Download - Sittin' With the Big Band Vol. 1

7/23/2019 Sittin' With the Big Band Vol. 1

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I N

I B ND

jazz

ensemble

play along

P a g e D e m o t r a c k Pl a y- Al o n g t r a c k

V e h i c l e

2 1 2

Sax t o t h e M ax

4 3 4

N u t c r a c k e r Ro c k

6 5 6

Re st a l a t i n a

8 7 8

N o w W h a t

10 9 10

G oodbye MyHear t

12 11 12

T w o a n d a H a l f M e n

14 13 14

B u r r i t o s t o G o

16 15 16

D r u m m i n M a n

18 17 18

S w i n g i n S h a n t y

2 0 19 2 0

Play

Tha t Funk y

M u s i c . . . 2 2

21 2 2

P e r f o r m a n e N o t e s

2 4

How to Use This Book

Each

arrangement has two CD tracks:

1

Demonstrat ion track . The bass pa rt is in the mix. Listen t o h ow your pa rt

is played

by

professional musicians t o copy t he style, rhythm, att ack,

phrasing, articulation, feel,

style, and rhyth m section

blend.

2 Play-Along track. Your p art has been taken ou t of t he m ix. You play-

along

wit h the big band.

3

See page

2 4

for Performance Notes.

4 There is a two-measure count -off click at th e begin nin g of each play-

along

track.

Alfred Publishing Co. Inc. thanks the stud ent i of

Mary Ward Catholic Secondary School Jazz Ensemble, Toronto, Canada,

John Volpe, direct or, Vince Gassi, assistant directo r, and ph ot ogra phers Jackie Fong a nd Jermaine Ong.

Alfred

Publishing Co. Inc.

16320 Roscoe Blvd. Suite 100

P.O. Box 10003

Van Nuys CA 91410-0003

alfred.com

A Division of

ALFRED

PUBLISHING CO. INC.

AH Rights Reserved Including Public P erformanc e

A ny

d u p l ic a t i o n

adap tation or arrangem ent of the com positions contained in

t h i s

book requires the

w r i tt e n

consent of the Publisher.

No pa r t of

t h i s

book may be photocopied or reproduced in any way w i th o u t permission.

Unauthorized uses are an

i n f

r ingeme nt of th e U.S. Copyright A rt and are punishable by law.

ISBN-10: 0-7390-4518-0



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PERFORM NCE

NOT S FOR B SS

Playing bass in a big band is challenging but very enjoyable. Here are a few t ips for play-

i n g

bass in a bi g ba nd :

•

Practice wi t h a me t rono me. The bass pl ayer should establ ish a soli d t im e feel and

rhythmic groove for the entire

jazz

ensemble. Be the rhythmic rock

• The bass and d rums must wo rk especially dose. In rehearsal, p osi ti on your bass and

music stand so you can clearly see th e di rector and clearly see and hear th e drumm er.

•

Slash marks indicate to create a bass line or to continue in the same style.

•

Become skilled reading written notes, chord changes, and constructing bass lines.

• Creating bass lines is a unique

skill

for a jazz bass player. A bass line consists of scales

and arpeggios, chromatics, non-chord tones, and chord inversions. If in doubt, play

t h e

notes in t he chord or scale wi t h t he root on beat 1. Listen to th e demo track f or

examples.

•

Typically,

when

playing a variety of big band music bass parts, the music may specify

eit her electric bass or acoustic bass. If you play only one i nst rumen t, th en l earn t o ad-

just t he ton e of t he bass, t he amp lif ier and your t echni que t o sound realistic. Listen

extensively t o examp les o f acoustic and elect ric basses for reference.

•

To ap proxim at e an electric bass sound wi t h an acoustic bass, begin by set ti ng th e

to ne controis on the am pl ifi er t o the m id -p oint and t hen adjust gradually as needed.

The same is t rue f or an elect ric bass t o ap proxim ate an acoustic bass. It won' t be

ideal, but strive for a realistic sound.

•

Generally in a big band chart, wri t t en ou t parts wi t h no chord symbols indicate the

part

to be played as written.

Whe n

there is onl y chord changes and/ or slashes, t he n

create a bass line based on t he style of t he arrangem ent .

•

An important factor in a walking bass lines is note length. In general, try to make

t h e

notes pl ayed lon g and legat o.

