Hip Licks for Saxophone Volume 1
by Greg Fishman
Published by Greg Fishman Jazz Studios Evanston, Illinois 60202
ISBN: 978-0-9843492-4-1 ©2011 Greg Fishman All rights reserved. reserved. International International copyright copyright secured. secured. No part of this this book or or CD set may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying or recording, or by any information storage and retrieval system, without permission in writing from the publisher. Violation of copyright is subject to all applicable laws. Published by Greg Fishman Jazz Studios 824 Custer Avenue, Evanston, Illinois 60202 www.gregfishmanjazzstudios.com
Hip Licks for Saxophone Volume 1 Table of Contents
Preface.……………………………………………………………… .... 4 Credits………………………………………………………………….. 5 Suggested Use of This Book and CD Set ………………………….. 6 Working with the Licks..……………………………………………… . 13 ii mi7 / V7 Licks. ….…………………………………………………… ii mi7 / V7 / I Maj7 Licks (Two Bar Phrases) …….…………………. Major 7th Licks.……..….……..……………………………………… . Dominant 7th Licks…..……………………………………………….. Minor 7th Licks…..……..……………………………………………... ii mi7b5 / V7 / i mi Licks (Two Bar Phrases). ………………………. Parallel Maj7 to mi7 Licks…………………………………………… . Minor Licks…....…….………………………………………………… . ii mi7 / V7 / I Maj7 Licks (Four Bar Phrases).. …...………………… V7b9 Licks…..…...…………………………………………………… . Whole Tone Licks..……………………………………………………. Diminished 7th Licks.………………………………………………… . ii mi7b5 / V7b9 / i mi Licks (Four Bar Phrases) ……………………. ii mi7 / V7 / I Maj7 Licks (With Moving 7ths) ……..…………...…….
16 17 18 19 20 21 22 24 26 28 30 32 34 36
Detailed Overview of the Licks.. …………………………………….
39
About the Author ……………………………………………………… ……………………………………………………… .
40
©2011 Greg Fishman All rights reserved. reserved. International International copyright copyright secured. secured.
PREFACE
This application is designed to help saxophonists develop a high level of fluency in the jazz language language by providing mainstream mainstream jazz vocabulary vocabulary (swing/bop/post-b (swing/bop/post-bop) op) that nails nails the changes and lays great on the horn. Think of Hip Licks for Saxophone as a musical reference application, like a dictionary of great licks in all twelve keys, available when you need it. You can open the application to any page and just start playing. One of the challenges of writing a app like this is to make it useful to a wide variety of players at all levels, from the aspiring saxophonist to the seasoned professional. Aspiring players are are encouraged encouraged to take their their time with each lick and go at at a comfortable pace. After all, it’s not just about quickly reading through these licks; it’s about hearing the musical ideas and the way that they clearly portray the sound of the underlying chords. This is something that simply cannot be rushed. Advanced players and professionals Advanced professionals can use the application application to further further enhance enhance their their technical ability on the saxophone. They might also study the licks from a theoretical perspective, creating their own licks based on the concepts learned from the study of the material in this application. An additional additional benefit benefit of practicing practicing with with this application application as part of of your daily daily routine routine is the development of smooth, clean technique with fluency in all twelve keys. You might also like to know that the material in this application is part of my personal practice routine, which I’m happy to share. I hope that Hip Licks for Saxophone, Volume 1 provides you with many years of enjoyment.
–– Greg Fishman
4
CREDITS
Written by: Greg Fishman Published by: Greg Fishman Jazz Studios, Evanston, Illinois Text Edited by: Judy Roberts & Paul Maslin Cover photo by: Jos. L. Knaepen Graphic design by: Bogdan Nastase Additionall design: Russ Paladino Additiona Paladino Music engraving: Greg Fishman Application Developer Application Developer and Designer: Designer: Ignacio Bermeo Juarez, Juarez, naSh naSh E-mail:
[email protected] Recorded at Studiomedia, Evanston, Illinois Engineered, mixed and mastered by Scott Steinman Greg Fishman – Alto and Tenor Saxophone Dennis Luxion – Piano Eric Hochberg – Bass Phil Gratteau – Drums Greg Fishman is a D’Addario artist and plays D’Addario reeds exclusively.
Special thanks to: Mark Colby, Mike Weiss, Don Acri, Rodney Laster, Sal Marchetti, David Kromelow, Andy Schlinder, Dave Polk, Ben Soloman, Jed Paradies, Igancio Bermeo Juarez, Moy Bucay, James Barger, Dan Forshaw, Ryan Whitehead, Tobias Leon Haecker, Chris Brown, David Krall, Terry Summa, Doug Lloyd, Gregory Dudzienski, Jason Lowe, Will Kriski, John Temmerman, Vince Salerno, Mike Addelia, Wayne Colyer, Gary Keller, Gary Campbell, Bob Sheppard, Les Silver, Jennifer Macke, Leopold Brandenburg, Sr., Jimmy Haag, Gerhard Holst, Roberto Pacheco, Brad Bietry, Paul Haar, Jonathan Kuny, Chip McNeil, John Vana, Paul Maslin at PM Woodwind Repair, Jerry Coker, Bruce Abbot, Tim Price, Evan Cobb, David Demsey, Ken Dorn, Brian Taylor, Kristen McKeon and Robert Polan at D’Addario, Perry Conticchio, Alastair Ingram, Jay Mason, Christopher Braig, Ed Michaels, Monica Shriver, Michael Walk, Claus Hamacher, Dave Gibson, Fred Haas, Andrew Fawcett, Gigi Collier, Matt Eve, Jamey Aebersold.
5
SUGGESTE SUGG ESTED D USE OF THI THIS S PLA Y-AL Y-ALONG ONG APPLICA APPLICATION TION
THE IDIOMATIC CONCEPT
If you've ever tried playing an alto solo transposed for tenor (or vice-versa), you know that the transposed version of the piece never seems to “lay right” on the non-native horn. This is because all of the fingerings of the notes have changed. In addition to the fingering changes, when a solo is transposed for a different horn, some notes will be out of the normal range of the saxophone. As a result, portions of phrases have to be transposed up or down an octave. My solution for this problem was simple. Rather than have the saxophone player transpose to accommodate the rhythm section playing in just one key, I decided to have the rhythm section transpose to accommodate the range of the saxophone, recording everything in two keys. This enables the saxophonist, whether playing soprano, alto, tenor or baritone, to read the same written part, and simply play along with the appropriate track. PLAY-ALONG TRACKS
This application features two versions of each play-along track. The first version is a saxophone demonstration track, featuring my saxophone lead, plus the rhythm-section. The second version of each track features the rhythm-section without the saxophone. Hip Licks for Saxophone Volume 1 also includes both a slow and fast tempo version of most licks (with the exception of three sets of licks which are intentionally presented at just one tempo). tempo).
