7

q = 120

Clare FischerLatin

Morning

75

Bb part

Dm7(b5)

G7(#5) Cm7

F7

Dm7(b5)

G7(#5) Cm7

F7

6

Fm7

Bb7

Ebmaj7

Abmaj7

Dm7(b5)

G7(#5) Cm7

F7

1st X only

10

Fm7

Bb7

3

Ebmaj7

Ab7

Gm7

C7(#9)3

14

Fm7

Bb7

C#7

C7

18

Dm7(b5)

G7(#5)G7(#5) Cm7Cm7

F7F7

Dm7(b5)Dm7(b5)

G7(#5)G7(#5) Cm7Cm7

F7F7

22

Fm7

Bb7

Ebmaj7

Abmaj7

Dm7(b5)

G7(#5) Cm7

F7

TO CODA

26

Dm7(b5)

CODA

G7(#5) Cm7

F7

on cue

C#maj7

FillCm7

Fill

q = 120

Clare FischerLatin

Morning

Eb part

Am7(b5)

D7(#5) Gm7

C7

Am7(b5)

D7(#5) Gm7

C7

76

6

Cm7

F7

Bbmaj7

Ebmaj7

Am7(b5)

D7(#5) Gm7

C7

1st X only

10

Cm7

F7

3

Bbmaj7

Eb7

Dm7

G7(#9)3

14

Cm7

F7

G#7

G7

18

Am7(b5)

D7(#5)D7(#5) Gm7Gm7

C7C7

Am7(b5)Am7(b5)

D7(#5)D7(#5) Gm7Gm7

C7C7

22

Cm7

F7

Bbmaj7

Ebmaj7

Am7(b5)

D7(#5) Gm7

C7

TO CODA

26

Am7(b5)

CODA

D7(#5) Gm7

C7

on cue

G#maj7

Fill

Gm7

Fill

C melody

q = 120

Clare FischerLatin

Morning

77

Cm7(b5)

F7(#5) Bbm7

Eb7

Cm7(b5)

F7(#5) Bbm7

Eb7

6

Ebm7

Ab7

Dbmaj7

Gbmaj7

Cm7(b5)

F7(#5) Bbm7

Eb7

1st X only

10

Ebm7

Ab7

3

Dbmaj7

Gb7

Fm7

Bb7(#9)3

14

Ebm7

Ab7

B7

Bb7

18

Cm7(b5)

F7(#5)F7(#5) Bbm7Bbm7

Eb7Eb7

Cm7(b5)Cm7(b5)

F7(#5)F7(#5) Bbm7Bbm7

Eb7Eb7

22

Ebm7

Ab7

Dbmaj7

Gbmaj7

Cm7(b5)

F7(#5) Bbm7

Eb7

TO CODA

26

Cm7(b5)

CODA

F7(#5) Bbm7

Eb7

on cue

Bmaj7

FillBbm7

Fill

q = 120

Clare FischerLatin

Morning

Bass melody

Cm7(b5)

F7(#5) Bbm7

Eb7

Cm7(b5)

F7(#5) Bbm7

Eb7

78

6

Ebm7

Ab7

Dbmaj7

Gbmaj7

Cm7(b5)

F7(#5) Bbm7

Eb7

1st X only

10

Ebm7

Ab7

3

Dbmaj7

Gb7

Fm7

Bb7(#9)3

14

Ebm7

Ab7

B7

Bb7

18

Cm7(b5)

F7(#5)F7(#5) Bbm7Bbm7

Eb7Eb7

Cm7(b5)Cm7(b5)

F7(#5)F7(#5) Bbm7Bbm7

Eb7Eb7

22

Ebm7

Ab7

Dbmaj7

Gbmaj7

Cm7(b5)

F7(#5) Bbm7

Eb7

TO CODA

26

Cm7(b5)

CODA

F7(#5) Bbm7

Eb7

on cue

Bmaj7

Fill

Bbm7

Fill

q = 120 A

Morning

Clare Fischer

Latin

Piano

79

Cm7(b5) F7(#5)

Bbm7

Eb7

Cm7(b5)

F7(#5)

4

Pno

Bbm7

Eb7

Ebm7

Ab7

Dbmaj7

Gbmaj7

7

Pno

Cm7(b5)

F7(#5)

Bbm7

Eb7

To CODA after last A

B9

Pno

Ebm7

Ab7

Dbmaj7

Gb7

Fm7

Bb7(#9)

13

Pno

Ebm7

Ab7

B7

Bb7

Repeat A once

17

Pno

CODA

Cm7(b5)

F7(#5)

Bbm7

Eb7

on cueBmaj7

fill......

