5 JAZZ IMPROVISATIONS - & by Ale MostVAZZ IMPROVISATIONS ETUDE ETUDE ETUDE, ETUDE ETUDE ETUDE ETUDE ETUDE, ETUDE ETUDE ETUDE, ETUDE ETUDE ETUDE ETUDE, ETUDE, ETUDE ETUDE, ETUDE ETUDE. ETUDE 16. . 7. 18. 19, 20. . a CONTENTS © Copyrignt 1973 by Gwyn Publishing Co. Ine. International Copyright Secured.” Printed in U.S.A. All Rights Reserved Bena ane “4 16 7 19 20 22 24 26 28 30 32 38 39 41‘Abe Most studied with Joe Allard, a very fine clarinet teacher in New York. Some of his numerous credits are as follows: Kelly's Stable with Coleman Hawkins; Duke Daly Orchestra; Les Brown Orchestra; Army Air Corps Swing Wing; Recorded own group on Trend, Superior and Liberty Records; Swing Wing at Billy Berg's in Hollywood; Hickory House; Tommy Dor- sey Orchestra; featured woodwind soloist at 20th Century Fox Film Studios; also featured player at all major studios; recorded for most record companies; featured clarinet soloist on Time/Life Swing Era Record Series recreating solos by Benny Goodman, Artie Shaw, Woody Herman, Barney Bigard, Buddy DiFranco, Matty Matlock and many others; many TV shows: in background orchestras for stars such as Frank Sinatra, Liza Minelli, Osmond Bros.; Sonny & Cher; Jonathan Winters; Smothers Brothers; Jule Andrews; et ceteraADDITIONS TO: “JAZZ IMPROVISATIONS FOR TREBLE CLEF INSTRUMENTS" FOREWORD Here's the way to use this book — At the beginning of each exercise is a phrase or musical idea, Lear it. Hear and identify the inter- vals. When you have mastered it — play it in every other key, (these are all written out) by using the cycle of fifths (C — F — Bb— Eb— etc.) or chromatically (C, C#, D, DB, etc.). Lear to hear the intervals — use the written notes only as a gnide. Use this process throughout the book. The next step is to find or make up phrases of your own, When a sufficient number of phrases and ideas are developed in this manner they Pecome the bass for your original ideas which you wil even- tually use in the creative process of improvisation. Td like to thank my friends and colleagues — Plas Johnson, Jackie Kelso, Justin Gordon, Buddy Collette, Don Raffell, Tommy Gumina, Jerome Richardson, my brother Sam Most and others from whom T might have borrowed subconsciously — for permission to use some of their favorite phrases. PAGE 1: Add the following chords to the first eight bars - the chords change every two beats except for bar 4 and 8. a Inbar 1 the chords are Cmaj7 - C6 In bar 5 the chords are Gm7 - C7 In bar 2 the chords are Cmaj7 - C6 In bar 6 the chords are F6 - Dm7 In bar 3 the chords are Amin? - D7 In bar 7 the chords are Gmin? - C7 In bar 4 the chords are G6 In bar 8 the chord is F ‘The chords of the first 8 bars apply to every other 8-bar-section in their respec- tive keys. PAGE 4: This exercise is based on the whole tone scale, therefore the 1st section (first, 3 lines) can be played through the following augmented triads: Bb+, C+, Dt, E+, FH, © (Gh+), G#t, (Ab+). + = augmented, The second section can be played through B+, Db+, (C#+), Eb+, F+, Gt, At. ‘The third section can be played through the same chords as the second section. ‘The fourth section can be played through the same chords as the first section. For each chord indicated there are many more, the student should know some of these. For example: the Ist section can also be played through Bb+7 - Bb7(b5)- Bb9(b5) - C#7 - C7(b5) - C9(b5), etc. Add these chords to the appropriate sections. 