The “Saxophone + Rhythm Section” tracks feature the saxophone playing each lick twice in a row. You have the option of listening to the lick the first time and playing along on the repeat, or playing along both times. To really get the sound of the lick in your ear, you may even want to listen repeatedly to the disc and scat along with the licks, or sing chord tones or voice-leading lines. This will help you internalize the sounds of the licks and their relationship to the underlying chords. Pay close attention to the tone, articulation, accents, etc. There are a lot of interpretive details on the recording that go beyond the notes on the written page. This is why it’s crucial when learning the jazz language that you learn by listening, and not just by reading. It is truly an aural tradition. Advanced players may may enjoy harmonizing harmonizing some of of the licks. licks. For example, example, all of the V7b9 licks and diminished 7th licks sound great when played a minor third above or below the written part. 6
The “Rhythm Section Only” tracks are designed so that you can play the written licks with the rhythm section, or perhaps try out some of your own ideas, and improvise over the track. You might also want to play some variations on the written licks, or practice arpeggiating the chords or playing the corresponding scales for the chord progressions. You can also play the written lick the first time through, and improvise on the repeat. These tracks are also great for simply improvising throughout, making up your own licks, or developing a thematic solo which flows freely through all twelve keys. The tracks were designed so that in addition to playing the licks in the original keys, they’ll also work if you decide to transpose each lick into all twelve keys, playing just the one lick for the entire track. This is a fun way of getting even more from the application. HOME PAGE, NAVITION MENU & PLAY-ALONG TRACKS
When you launch this application, you’ll see the home page which is divided into a upper and lower half. The top part of the home page features an icon of the book cover with a button labeled “read book.” Click on this button to read the book without any playalong tracks. For your convenience, there’s also a navigation menu that gives you instant to all ofatthe sections of To thereturn book.to Tothe access menu, tap“main on the iconaccess in the middle thedifferent top of the display. homethis page, select menu” in the navigation menu. The lower half of the home screen features the play-along tracks. Select the licks you’d like to play by touching the title of the track. TRANSPORT BUTTONS
There is a blue control strip across the bottom of the screen that contains all of the playback controls for this application. These are, from left to right: A folder icon, a saxophone icon, a slow/fast switch, a track time indicator (with slider), a pause button, a stop button and a drum icon. Each of these buttons is described in detail below. MENU ICON
The menu icon looks like a file folder. It is located on the far left of the control strip. Press the menu icon to return to the main menu. SAXOPHONE & DRUM ICONS
The saxophone and drum icons are used as play buttons in this application. To hear the play-along track with the saxophone playing on the track, click on the saxophone icon (located on the left side of the control strip). To hear the play-along track with the rhythm section only, click on the drum icon (located on the right side of the control strip). You can switch between the two different versions of the track while the track is playing. The track will start playing the moment you click on the saxophone or drum icons. 7
SLOW / FAST SWITCH
This application includes both slow and fast versions of most of the licks. If the lick displays two different tempo markings on the top of the page, you have a choice of playing along with the slow or fast version. Slide the switch to your desired tempo and then click on the saxophone or drum icon to start playback of the track. TRACK TIME INDICATOR WITH SLIDER
For added convenience, a time display is provided. It is located just to the right of the center of the control strip. This display shows the current location track time on the left side of the display, and total track time on the right side of the display. For example, if the display reads: 1.29 / 3.34, it means that you’re one minute and twenty-nine seconds into the track, which has a total time of three minutes and thirty-four seconds. The slider is located just to the left of the track time indicator. You can use this switch to scroll through the playback track. This is useful if you want to rewind of fast-forward through the track. It is important to note that on tracks with pages turns, if you fastforward beyond the first page with the slider, you’ll need to go back to the main menu and reload the page if you still want the automatic page turn to be active. (You can still turn the page manually while the track is playing). PAUSE CONTROLS
The pause button is indicated by two vertical lines (located to the right of the track time indicator). Press the pause button to stop playback and keep the track in its current location. To restart the track from the current position, press the saxophone icon or the drum icon. STOP CONTROLS
The stop button is indicated by an “X.” Pressing the stop button sends the track back to the beginning. AUTOMA TED PAGE-TURNS
For your convenience, the display pages will turn automatically with the play-along tracks, allowing you to keep both hands on the saxophone for each set of licks. When you reach the end of a page, read ahead just a bit so that you can anticipate the page turn. The page turns are synchronized to turn at just the right time when playing with both the sax demonstration track and with the rhythm-section track. It is also possible to manually turn the page with a swiping motion across the page, from right-to-left to turn the pages forward, and from left-to-right to turn the pages back. 8
I have set the page turns so that the new page will appear quickly enough that you can read the new lick and keep up with the play-along track. This means that you may need to practice memorizing the final measure of the lick on the first page in order to successfully play through the entire track without stopping. This is a great skill to develop. It just takes some time and practice to get used to reading ahead. In some rare cases, the automated page turns may not always work if you’ve flipped back and forth between pages or scrolled through the track before activating the playalong track. If the automatic page turn doesn’t work, reset it by simply returning to the main menu and re-selecting the page. FLUENCY IN TWELVE KEYS
One of the great challenges facing every aspiring musician is gaining fluency and facility in all twelve keys. Although it is important to learn to play the same lick or song in all twelve keys, it is also important to develop a unique, customized and idiomatic vocabulary in all twelve keys. A key feature of Hip Licks for Saxophone is that each track takes you through all twelve keys, with a unique lick in each key. One thing I learned from studying the jazz masters is that they can play with fluency in all keys. Sometimes they’ll play the same idea in multiple keys. However, in addition to having the ability to play the same licks in all keys, they also cultivate unique licks or phrases which are only used in either a particular register of the horn, or in a particular key. It is a combination of the comfort and ease with which the lick lays under the fingers, as well as the unique timbre of the notes that leads to the creation of these idiomatic licks. This application is designed to help you achieve fluency in all twelve keys with customized licks that are designed to lay well on the horn. Even the licks written in the “difficult” keys will lay comfortably on the horn. Using this application as a part of your daily practice routine will help you develop equal facility and a unique vocabulary in all twelve keys. BUILDING YOUR JAZZ VOCABULARY
Hip Licks for Saxophone was designed to help you build a great jazz vocabulary by getting you acquainted with a mainstream (swing/bop/post-bop) approach to rhythm and harmony from the idiomatic perspective of the saxophone.
