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Session 7

Building a repertoire.

In this Session we prepare the ground for performance of some Jazz standards including 'I Thought About You', 'A Night in Tunisia', 'Skylark' and 'Stormy Weather'. It is suggested that a performance should follow the pattern set out in Session 2, ie.

If possible form a group with drums, bass, guitar or piano, trumpet or any other solo instrument. Start with drums playing the basic rhythm. Then add the bass, playing two beats in the bar (the root of the chord), Then add guitar or piano playing chords only, then add a solo instrument playing the tune. Then experiment with improvisations with four beats to the bar, each instrument taking a solo chorus. As confidence grows in the group, experiment with four bar exchanges (trumpet plays the first four, drums the second four, trumpet the third, and so on.)

(Click on the manuscript to listen)

This Midi File arrangement of 'I Thought About You' uses several interesting substitutions.

Here are some suggestions:-
Play the introduction (1st four bars) using the voicing for descending 13th's suggested in the previous Session.
Use F#m7(b5) in place of Cmaj7 of bar(5) and bar (21).
In bars 15 and 16 use Cmaj7, Dm7, Em7, Fmaj7 in place of Cmaj7 G7, Cmaj7 (use voicing suggested in Session 3 - 'axis of the third'.)

More Midi File Jazz Standards. (Click on Titles).

A night in TunisiaDizzy Gillespie
SkylarkHoagy Carmichael
Stormy WeatherHarold Arlen

A Night In Tunisia
Eb7   Dm7   Eb7   Dm7   ::
::Eb7   Dm7   Eb7   Dm7  
Eb7   Dm7   Em7(b5)   A7(b5) (1)Dm7
Am7(b5) D7(b9) Gm Gm7 C7
Gm7(b5) C7(b9) F6 E-7(b5)A7(b5)::
Dm E-7(b5) E-7(b5) Eb7(#11)
Eb7(#11) DmDm G7(#9)
G7(#9) Gm(maj7) Gm7 Gb7(#9)
Gb7(#9) Fmaj7 Fmaj7 Em7(b5)
A7(b9) ::---

NB. The symbol :: is equivalent to a dotted double bar line and means 'repeat'.

The symbol signifies the coda.
This is a typical example of 'Bebop', a style of modern jazz which was virtually invented by Dizzy Gillespie. It opens with a bass riff which establishes an Afro/Carribean feel.
The riff continues throughout the first 16 measures - sequence AA. There follows a swing sequence of 8 measures - sequence B which is followed by a repeat of the first 8 measures in Afro rhythm. Then follows a swinging coda (or coda) of a further 12 bars - sequence C. A solo break of 4 measures - sequence D - completes the 'head'. The whole form can be described in the following way. 'intro' AABACD . In the midi-file, the form used is as follows:-



::Eb6   Fm7 Eb/G   Abmaj7 Ebmaj7   A7 Abmaj7   Eb/G
Abmaj7   Eb/GF7   Bb7 Eb6   Cm7 Abmaj7   Bb7
Eb6   Fm7 Eb/G   Abmaj7 Ebmaj7   A7 Abmaj7  Eb/G
Abmaj7   Eb/G F7   Bb7 Eb6  Bb7(#9) Eb6
Cm7   B7 Bbm7   Eb7 Abmaj7 Gm7(b5)   C7
Fm Fm   Eb7   Ab6 G6  Em7 A7   D7   G6   Bb7
Eb6   Fm7 Eb/G   Abmaj7 Ebmaj7   A7 Abmaj7   Eb/G
Abmaj7   Eb/G F7   Bb7 Eb6   B7   Bb7 Eb6   (Bb7) ::

Bars 3 and 4 could be played using the substitutions (also 11 and 12, & 27 and 28.)

Gm7   Cm7   Bbm7   Eb7 Abmaj7   Gm7   Gbdim13

Listen carefully to the Midi File for other substitutions.

Stormy Weather

D7 ::Gmaj7   G#dim7 Am7   D7 Gmaj7   G#dim7
Am7   D7 G6   G#dim7 Am7   D7(#5) G6   E7(#9)
Am7   D7 Gmaj7   G#dim7 Am7   D7 Gmaj7   G#dim7
Am7   D7 G6   G#dim7 Am7   D7(#5) G6   C9
Bm7   G#dim7 Am7   D7(#5) G6   G7 C6   C#dim7
G6/D   G7 C6   C#dim7 G6/D   G7 C6   C#dim7
G6/D   E7 G6/D   D#dim7 Em7   A7   D7 Gmaj7   G#dim7
Am7   D7 Gmaj7   G#dim7 Am7   D7 G6   G#dim7
Am7   D7(#5) G6   E7(#90) Am7   D7(#5)G6   (E7(#9)
Am7   D7 ) ::---

Listen carefully for the beautiful embellishments and substitutions used in this most imaginative interpretation of a great jazz classic.

To rehearse these tunes the following method is suggested.

1) Listen carefully to the midi-file and memorize the tune. Identify the sequences. Play the sequences through and practise until you are confident.

2) Listen to the midi-file and play along with the recording.

3) Memorize the whole chord sequence. 4) Include extra improvisations with whatever soloists are available. The leader will signal the beginning of the sequence as a sign that you are returning to the 'head' at the end of each performance.

Lesson 8