9th line - E minor - 4th note in first bar should be Dé. ‘This 8-note scale can be played through many chords. I've indicated only two possibilities. For example: (some are enharmonic) to the C°7 you cé gd EbO7 - F497 and A°7, To the D7 (-9) you can add D7 (+9) - D768) and bres : PAGE 19: The first bar is based on a Bb chord and scale - Bar 2 is based on F - Bar 3 is on C, and so on in perfect Sths to the C whole note, It starts again on "A" tonality and continues through the rest of the page. Also the names of the notes or their exharmonic equivalent are the same in each bar. For instance in Bar 1 the names of the notes are as follows: The C is the 9th, the B is the augmented octave or the minor 9th (enharmonic equivalent), Bb is the Tonic, D is the 3rd, F is the 5th, A is the major 7th, Ab is the minor 7th, E is the augmented 4th or diminished Sth (enharmonic equivalent), ‘The first two bars are the basis for this exercise. The first bar is 2 beats of Fmajor 7 and 2 beats of Fdominant 7. ‘The second bar is 2 beats of F7(b5) and 2 beats of Fm7(b5). Starting with the 3rd bar this process is repeated, It starts with 2 beats of Emajor7 and 2 beats of E(dominant)7, etc. The Ist line is based on the Eb major scale. The 2nd line is D major, etc. ‘The Ist note on each line dictates the name of the scale. ‘The chords change every 2 bars - up chromatically starting with F# diminished - the next 2 bars are G diminished, etc. PAGE 38: Each bar progresses upward chromatically starting with B diminished, bar 2 is C diminished, etc.aw (tN i) ive ae AK Mgr” DE 1d. _&)te enone 4. [dwt / Tie t. [Lat ete ttsttee Pelth yebete stetette wetitey ¢ teffadt 4. (Cot /att —— Bt wHoLe STEPS 6 ct VARYING DIRECTIONS Also an vi De Bt ts (gee) g(a)2. (Con. ) Gt A+ Also &na.. get D+ e+ re+ (G4) 4 (46+) &et bal ‘ilo 5 7 pt U fA it wt ih “ b3. nT) ARE MA Gx ABE Mgr” ” 69 t.1 (O] Z yh 0-1 rb) 3 ge f7 wil) , e cil ye gl) fi ab?) bet ire ob! ah ws ohbd ¢ wb aye gil 3 ot 64) fe grb : eh! 34 grb A yb ee ad G4,S. (lu J SAE os ats) 2-1 a6. (Law /1 Ake sr ws,s Abe masr-w— 4, ABE mas” 241 ASCENING AWD DESCENDING Edbdenani, Ne aW, i %)(on. x fa ua. x Bua)10. heal, Cand x A w)42, ARE Mos(2. Leow) ABE nis” dike Fasatelt tepet, Gt.8. Mie thos HENtaTinic ) tie ¢ == Ss gb sles | é te tt: f ft tetatdte 4 & th cor piglet MELEE ¢ tebe aE SS Ss tg $f: A 22) EZ f;(8, (laut) AE Misr Oise e tft tt eee, 3 tots Teft Ett teat, 3.mad, 1% cHony DESCENDING 34 14, ME mise Laweling 17.63, 4. in thar carte ye = 2 c co alse gee Ea’ 7 belt pobebGiABE Most”16. tout) AB mgr at.17. LE mosT alts a re ap ae hata Gita nse BA) geo Ae ‘Aldo $VA & (hia BA) C® ces (nis Bia)Me esr 17. teu G61.13. AE most ¢ (alg 8) > (hue om)18. tui) AR must18. (Lol, ABE mug” b CF aimLb. Ltn) ABE mbsT™18. (ew) ARE most(iso 9m) 5a)20. ARE mise” Fa aK) a20. (Cant) %)24. Abe mast Foun ths24, Lut.) #)GWYN PUBLISHING CO. P.O. Box 5900 ShermanOaks €a.91413 Please write for our current brochure of publications and prices: GUITAR BOOKS & CASSTTES by Joe Pass, Herb Ellis, Laurindo Almeida, Bill Pitman. ELECTRIC BASS BOOKS, RECORDS & CASSETTES by Carol Kaye, Frank Carroll, Valda Hammick. KEYBOARD BOOKS by Clare Fischer, Artie Butler, Carol Kaye, Joyce Collins, Frank Strazzeri, DRUM BOOKS & CASETTES by Paul Humphrey, John Guerin, Rufus Jones, Charles Dowd. PERCUSSION BOOKS & ARRANGEMENTS by Emil Richards, Laurindo Almeida, Gary Coleman. VIBRAPHONE BOOKS & CASSETTES by Victor Feldman. HARMONICA BOOKS & CASSETTES by Tommy Morgan. BRASS BOOKS by "Cat" Anderson. WIND INSTRUMENT BOOKS by Sam Most. JAZZ IMPROVISATIONS by Abe Most. STAGE BAND ARRANGEMENTS by Gene Estes. SMALL JAZZ ENSEMBLE ARRANGEMENTS by Bili Pitman, AND OTHERS ..