Ultimately, total immersion in the jazz language through repeated listening, transcribing the masters, and performing with a wide variety of musicians, is still the best way to gain fluency in the language. Using this application to acquire a working knowledge of jazz vocabulary is a great start along the path to becoming a mature soloist and fluent speaker of the jazz language. 9
USING THE LICKS IN YOUR SOLOS
The licks in this application will sound great when played in solos, but they need to be carefully integrated within the solo in a musical way, so that they relate to the surrounding musical phrases. The point I’m trying to make is that there’s a lot more to creating a great solo than simply stringing together a bunch of licks. A great solo solo tells a story story through through the developmen developmentt of musical musical ideas. ideas. In other words, words, if you’re going to use these licks in your solos, please keep in mind that musical context and continuity is of great importance. A solo consisting of nothing but unrelated licks will not hold up any better than a story made up of unrelated sentences. Sometimes the hardest part of writing a story is creating an opening sentence. Think of the licks in this application as a collection of great opening sentences for the many different musical stories you’ll be telling as you improvise your solos. You can use these licks as musical conversation starters. It should be noted that these licks are not intended to serve as your complete vocabulary. They’re designed to be used as a starting point, training your ears to recognize the vocabulary. unique sound of each chord type so that you can learn to create your own Creating a solo requires a musician to develop musical themes, using sequence and variation, while clearly conveying the unique sound of the song’s chord progression. A good soloist also listens to the musicians with whom he’s playing, and interacts with them musically, leaving room for them to respond to his musical statements. It is really like a spoken conversation, but with sounds instead of words. THE MISSING PIECE OF THE PUZZLE
Sometimes you’re soloing great on a tune, when you’re confronted with a change of key. For example, you’re soloing on a tune in the key of “F” and everything’s going fine, when abruptly, the bridge goes to the key of “Ab.” Suddenly your level of fluency takes a hit, and you have to resort to playing off of the unfamiliar scale, or slow down and disrupt the flow of your eighth-note lines. This is where Hip Licks for Saxophone can really come in handy. Simply look through the pages of licks until you find something in the key you need. For example, if you need a major 7th, dominant 7th, minor 7th, minor 7b5 or diminished 7th lick, you’ll find it within the pages of this application, already written out in the key you need, and in the perfect range of the horn. Of course, no application is going to have every conceivable variation on every single chord type, but the odds are that you’ll find something in this app that will quickly help you fill in that tough spot of the solo with something that sounds great and lays comfortably under your fingers. 10
TEMPOS
As a special special feature of Hip Licks for Saxophone, all licks at 192BPM or above have been recorded at two tempos. There are two reasons for this: 1. The fast tempos may be beyond the technical facility of some players using this application, making the slower versions valuable from a technical standpoint. 2. Although some players may have enough technical proficiency to play the licks at the fast tempos, their ears may not yet be ready to process so much harmonic information at high speeds. The slower tempos give your ears a chance to comprehend the harmonic and rhythmic content of the licks. Some players will need to practice the licks slower than the slow-tempo versions on the recordings. If this is the case, use the application without the play-along tracks, and practice the licks with a metronome to slowly work them up to speed. Instead of playing an entire page of licks, focus on one lick at a time. You should be able to play the lick five times in a row with no mistakes before moving on to the and nextpersistence, lick (or on tobut a faster tempo the same requires a lot of patience it’s worth theofeffort. As a lick). resultThis of this diligent approach, you’ll develop the ability to play with speed and accuracy. You might be wondering why the slow versions of the licks aren’t even slower than on the play-along tracks. It’s because of there is a strong connection between tempo and musical content. Many of the licks in this application were designed specifically for highspeed playing. Just as a commercial airplane needs to reach a speed between 140 and 180 mph to achieve lift for takeoff, each of these licks were designed to be played within a certain range of tempos. The fast-tempo versions are toward the upper end of the range, and the slow-tempo versions are at the bottom of the range. If you were to try to fly a commercial plane at 20 mph, you wouldn’t be going fast enough to get off the ground. This does bring up two different issues. From a musical standpoint, if I were playing at a tempo of 120BPM, I’d be creating different musical ideas than if I were playing at a tempo of 240BPM. It would definitely not be the same type of melodies or rhythms at the two different tempos. However, from the perspective of practicing a fast lick to work it up to performance speed, no tempo is too slow for purposes of practice. These are really two separate issues; one has to do with artistic choices based on the relationship of the musical content and the tempo, and the other has to do strictly with issues of technical proficiency.
11
MODULAR DESIG DESIGN N
A key element element of this application’s application’s layout layout is its modular modular design. design. In other other words, although the licks are presented in a specific order, they can also effectively be isolated, played out of their original order, and even paired with different licks in the app. In most cases, they’ll still be aesthetically pleasing to the ear. For example, if you wanted to play the two measure Bmi7 lick from the page called Hip mi7 Licks and follow it up with the two measure E7 lick from the page called Hip Dominant 7th Licks, they’ll sound good together. This is an excellent way to create even more licks, mixing and matching them from different pages of the app. Of course, not every combination will work. It will require a good sense of musical taste and judgment to determine the musicality of the newly combined licks. In addition, this modular design allows many of the licks to be split into two halves. For example, you can quickly increase the number of major and minor licks by taking all of the ii mi7 / V7 / I (and ii mi7b5 / V7b9 / i mi) licks, and playing just the last two bars of the phrase. Again, this won’t necessarily work for every single lick in the application, but it will work for many of them. DYNAMICS
There are no specific dynamic markings in this application. However, I recommend that you first play the licks at forte, and then experiment with a wide variety of dynamics on all of the licks, from pianissimo through fortissimo. It should be noted that within each piece and each phrase, there are often what I call “micro-dynamics.” These are subtle differences between the weighting of notes in a phrase, and they have a dramatic effect on the phrasing and feel of the piece. In other words, I might be playing at an overall dynamic level of forte, yet, within the phrase, some notes are played louder than forte, while others are played softer. If you listen carefully to the recording, you can hear me making these dynamic choices, too subtle and numerous to notate, but there for you to hear and study, nonetheless. ARTICUL ATION
Crisp, clear articulation in music is the equivalent of the use of good diction in spoken language. Throughout this application I have included various articulation markings to convey the basic style of each piece. However, I recommend repeated listenings to the play-along tracks, which will reveal more subtle nuances of articulation. Keep in mind, when playing the licks, that the standard articulation for most swing eighth-note style jazz playing playing requires requires that you tongue tongue the upbeats upbeats and slur into the downbeats. downbeats. Once you’ve mastered this basic approach, you can experiment with more varied types of articulation.