FORM AABA

Bbm7

fill......

q = 120

BassMorning

Clare Fischer

Latin

80

Cm7(b5)

F7(#5)

Bbm7

Eb7

Cm7(b5)

F7(#5)

Bbm7

Eb7

Ebm7

5

Ab7

Dbmaj7

Gbmaj7

Cm7(b5)

F7(#5)

Bbm7 Eb7

9

Ebm7

Ab7

Dbmaj7

Gb7

Fm7

Bb7(#9)

13

Ebm7

Ab7

B7

Bb7

17

Cm7(b5)

F7(#5)

Bbm7

Eb7

Cm7(b5)

F7(#5)

Bbm7

To coda last X

Eb7

Ebm7

21

Ab7

Dbmaj7

Gbmaj7

Cm7(b5)

F7(#5)

Bbm7 Eb7

25

FORM AABA

Cm7(b5)

F7(#5)

Bbm7

Eb7

Bmaj7

Bbmin7

Bb part GershwinI got rhythm

81I Got Rhythm is the basis for many tunes. These are known as tunes on 'rhythm changes'.The first 16 bars have chords I,VI,II,V, and the middle eight is a sequence of dominantsevenths moving through the cycle of 5ths.

C

Am7

Dm7

G7

C

Am7

Dm7

G7

5

C

Am7

Dm7

G7

C

G7

C

9

E7

A7

13

D7

G7

17

C

Am7

Dm7

G7

C

Am7

Dm7

G7

211.

C

Am7

Dm7 G7

Tune only

C

A7

25

2.

Dm7

G7

C

Solos only

Dm7

G7

C

Eb part GershwinI got rhythm

I Got Rhythm is the basis for many tunes. These are known as tunes on 'rhythm changes'.The first 16 bars have chords I,VI,II,V, and the middle eight is a sequence of dominantsevenths moving through the cycle of 5ths.

G

Em7

Am7

D7

G

Em7

Am7

D7

82

5

G

Em7

Am7

D7

G

D7

G

9

B7

E7

13

A7

D7

17

G

Em7

Am7

D7

G

Em7

Am7

D7

211.

G

Em7

Am7 D7

Tune only

G

E7

25

2.

Am7

D7

G

Solos only

Am7

D7

G

C part GershwinI got rhythm

83I Got Rhythm is the basis for many tunes. These are known as tunes on 'rhythm changes'.The first 16 bars have chords I,VI,II,V, and the middle eight is a sequence of dominantsevenths moving through the cycle of 5ths.

Bb

Gm7

Cm7

F7

Bb

Gm7

Cm7

F7

5

Bb

Gm7

Cm7

F7

Bb

F7

Bb

9

D7

G7

13

C7

F7

17

Bb

Gm7

Cm7

F7

Bb

Gm7

Cm7

F7

211.

Bb

Gm7

Cm7 F7

Tune only

Bb

G7

25

2.

Cm7

F7

Bb

Solos only

Cm7

F7

Bb

Bass melody GershwinI got rhythm

I Got Rhythm is the basis for many tunes. These are known as tunes on 'rhythm changes'.The first 16 bars have chords I,VI,II,V, and the middle eight is a sequence of dominantsevenths moving through the cycle of 5ths.

Bb

Gm7

Cm7

F7

Bb

Gm7

Cm7

F7

84

5

Bb

Gm7

Cm7

F7

Bb

F7

Bb

9

D7

G7

13

C7

F7

17

Bb

Gm7

Cm7

F7

Bb

Gm7

Cm7

F7

211.

Bb

Gm7

Cm7 F7

Tune only

Bb

G7

25

2.

Cm7

F7

Bb

Solos only

Cm7

F7

Bb

29

Sample bass line for first 16 bars

Bb

Gm7

Cm7

F7

Bb partT. MonkRhythm-a-ning

85 This tune is based on 'rhythm changes'. It uses chord VI major as in bar 1 to make the pull to chordII more effective. The melody is quirky, rhythmic and at times dissonant (clashy).

C

A7

Dm7

G7

C

A7

Dm7

G7

5

C

A7

Dm7

G7

C

9

E7

A7

13

D7

G7

17

C

A7

Dm7

G7

C

A7

Dm7

G7

21

C

A7

Dm7

G7

C

Eb partT. MonkRhythm-a-ning

This tune is based on 'rhythm changes'. It uses chord VI major as in bar 1 to make the pull to chordII more effective. The melody is quirky, rhythmic and at times dissonant (clashy).

G

E7

Am7

D7

G

E7

Am7

D7

86

5

G

E7

Am7

D7

G

9

B7

E7

13

A7

D7

17

G

E7

Am7

D7

G

E7

Am7

D7

21

G

E7

Am7

D7

G

C part

T. MonkRhythm-a-ning

87 This tune is based on 'rhythm changes'. It uses chord VI major as in bar 1 to make the pull to chordII more effective. The melody is quirky, rhythmic and at times dissonant (clashy).

Bb

G7

Cm7

F7

Bb

G7

Cm7

F7

5

Bb

G7

Cm7

F7

Bb

9

D7

G7

13

C7

F7

17

Bb

G7

Cm7

F7

Bb

G7

Cm7

F7

21

Bb

G7

Cm7

F7

Bb

Bass melodyT. MonkRhythm-a-ning

This tune is based on 'rhythm changes'. It uses chord VI major as in bar 1 to make the pull to chordII more effective. The melody is quirky, rhythmic and at times dissonant (clashy).

Bb

G7

Cm7

F7

Bb

G7

Cm7

F7

88

5

Bb

G7

Cm7

F7

Bb

9

D7

G7

13

C7

F7

17

Bb

G7

Cm7

F7

Bb

G7

Cm7

F7

21

Bb

G7

Cm7

F7

Bb

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