Avoi d

making a space between the notes because

this creates a very t hum p ing, disjointed sound.

here is a two-measure count-off click at the beginning of each play-along track

V e h i c l e

1 A rock style chart, this one wil l sound best wi th an electric bass sound. Dig in and p lay more

aggressively than usuai and strive for a brighter sound, but don' t overdo the volume.

2

ake a look at the rhythms in this chart. Some appear complex but

will

become comfortable

with repetition. Strive for extra clean technique t o give a po inted attack to the notes. Listen

t o

the demonstration track.

3 Measure 6 5 is a rubato trombone solo. In 6 6 , the drumset plays a

f i l i

in-tempo to bring you

i n

fo r the last two measures.

S a x t o t h e M a x

1

his

chart calls fo r

a

swing

groove

and p referably an acoustic bass sound.

Play

the quarter

notes smoothly—avoid a space between notes and a thumping sound.

2

Swing th is bass part. Drive the tempo but don' t rush—ock in wit h the drummer' s ride cym-

b a l .

N u t c r a c k e r R o c k

1

Although this is a rock style chart, either electric or acoustic bass

will

sound fi ne.

2

The marcato or roof top accent ( A) is played detached but not staccato.



F i e s t a L a t i n a :

1 )

his chart wil l work wi th electric or acoustic but if you

have

a choice, go wi th electric.

2 )

Accurate time is super criticai in a Latin chart and usually is dependent on the bass part.

Always

practice with a metronome.

3 )

At measure

4 9 ,

listen and match the articulation wi th the other instruments.

4 )

The repet it ion is what builds the intensity of the Latin groove—stay focused and maintain

energy t hroughout.

N o w W h a t :

1 )

An acoustic bass sound is best on this chart.

2 ) The introduction requires the specif c wri tt en part then swing at measure 2 6 .

3 ) Vary

the bass line if desired, but keep it logicai and musical.

G o o d b y e M y H e a r t :

1 )

An acoustic bass sound wi l l sound best on this arrangement.

2 ) Playing a ballad is more di ff cult than it looks.

Because

the tem po is slow, there is more tim e

or space between notes and therefore more opportunity for mistakes when establ ishing

solid time.

Think in d o u b l é time (eighth notes) as an underlying pulse to help you lock in

t h e

ballad tim e.

3 ) Play

this

chart wi th s e n s i t i v i t à

T w o a n d

H a l f M e n :

1 ) An acoustic sound is best f or t his chart.

2 ) Beginning in measure 5 , the a n d of beat 4 is played short for this repeated

lick.

The t ied

note is not actually played.

his

is common not ati on in

jazz

music.

3 ) At measure 1 7 , the bass feel is in tw o. his means although there are 4 beats to the mea-

sure, the feel is wi th only

2

beats per measure (beats

1

and 3).

4 ) Measure 4 5 begins a traditional quarter note swing bass li ne—dri ve it .

B u r r i t o s t o G o :

1 )

An electric bass sound is preferred.

2 ) Play

the opening

lick

w i th the same art iculation and phrasing as the p iano. Listen

3 )

The repetition

is

what builds the intensity of the

groove

but stay focused and maintain en-

ergy throughout.

4 )

At measure

4 1 ,

play this wri t ten l ine in unison wi th the o ther instruments. Listen, blend and

match the arti culat ion and phrasing.

D r u m m i n M a n :

1 )

his

is

a traditional swing chart therefore an acoustic sound is best.

2 ) Drive the temp o—ock in wit h the drummer. Keep the energy moving forward but don' t

rush or push the tempo.

S w i n g i n S h a n t y :

1 )

his is a traditional swing t une so go for an acoustic sound.

2 ) At measure 7 1 , play the wri t ten part in unison wit h the trombones. Match the articulat ion

and phrasing.

3 )

Play i t straight ahead—swing it hard and strive fo r good tone.

4 )

Learn the notes of the chords and scales in the solo section.

P l a y T h a t F u n k y M u s i c :

1 )

Go fo r an electric sound—t' s funky.

2 ) " NC" means no chord. Play the writ ten part in unison wit h the ensemble.

3 ) Play the funky line at measure 3 together wi th the other instruments.

4 )

Although this chart has chord changes, stick dose t o the wr it ten part .