12
WORKING WITH THE THE L LICKS ICKS
There are a variety of compositional techniques which can be applied to the licks to give you even more flexibility and variety with all of the material in this book. Below are some examples of rhythmic displacement, augmentation, diminution, editing, and composite licks. RHYTHMIC DISPLACEMENT
Rhythmic displacement keeps the entire lick intact, but shifts the starting point. This is a great way to get more musical mileage from the same lick. For example, you might use a lick in a solo, which originally starts on the upbeat of beat one during your first solo chorus, and then repeat the lick in the next chorus, starting it on the upbeat of beat three. One word of caution about displacing the licks is that you'll need to be careful that the rhythmic displacement doesn't cause a conflict with the notes of the lick and chord progressions. Play through the following examples of rhythmic displacement applied to this major seventh lick, noticing the different feel of the line, based upon its starting point in the measure.
b œ œ b œ . œ # œ n œ œ œ œ b œ œ œ œ Œ & ‰ Jœ b œ # œ œ œ œ b œ œ - . œ b œ œ œ & bŒ ‰ Jœ œ œ œ œ b œ . œ # œ n œ œ œ b œ œ œ œ œ Œ Ó & Ó ‰ œJ b œ œ œ # œ œ œ n œ b œ œ œ b œ œ- . œ Ó & Ó Œ ‰ Jœ Bÿ
Starting on the upbeat of beat one. (Original Lick).
Bÿ
Starting on the upbeat of beat two.
Bÿ
Starting on the upbeat of beat three.
Bÿ
Starting on the upbeat of beat four.
"Hip Major 7th Licks - Lick #27" p.18
13
AUGMENTATION
When used in classical composition, augmentation often doubles, triples or quadruples the rhythmic value of the notes in a theme or motif. When augmentation is used by an improviser in the jazz style, there is more flexibility, with the basic idea being to expand the overall length of the lick. In other words, you can augment the rhythmic value of some notes while keeping other notes at their original values. The following is an example of augmentation applied to a one-measure ii mi7 / V7 lick, expanding the lick from a one-measure lick into to a two measure lick:
. b œ œ œ œ b œ œ Œ & CÈ
F7
The original lick.
CÈ
F 7
- . œ. b œ >œ œ . > & œ b œ œJ Ó Augmentation Augmenta tion applied applied to the lick. lick.
"Hip ii mi7 / V7 Licks - Lick #1," p. 16 DIMINUTION
Diminution shortens the length of the rhythmic values of a musical idea. It is a great device for converting a two-measure phrase of eighth-notes into a single measure of sixteenth-notes. Converting eighth-note lines to sixteenth-note lines is often referred to as playing in "double-time." Below is an example of diminution applied to a dominant seventh lick:
G 7
œ œ # œ œ œ œ # œ Œ & Œ œ œ œ œ The original lick.
G 7
œ œ # œ œ œ œ # œ J ‰ & ‰ œ œ œ œ Diminution applied to the lick. "Hip Dominant 7th Licks - Lick #42," p. 19 14
EDITING
Editing is a great way to create different versions of the same lick. Below are two completely different approaches to editing the same lick:
# œ œ œ & ‰ J# œ œ œ œ œ œ # œ # œ œ n œ # # œ b œ # œ œ n œ # œ œ œ# œ œ œ œ# œ œ # œ n œ # œ. Œ œ # œ œ œ . œ œ œ # œ n œ œ # œ # œ œ œ Œ Œ Œ & ‰ J œ œ # œ # œ b œ # œ œ n œ # œ œ # œ œ œ EÈ
Aï
Dÿ
The original lick.
EÈ
Dÿ
Aî
Edited Version #1.
EÈ
Aî
Dÿ
& Œ # œ. œ- œ- œ. ‰ b >œ . n n^œ^ # # œ >œ œ . # # Jœ œ # œ œ # >œ ˙ .
Œ
Edited Version #2.
"Hip ii mi7 / V7 / I Maj7 Licks - Lick #107" p.27 COMPOSITE COMPO SITE LICK S
Creating a composite lick takes your editing skills to new heights by challenging you to connect two unrelated licks, forming a new composite lick. Sometimes it's necessary to create a few extra notes at the end of the first lick to help it lead smoothly into the second lick.
œ œ œ œ b œ b œ œ œ œ . œ œ # œ œ œ œ œ œ œ œ œ # œ œ œ n œ Œ ‰ J Œ Œ & C 7
Fÿ
The original lick.
The original lick.
"Hip Dominant 7th Licks - Lick #37," p. 19
"Hip Major 7th Licks - Lick #32," p. 18
œ œ b œ œ œ œ œb œ œ b œ œ œ œ œ n œ œ œ Œ Ó & Œ œ # # œ œ œ œ œ œ œ œ C 7
Fÿ
The composite lick, created by connecting lick #37 to lick #32. 15
PLAY 2X COUNT OFF: 2 BARS (6 CLICKS)
Slow Version:
GREG FISHMAN
Hip ii mi7 / V7 Licks
Fast Version:
q
q
Swing ( = 126) Swing ( = 192) Lick #1
Lick #2
CÈ
F7
BÈ
E7
& cc . œ b œ œ b œ œ- œ. Œ . . # # œ œ # # œ œ # # œ- œ. Œ . b b- b œ. . œ œ œ œ b œ œ œ & . œ b œ œ Œ . . œ Œ .
Lick #3
Lick #4
B È
E 7
AÈ
Lick #5
Lick #6
b . œb b œ b œ b œ œ- b b œ. Œ A È
&
D7
# #
Lick #7
D 7
. . œ b œ œ œ œ- œ. Œ . GÈ
C7
Lick #8
b œ . œ b œ # # œ œ œ œ b œ # # œ œ # # œ Œ . . & . F È
B7
FÈ
b
B 7
œ- œ. Œ .
Lick #9
Lick #10
b
b
b œ . . b œ œ b œ n œ œ # # œ œ œ b œ œ œ # # œ œ Œ . . Œ . & . EÈ
A7
E È
A 7
# #
Lick #11
Lick #12
# #
& . œ œ œ œ œ- œ. Œ . . # # œ œ œ # # œ # # -œ # # œ. Œ . DÈ
G7
C È
©2011 ©201 1 Greg Fishman Jazz Studios All Rights Reserved. Reserved. Copyright Secured. Secured.
16
F 7
GREG FISHMAN
PLAY 1X COUNT OFF: 2 BARS (6 CLICKS)
q
Bossa Nova ( = 152)
Hip Parallel Major to Minor Licks
È . & cc . ‰ œJ ‰ Jœ œ- œ. ‰ >Jœ œ œ. œ. œ- b œ œ œ. ‰ b Jœ œ- œ. Œ
Lick #73
Cÿ
C
Lick #74
b
b
Bÿ
BÈ
œ . b œ œ œ b œ œ œ œ œ œ œ œ b œ œ œ œ b Jœ ˙ & . ‰ J
F 7 )
(
∑ . b
( E 7 )
˙ Ó .
