Table Of Contents
Acknowledgements About theAuthor Foreword C minor Blues F minor Blues Bb minor Blues Ebminor Blues Ab minor Blues Db minor Blues " Gbminor Blues B minor Blues E minor Blues A minor Blues D minor Blues G minor Blues C major Blues F major Blues Bb major Blues Ebmajor Blues Ab major Blues Db major Blues Gbmajor Blues B major Blues E major Blues A major Blues D major Blues G major Blues C Rhythm Changes F Rhythm Changes Bb Rhythm Changes EbRhythm Changes Ab Rhythm Changes Db Rhythm Changes GbRhythm Changes B Rhythm Changes E Rhythm Changes A Rhythm Changes D Rhythm Changes G Rhythm Changes
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4 5 6 8 10 12 14 16 18 20 22 24 26 28 30 32 34 36 38 40 42 44 46 48 50 52 54 56 60 64 68 72 76 80 84 88 92 96 100
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The author would like to thank Brian McBrearty for editing and Micha! Shapiro for proof reading and helpful suggestions. My students who, through their questions helped me to see their needs and try to addressthem as best I can.
4
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About the Author
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Bruce Amold is from Sioux
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Falls, South Dakota. HlS educatlonal
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background started with 3 years of music study at the University of South Dakota; he then attended the Berklee College of Music where he received a
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Bachelor of Music degree in composition. During that time he also studied
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privately with Jerry Bergonziand Charlie Banacos.
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Mr. Amold bas taught at some of
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the most prestigious music schools in America, including the New England
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.
Conservatoryof Music, Dartmouth
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College, Berklee College of Music, Princeton University and New York
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University. He is a performer, composer, jazz clinician and bas an extensive private instruction practice.
...
Currently Mr. Amold is performing with bis own "The Bruce Amold Trio," and "Eye Contact" with Harvie Swartz,asweIl as with two experimentalbands,
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"Release the Hounds" a free improv group, and "Spooky Actions" which re-interprets
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the work of 2OthCenturyclassicalmasters. His debutCD "Blue Eleven" (MMC 2036J)receivedgreatcritical acclaim, andbis most recentCD "A Few Dozen" wasreleasedin January2000. The Los AngelesTimes saidof this release"Mr. Amold deservescredit for bis effort to expandthejazz palette." For more information aboutMr. Amold checkbis websiteat http://www.amoldjazz.comThis websitecontainsaudioexamplesof Mr. Amold's compositionsand a workshopsectionwith free downloadablemusic exercises.
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Foreword
The ability to read,play and makea convincing,consistentgroovein a sixteenthnote rhythm is one of the more formidable challengesfacing a contemporary rhythm sectionplayer. This hook attemptsto addressthat challengeby supplying chord progressionswith different syncopatedrhythmic pattems. Practiceof these exerciseswililead to an understandingof the style, and ability to executethe rhythms commonto funk. The studentshouldstrive to maintainrhythmic precisionthroughout eachexercise,and after gaining control shouldcomposetheir own comping pattems. The examplescontainedin this hook usemostly a one measurefunk pattembut in the "real world" it is more commonto find 2 or 4 measurepattems. In a attemptto keepthis hook simpier I haveusedshorterbut lesscommonpattemswhich can be found in funk music. Muse Eek Publishingbascreateda websitewith a FAQ forum foTall my hooks. If you haveany questionsaboutanythingcontainedin this hook feel free to contactme at
[email protected] and I will happyto post an answerto your question. My goal is to educateand help you reacha higher degreeof musicalability.
Bruce Amold New York, New York
6
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14
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18
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20
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28
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30
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34
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36
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38
Pick can also be used foT larger chords
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39
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40 c-
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42 ---
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ol
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45
.
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J:tOO
B Major Blues
Bl3
Cl3
Guitar
Bass
B13
B7(b13)
Gtr.
Bass
E9
A13
Gtr.
Bass
Guitar: 1. UsePick on bassnotes. 2nd,3rd and4th tingerson chord. Pick caoalsobe usedfoTlargerchords 2. Mute the bassnoteswith the palm of your right hand. Bass: Play part with tingersor slapwith thumb.
46
~ ~ ~ ~ ~
~ ~ ~ ~ = = = =
G#-7
C#9
Gtr.
7
Bass
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9
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= ~ = ~ ~ ~ ~ ~ = = ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ --
Bass
B9
D9
C#9
Gtr.
Bass
47
p#13
E Major Blues
Straighteightfeel
J=120 E7(#9)
E7(~9)
1
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on bass notes.
the bass notes
with
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the palm
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right
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on chord.
~
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cao also be used foT larger
. 8i I
r
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chords
hand.
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part
with
fingers
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with
thumb.
48
-
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49
A Major Blues
Straighteight feel
J=60 Al3
B~13
Ouitar
Bass
Al3
E~9 .
Otr.
3
Bass
D9
Gl3
A~13
.
Otr.
Bass
Ouitar: 1. UsePick on bagsnotes. 2nd, 3rd and4th fingerson chord. Pick canalsobe usedfor largerchords 2. Mute the bagsnoteswith the palm of your right hand. Bass: Playpart with fingersor slapwith thumb.
50
.
. t t t t ~ t t Gtr. . t t
,
.
A13
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C#-ll
C-ll
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t .
F7(#9)
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,
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51
-
D Major Blues
J :60
Stratoghteightfeel
D7(~9)
D9
D7(~9)
A~13
A-7
A~7(~13)
Guitar
.
Bass
G13
G~o 7
Gtr.
: --
..
Bass
G13
.
A~13
G13
C9
Gtr.
Bass
Guitar: 1. U sePick on bassnotes. 2nd, 3rd and4th fingerson chord. Pick caoalsobe usedfor largerchords 2. Mute the bagsnoteswith the palm of your right hand. Bass: Play part with fingersor slapwith thumb.
52
-
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7
Gtr.
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53
A13(~9)
G Major Blues
Straighteightfeel
J=60 c#o 7addL\7
(~9) F# 7(h13)
B ° 7addL\7
(~9) E 7(h13)
Guitar
. 1
.
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D -9
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Gtr.
. .
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.
C9
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.
Guitar: 1. UsePick on bassnotes. 2nd,3rd and4th fingerson chord. Pick canalsobe usedfoTlargerchords 2. Mute the bassnoteswith the palm of your right hand. Bass: Play part with fingersor slapwith thumb.
54
~ ;
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=100 CL\7
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3
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56
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07
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Rhythm Changesin C Major conto
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RhythmChangesin F Major
StraightEight Feel
J=80
F6
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J=80 B~13
Rhythm Changes in B~Major D~9 G~13
F13
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1
.
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A 13
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3
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.
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Rhythm Changesin BbMajor conto Db13 Gb9
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65
StraightEight Feel
Rhythm Changes in Bb Major conto D7(b9) Gtr.
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66
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~
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67
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J=80
Rhythm Changes in E~Major I
#
EpLl7( 5)
(~9)
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(~9)
B 7(~13)
1
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1
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RhythmChangesin E~Major cant.
StraightEightFeel
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