Lick #75
D b 7 A bÈ .7 b œ b œ œ b œ œ œ b œ b œ œ . b œ n œ b œ b œ œ b œ n œ b > œ ˙ œ J Œ . & . ‰ b Jœ Aÿ
(
Lick #76
# #
# #
FÈ
Fÿ
œ # # œ # # œ # # œ # # œ # # œ n œ > # # # # œ # # œ # # œ # # œ n œ # # œ œ n œ . œJ ˙ & . Œ Lick #77
Eÿ
(
)
B 7
)
˙ Ó .
7 È # # œ # # œ œ œ > œ # # œ œ n œ œ ˙ ˙ Ó . # # œ œ # # œ # # œ œ œ # # œ œ & . ‰ œJ # # œ E
A
(
Lick #78
Dÿ
DÈ
)
b
A 7 )
œ # # œ œ œ >œ œ œ n>œ œ >œ > . ‰ J ‰ Jœ ‰ œJ œ œ ˙ Œ . & . ‰ œj œ œ # # œ œ # # œ ©2011 Greg Fishman Jazz Studios All Rights Reserved. Reserved. Copyright Secured. Secured.
22
(
( Play Chords in Parenthesis on repeat only. )
Lick #79
b
b
DÈ
Dÿ
b
G 9)
(
> > > . . ˙ b œ œ b œ œ . . b œ j œ œ œ b œ b œ b œ b œ b œ b œ J ‰ J ‰ J ‰ J ‰ J Œ . & . ‰ b œ b œ œ Lick #80
# # œ. # # œ # # œ- . >œ œ . # # œ - . >œ œÈ. # # œ œ- # # œ. >œ œ[. œ # # œ- 9 . & . ‰ J ‰ J # # œ ‰ J J # # œ œ ‰ J J ‰ J J œ Œ . Bÿ
B
(
E
E
)
Lick #81
9 È & . ‰ œJ # # œ # # œ œ œ œ œ # # œ œ. Œ œ # # œ œ œ n œ œ œ # # œ œ œ # # œ >œ ˙ . Œ . Aÿ
A
(
D
)
Lick #82
GÈ
Gÿ
œ œ . œ # # œ œ J œ œ & . ‰ œ œ œ ‰ œj œ b >œ œ œ >œ ˙
(
C9
)
˙. Œ .
Lick #83
7 7 È b > . b œ œ œ œ b œ œ œ > . b œ b œ œ b œ n œ b œ œ ˙ œ œ œ œ œ œ œ œ J Œ. ‰ & . ‰ Jœ F
Fÿ
(
b EÈ
b Eÿ
Lick #84
B
)
b
A®
b œ œ U b œ b œ œ b œ b œ b œ œ > œ œ œ b œ œ w œ œ œ b œ b œ œ œ œ . ‰ bœ œ & J
©2011 Greg Fishman Jazz Studios All Rights Reserved. Reserved. Copyright Secured. Secured.
23
(
)
(Hold Last X)
.
PLAY 1X COUNT OFF: 2 BARS (6 CLICKS)
Slow Version:
q
Fast Version:
q
GREG FISHMAN
Hip Minor Licks
Swing ( = 168) Swing ( = 250) Lick #85
>œ
C mi
& cc . ‰ # # Jœ œ œ œ b œ œ œ œ b œ # # œ œ b œ œ œ n>œ . Jœ b œ œ œ b œ œ >œ # # œ œ n œ- œ. Œ . # # > œ # # œ œ # # œ # # œ n œ # # œ > œ œ . # # œ # # œ # # œ œ n œ # # œ > # # œ # # œ # # œ œ œ œ œ œ j # # œ œ Œ . & . ‰ # # œ # # œ œ n œ Lick #86
C mi
Lick #87
D mi
& . ‰ œj œ œ >œ . Jœ œ œ b œ œ œ œ œ œ œ œ œ >œ . >Jœ ˙ . Œ . b > > b œ b œ . b œ n œ b œ œ œ b œ œ œ œ b œ n œ œ œ œ b œ œ b œ b œ b œ b>œ œ b œ^ . œ b œ J & . ‰ b œJ Œ ‰ # # œj
Lick #88
E mi
Lick #89
> > > > > œ œ œ > œ > # # œ œ & . ‰ œ . œ ‰ J ‰ œJ œ ‰ J ‰ œJ œ ‰ J ‰ œJ œ œ E mi
# # ‰ >œJ ‰ œ >œ œ. Œ . J
Lick #90
> > > . > œ > b œ b œ . œ œ > œ b œ b œ b œ J ‰ J . ‰ œ œ œ œ œ œ ‰ œJ œJ ‰ œ ˙ . & . J J Fmi
©2011 Greg Fishman Jazz Studios All Rights Reserved. Reserved. Copyright Secured. Secured.
24
. .
Lick #91
# #
> # # œ > > . œ œ œ œ œ > > # # œ # # œ . # # œ # # œ > > > œ œ Ó . œ J & . ‰ # # œ ‰ J ‰ Ó ‰ F mi
Lick #92
> œ œ œ œj >œ œ . # œ n œ # # œ b œ œ b œ œ œ œ # # # # œ œ œ # # œ œ b œ œ œ b œ œ œ œ >œ Œ . & . ‰ J Gmi
Lick #93
b
b>œ œ n œ b>œ œ . b^œ b œ > . & . ‰ b œJ n œ b Jœ œ œ b œJ b œ œ b œ b œ b >œ . b œJ n œ b>œ Œ . > b œ œ œ ˙ . œ œ œ # # œ & . ‰ # # >œj ‰ œJ œ œ œ œ œ œ œ œ b œ n œ œ b œ n œ # # œ Œ . A mi
Lick #94
A mi
Lick #95
b œ^J œ- >œ œ^ Jœ^ >œ œ b œ œ b œ > b >œ . œ b œ œ. . œ b œ Œ ‰ & .‰ Œ Œ ‰ Œ B mi
Lick #96
# œ n œ # # œ U œ œ œ > . # # œ œ # œ œ n œ # # œ œ # # œ œ ˙ . œ œ œ Œ ‰ # # œj # # œ # # œ œ # # œ œ & . ‰ J BÈ
©2011 Greg Fishman Jazz Studios All Rights Reserved. Reserved. Copyright Secured. Secured.
25
(Hold Last X)
PLAY 1X COUNT OFF: 2 BARS (6 CLICKS)
Slow Version:
Fast Version:
q
GREG FISHMAN
Hip ii mi7 / V7 / I Maj7 Licks
q
Swing ( = 180) Swing ( = 264)
Lick #97
DÈ
Gî
Cÿ
& cc . ‰ œj œ # # œ œ œ œ œ œ œ b œ b œ œ # # œ n œ œ n œ œ œ œ œ œ œ œ œ- œ. Œ Ó . # # C È
Lick #98
# # F 7
Bÿ
œ # # œ & . Œ # # œ œ # # œ # # œ œ # # œ # # œ # # œ œ # # œ n œ n œ # # œ # # œ # # œ # # œ # # œ œ œ œ
# # -œ # # œ. Œ Ó .
Lick #99
b b œ œ b œ œ œ œ œ b œ œ b œ b œ œ œ œ œ b œ œ b œ n œ œ b œ & . œ œ œ œ œ b œ œ # # œ œ. Œ . œ CÈ
Fï
Bÿ
Lick #100
œ œ # # œ # # œ n œ œ œ œ œ # # œ œ # # œ # # œ # # œ œ œ # # œ œ # # œ # # œ œ & . Œ # # œ BÈ
b
Lick #101
E 7
Aÿ
b
Aÿ
Dï
Gÿ
-œ # # œ. Œ Ó .
b
> b œ ˙ œ b œ œ b œ b œ œ œ œ œ & . ‰ Jœ œ œ b œ œ b œ b œ œ œ b œ b œ n œ n œ b œ œ Œ. BÈ
E ï
Lick #102
AÈ
œ œ œ œ œ œ œ œ # # >œ œ œ # # œ > & . ‰ Jœ œ œ ‰ # œ n œ œ b œ # # œ œ œ # # œ b œ œ œ œ œ ˙ Œ . ©2011 Greg Fishman Jazz Studios All Rights Reserved. Reserved. Copyright Secured. Secured.
26
Lick #103
# #
GÈ
# #
# #
Fÿ
C ï
# # œ œ # # œ œ # # œ œ # # œ # # œ # # œ œ # # œ n œ # # œ # # œ œ # œ n œ # # œ # # œ # # œ œ œ # # œ & . ‰ J # # œ. Œ . # # œ œ # # œ n œ # # œ Lick #104
b œ b œ œ œ œ œ œ b œ œ œ # # œ œ œ n œ œ œ œ œ œ œ & . Œ œ b œ œ GÈ
# #
B7
Eÿ
# # >œ ^ # # œ œ # # œ # # œ œ- œ. Œ. & . ‰ # # œj œ ‰ # # Jœ ‰ # # Jœ œ # # œ # # œ # # œ n œ # # œ œ n œ # # œ œ # # œ # # œ # # œ œ œ œ b b b >Jœ œ b œ œ b œ œ œ b œ œ b œ œ n œ b œ b œ œ œ b œ œ œ b œ œ œ œ b œ- œ. Œ Ó . & .‰ Lick #106
FÈ
-œ œ. Œ Ó .
Lick #105
FÈ
Fÿ
Cî
Eÿ
B ï
Lick #107
# # œ œ œ œ . œ # # œ n œ œ œ # # œ # # œ # # œ n œ # # œ œ œ œ Œ. & . ‰ J œ œ # # œ # # œ b œ # # œ œ n œ # # œ œ # # œ œ œ EÈ
Dÿ
Aï
Lick #108
b
b
b
U > . œ ˙ b œ b œ n œ b œ b œ b œ n œ œ œ b œ b œ œ b œ œ œ & . œ b œ b œ b œ œ n œ b œ œ Œ . EÈ
Dÿ
Aî
(Hold Last X) ©2011 Greg Fishman Jazz Studios All Rights Reserved. Reserved. Copyright Secured. Secured.
27
Lick #115
# #
> í œ œ # # œ n œ í œ œ # œ œ œ œ & . ¸œ # œ n œ œ >œ œ # œ n œ b œ # # œ œ œ # # œ
F ï
& œ # # œ n œ b œ íœ œ œ œ # œ œ œ œ œ # # íœ œ œ # œ n>œ œ Œ .
Lick #116
œ # # œ # # œ œ œ # # œ n œ # # œ œ # # œ # # œ Œ. & . Œ œ œ œ œ œ œ œ œ œ œ # # œ n œ # # œ œ œ # # œ Bï
Lick #117
# # > œ œ œ # # œ > œ # # > œ œ œ > b œ œ b œ b œ b œ œ . œ œ œ œ œ œ J œ œ œ Ó # # œ # # œ ‰ . & . # # œ Eï
Lick #118
b œ n œ œ œ œ # # œ b œ œ œ œ œ # # œ b œ œ n œ œ œ b œ n œ # # œœ # # œ b œ œ # # œ # # œ b œ œ # # œ Œ . & . Aï
Lick #119
í í b œ œ í œ œ œ œ œ . > œ b œ n œ . . # # œ n ˙ # # œ # # œ j b œ b œ œ & . Œ œ ‰ J ‰ œ Œ . ‰ J Dï
Lick #120
U # # œ b œ n œ b œ n œ b œ b œ œ b ˙. œ œ œ œ & . ‰ œj >œ œ œ œ b œ b œ œ # # œ œ œ œ œ . Gï
©2011 Greg Fishman Jazz Studios All Rights Reserved. Reserved. Copyright Secured. Secured.
29
(Hold Last X)
PLAY 1X COUNT OFF: 1 BAR + 3 BEATS (5 CLICKS)
Slow Version:
Fast Version:
q
GREG FISHMAN
Hip Whole Tone Licks
q
Swing ( = 164) Swing ( = 200) Lick #121
C´
& cc . ‰ # # œj œ œ œ b œ œ # # œ œ œ œ # # œ # # œ >œ Œ ‰ # # œj œ œ œ b œ œ # # œ œ # # œ # # œ >œ Ó . Lick #122
# # œ œ œ # # œ n œ œ œ œ # # œ n œ # œ n œ œ œ # # œ œ œ n œ # # œ œ œ n œ œ # # œ œ # œ n œ œ Œ . & . Œ > B´
Lick #123
b >Jœ œ œ >œ . œJ íœ œ # # œ œ œ œ œ œ œ . œ œ > # # œ œ Œ . J & . ‰ Œ ‰ B ´
Lick #124
> Jœ n œJ -œ œ. > > Jœ n œJ œ- œ. > # # # # & . ‰ ‰ ‰ # # Jœ ‰ n Jœ -œ œ. ‰ ‰ ‰ # # Jœ ‰ n Jœ œ œ œ œ œ œ œ Œ > b >œ œ b œ b œ >œ œ >œ b œ >œ œ œ œ >œ œ b œ b œ >œ œ b œ b œ Œ ‰ Jœ Ó & . Ó A´
.
Lick #125
A ´
Lick #126
.
> > > > > # # œ # # œ # # œ . . œ . # # œ # # œ œ >œ # # œ œ # # œ # # œ œ œ > œ œ œ œ J J Œ ‰ J ‰ J J & . ‰ œ # # œ # # œ œ Ó . G´
6
©2011 Greg Fishman Jazz Studios All Rights Reserved. Reserved. Copyright Secured. Secured.
30
Lick #127
# #
œ œ œ œ í # # œ œ # # œ œ . # # # # œ # # œ # # œ # # œ # # œ & . Ó œ œ œ œ ‰ J œ œ œ œ >œ Ó . F ´
Lick #128
> > > # # œ # # œ # # œ > # # œ # # œ # # œ # # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ # # œ ‰ # # Jœ Œ. & . ‰ # # œJ F´
Lick #129
# # œ œ
œ # # œ > œ & . ‰ Jœ œ œ # # œ # # œ œ œ œ # # œ # # œ >œ Œ ‰ œJ # # œ # # œ ‰ J œ >œ ˙ . Œ . b . œ ˙ œ œ ˙ œ œ œ . œ œ œ œ œ œ œ œ œ œ œ œ œ œ # # œ # # œ Œ ‰ J # # œ Œ . & . ‰ J E´
# # œ
Lick #130
E ´
Lick #131
. œ . œ œ œ œ œ œ œ œ œ œ œ > . . # # œ œ # # œ # # œ # # œ # # œ # # œ œ œ & . ‰ Œ ‰ ‰ ‰ # # œ >œ œ Œ . D´
Lick #132
# #
œ # # œ # # œ # # œ # # œ # # œ # # œ > > œ œ œ œ œ œ œ œ œ œ j j œ œ # # œ # # œ Ó ‰ œ # # œ Ó . & . ‰ œ # # œ C ´
©2011 Greg Fishman Jazz Studios All Rights Reserved. Reserved. Copyright Secured. Secured.
31
PLAY 1X COUNT OFF: 2 BARS (6 CLICKS)
Slow Version:
q
Fast Version:
GREG FISHMAN
Hip Diminished 7th Licks
q
Swing ( = 176) Swing ( = 232) Lick #133
C∂
& cc . ‰ b œj n œ œ œ œ b œ b œ >œ . >Jœ ˙ ‰ œj b œ b œ n œ œ œ b œ b>œ . b>œJ ˙ . Lick #134
# # œ > œ > > # # œ œ œ # # œ # œ n œ œ # œ n œ œ œ >œ ˙ . Œ . j œ & . ‰ # # œ # # œ œ œ œ œ B∂
Lick #135
b# # œ œ œ b >œ b œ b œ n œ # # œ >œ b œ b œ n œ . b œ œ œ œ # # œ b œ n œ Œ. œ b œ œ ># # œ œ œ b œ œ b œ & .‰ J œ B ∂
Lick #136
>œ b œ -œ b œ. >œ ‰ J & .Œ A∂
b‰ œJ -œ œ. ‰ # # >œJ ‰ n Jœ # # -œ œ. ‰ n >Jœ ‰ œ b œ- . ‰ >œ ‰ # œ n œ Œ . J # # œ J J - b œ.
Lick #137
# #
> > œ # # œ œ œ > # # œ # # œ œ # # œ œ >œ . œ # # œ j œ > > > œ œ œ & . ‰ # # œ œ # # œ œ œ œ œ # # œ œ œ # # œ œ œ œ G ∂
Lick #138
# # œ >œ œ # # >œ œ b >œ >œ > œ- . & . ‰ J # # œ # # œ œ œ # # >œ œ # # >œ # # œ >œ # # œ œ # # œ œ œ b œ œ # # œ # # œ œ # # œ œ Œ . G∂
©2011 Greg Fishman Jazz Studios All Rights Reserved. Reserved. Copyright Secured. Secured.
32
Lick #139
# #
> œ > > œ œ œ # # œ > # # œ # œ n œ # # œ b # œ n œ # # œ & . œ œ ‰ J ‰ J œ œ œ # # œ œ >œ ‰ # œj n œ # # œ >œ Œ . F ∂
Lick #140
F∂
> . b œ œ b œ > œ œ œ > & . Œ œ b œ œ œ J ‰ Jœ œ .
# # œJ œ- œ. ‰ b >Jœ œ . œj b œ- œ. Œ .
Lick #141
E∂
œ b œ íœ - . í - . í - . & . ‰ J b œ b œ n œ b œ ‰ b Jœ b œ n œ œ ‰ œj b œ b œ œ ‰ œj íœ b œ b>œ œ Ó . # # > . . . . # # # # œ œ > j & . # # œ. # # œ # # >œ ‰ n œj œ. # # œ >œ ‰ # # œ œ œ ‰ œJ ‰ Jœ # # œ œ ‰ n œJ # # œ ‰ Jœ œ Œ .
Lick #142
D ∂
Lick #143
# # œ ^ . > > œ b œ b œ œ ˙ ^ b œ b œ œ ˙ ^ œ ‰ b œJ ‰ n Jœ ‰ J ‰ J Œ . & . # # œ œ D∂
Lick #144
# #
> > # # œ œ # # œ œ œ œ œ > > œ œ œ œ œ # # œ œ # # >œ œ œ # # >œ U˙ . œ & . Œ œ # # œ C ∂
(Hold Last x) ©2011 Greg Fishman Jazz Studios All Rights Reserved. Reserved. Copyright Secured. Secured.
33
Lick #151
# #
GÌ
# #
# #
C ï
F mi
F ï
# #
Bmi
Bï
E mi
œ # # œ œ # # œ œ . œ œ œ # # œ n œ œ œ œ œ # # œ # # œ œ # # œ œ # # œ # # œ # œ n œ œ Œ. # # œ œ # # œ n œ # # œ & . ‰ J Lick #152
# #
CÌ
# # œ œ œ œ # # œ œ # œ n œ # # œ n œ # # œ œ # # œ # # œ œ Œ . œ œ œ œ # # œ œ # # œ œ & . Œ œ # # œ œ œ
Lick #153
# #
FÌ
œ œ
& . Œ # # œ # œ n œ # # œ n œ # œ n œ # # œ œ œ # # œ n œ # # œ œ œ # # œ # # œ œ œ œ œ œ œ œ # # íœ Œ . > œ œ œ . # # œ n œ œ œ œ œ œ œ œ œ œ # # œ œ œ œ œ œ # # œ & . ‰ Jœ œ œ Œ . œ œ œ # # œ œ
Lick #154
BÌ
Ami
Eï
Lick #155
> # # œ œ # # œ œ œ œ b œ œ œ œ œ œ œ n œ œ # # œ œ œ œ œ œ # # œ œ œ Œ. & . ‰ œj œ b œ œ # # œ EÌ
Aï
D mi
Lick #156
AÌ
G mi
Dï
b œ œ œ > > > œ # # œ n œ b œ œ œ œ œ # # œ œ # # œ b œ œ n œ œ U˙ . Œ . b œ & . Œ œ œ œ (Hold Last x) ©2011 Greg Fishman Jazz Studios All Rights Reserved. Reserved. Copyright Secured. Secured.
35
Lick #163
b
b
EÈ
b
A 7
b
Dÿ
# #
F 7
# #
Bÿ
b
> œ b œ œ b œ œ b œ n œ b œ œ b œ b œ œ b œ n œ œ œ b œ œ b œ b œ œ œ b œ œ œ b œ œ œ Œ. & . E mi
Lick #164
# #
EÛ
# #
# # œ # # œ œ . œ œ # # œ œ œ # # œ # # œ n œ # # œ # # œ ŒÓ . & . ‰ # # œj # # œ œ # # œ œ n œ œ œ # # œ # # œ # # œ œ C mi
CÛ
CÈ
Lick #165
œ œ & . ‰ J # # œ œ # # œ œ œ œ œ # # œ œ # # œ œ œ n œ œ œ œ œ # # œ œ # # œ # # œ œ # # œ œ- œ. Ó . B mi
BÛ
BÈ
AÛ
AÈ
E7
Aÿ
Lick #166
A mi
D7
Gÿ
> > œ n # # œ œ œ & . œ œ œ œ œ œ # # >œ œ œ # œ n œ b œ n œ œ œ # # œ œ œ œ œ # # œ n -œ œ. Œ Ó .
Lick #167
b œ b œ œ œ œ b œ b œ b œ œ œ œ œ œ # # œ œ œ n œ n œ # # œ œ œ. Œ Ó . œ œ œ & . œ b œ G mi
GÛ
GÈ
Lick #168
C7
Fÿ
b
Eÿ
b b œ œ œ œ # # œ n œ œ b œ n œ b œ b œ . b œ b œ b œ œ œ œ œ b œ œ b œ œ . œ ‰ ‰ # # œ Œ Ó . F mi
&.
FÛ
FÈ
J J
B 7
©2011 Greg Fishman Jazz Studios All Rights Reserved. Reserved. Copyright Secured. Secured.
37
.
DETAILED OVERVIEW OF THE LICKS
CHORD PROGRESSION ii mi7 / V7 ii mi7 / V7 / I Maj7
Slow Tempo Version
Fast Tempo Version
Style
Phrase Length
Lick Numbers
Page Numbers
CD Track Numbers
q = 126
q = 192
Swing
1 Bar
1 – 12
16
1&2
Swing
2 Bars
13 – 24
17
3&4
q = 114
Major 7th
q = 170
q = 232
Swing
2 Bars
25 – 36
18
5&6
Dominant 7th
q = 162
q = 244
Swing
2 Bars
37 – 48
19
7&8
Minor 7th
q = 150
q = 220
Swing
2 Bars
49 – 60
20
9 & 10
ii mi7b5 / V7 / i mi
q = 118
Swing
2 Bars
61 – 72
21
11 & 12
Parallel Maj7 to mi7
q = 152
Bossa
4 Bars
73 – 84
22 – 23
13 & 14
Minor
q = 168
q = 250
Swing
4 Bars
85 – 96
24 – 25
15 & 16
ii mi7 / V7 / I Maj7
q = 180
q = 264
Swing
4 Bars
97 – 108
26 – 27
17 & 18
V7b9
q = 172
q = 240
Swing
4 Bars
109 – 120
28 – 29
19 & 20
Whole Tone (V+7)
q = 164
q = 200
Latin
4 Bars
121 – 132
30 – 31
21 & 22
Diminished 7th
q = 176
q = 232
Swing
4 Bars
133 – 144
32 – 33
23 & 24
ii mi7b5 / V7b9 / I mi
q = 158
q = 204
Swing
4 Bars
145 – 156
34 – 35
25 & 26
q = 174
q = 248
Swing
4 Bars
157 – 168
36 – 37
27 & 28
ii mi7 / V7 / I Maj7 (w/moving 7ths)
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About the Author Saxophonist and flutist Greg Fishman is an accomplished performer, recording artist, author, teacher and clinician. Born in Chicago in 1967, he began playing professionally at age fourteen. Greg graduated from DePaul University in Chicago with a degree in Jazz Performance, and earned a Masters Degree in Jazz Pedagogy from Northwestern University. University. He is among the foremost experts on the music of Stan Getz and is the author of three Getz transcription books published by Hal Leonard. His self-published books, Jazz Saxophone Etudes, Volumes 1 – 3, Jazz Saxophone Duets, Duets, Volumes 1 – 3, 3, Jazz Phrasing for Saxophone, Volumes 1 – 3, Hip Licks for Saxophone, Jazz Guitar Etudes, Jazz Trumpet Duets and Duets and Tasting Harmony™ are in circulation circulation worldwide and have been endorsed by top educators and jazz performers, including Michael Brecker, Jerry Coker, Bob Sheppard, James Moody and Phil Woods. Woods. Greg is a contributing author of jazz theory articles for Jazz Improv magazine, JAZZed, Chicago Jazz Magazine, IAJE Jazz Educators Journal, and was featured on the cover of Saxophone Journal , for whom he also writes. He is the author of the liner notes for the Verve reissue of the Getz recording The Steamer . Greg has toured and performed worldwide with his own group, and with such artists as the Woody Herman Band, Louis Lo uis Bellson, Slide Hampton, Conte Candoli, Lou Levy, Clark Terry, Jackie and Roy, Don Menza, Ira Sullivan, Judy Roberts, Jeremy Monteiro, Jimmy Heath, Lou Donaldson, Harry Allen, Jeff Hamilton, Eddie Higgins, and Benny G Golson. olson. Greg is the co-founder, along with Brazilian guitarist/v guitarist/vocalist, ocalist, Paulinho Garcia, of the award-winning duo, "Two for Brazil.” They perform worldwide, and have recorded five CDs. Greg’s current discography features additional jazz releases in the U.S., Singapore, and Japan. In addition to clubs and concerts in the U.S., Greg has h as been featured at the ConcordFujitsu jazz festival in Japan, the NorthSea Jazz Festival in the Netherlands, and in numerous concerts in Hong Kong, Bangkok, Singapore, China and Israel. Greg teaches jazz master classes and college workshops nationally and internationally, and is on the faculty of the Jamey Aebersold Summer Jazz Workshop. When not on tour, Greg is based in the Chicago area where he performs locally and teaches at Greg Fishman Jazz Studios. Greg Fishman is a Rico artist and plays Rico reeds exclusively. “...His solos are shrewdly conceived yet delivered with apparent ease and elegance. He develops harmonies that sometimes startle startle the ear as he forges lines that take unexpected twists and turns...” –– Chicago Chica go Tribune Tribun e “Greg Fishman dares to explore new musical heights. Every lesson in Greg’s books is a must for all musicians, and this latest book is no exception. Greg, you’ve done a beautiful, musical thing again!” –– James Moody
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