Jazz Saxophone Etudes Volume 1
by Greg Fishman
Published by Greg Fishman Jazz Studios Evanston, Illinois 60202
ISBN: 0-9766153-0-4 ©2005 Greg Fishman All rights reserved. International copyright secured. No part of this application 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
Jazz Saxophone Etudes Volume 1 Table of Contents
Preface.……………………………………………………………….... 4 Credits………………………………………………………………….. 6 Suggested Use of This Play-along Application...………………….. 7 Style and Analysis……………………………………………………. 13 Halsted Street… ……………………………………………………… Irving Park Road………………………………………………………. State Street…..………………..………………………………………. Waveland Avenue..………..………………………………………….. Fullerton Avenue……….……………………………………………... Belmont Avenue………………………………………………………. Grand Avenue…………………………………………………………. Rush Street………....…………………………………………………. Michigan Avenue...………………….………………………………… Clark Street……....……………………………………………………. Damen Avenue…..……………………………………………………. Addison Street..…..…………………………………………………....
16 18 20 22 25 28 30 32 34 37 40 43
Detailed Overview of the Etudes……………………………………. About the Author………………………………………………………
46 48
©2005 Greg Fishman All rights reserved. International copyright secured.
PREFACE
Jazz Saxophone Etudes was originally published as a book and play-along CD set. This is the iPad app version of the book and play-along tracks. These etudes were created to fill a gap in the musical resources available to the aspiring jazz musician. Its purpose is to demonstrate the concepts of soloing to those students who know their chords and scales but lack the musical vocabulary to create professional-level solos. I have written twelve jazz etudes that are enjoyable to play, yet present some technical challenges. However, the technical benefits are secondary to the primary purpose of the etudes: to be able to play through the chord changes in a musical manner while clearly expressing the song’s harmonic structure. The etudes are based on familiar chord progressions, including blues, rhythm changes, and a variety of common “standard” 32-bar song forms. Careful attention should be paid to the following elements used in the construction of these etudes: •
Theme and development, including the use of sequence.
•
Syntax –– the order in which musical events occur.
•
Voice-leading –– the smooth connection of chords by moving no more than a whole step.
•
Phrasing –– a wide variety of starting and ending points.
•
Eighth-note lines –– the use of long streams of eighth-notes.
•
Idiomatic construction –– these etudes were written for saxophone, and use patterns, scales and intervals common to the jazz saxophone lexicon.
•
Chord changes –– try to hear the chords in your head while playing these etudes.
Use this application as a part of your complete practice regimen, one which should always include playing long tones, scales and chords; sight-reading; learning new songs and reviewing those you already know; ear-training,
4
transcription, composition and jazz piano voicings; and playing licks and tunes in all twelve keys. Jazz is a language. We are all striving to be fluent in this language, and the best way to learn any language is to be constantly surrounded by native speakers. If you've ever tried learning to speak a foreign language from a reading a book, you know that you'll never sound authentic unless you imitate the sound of native speakers. The same is true in the language of jazz. This is an aural art, and it cannot be developed by reading alone. One of the most important things you can do to improve your own playing is to listen to the jazz greats. In the final analysis, we all play by ear, and this playalong application is a means to an end. Its intended use is to help you develop your ear and mind so that you can become adept at expressing yourself through your own improvisations. I hope you enjoy it! –– Greg Fishman
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CREDITS Written by: Greg Fishman Published by: Greg Fishman Jazz Studios, Evanston, Illinois Edited by: Judy Roberts Cover photo: Jos. L. Knaepen Graphic design: Russ Paladino Music engraving: Greg Fishman Application Developer and Designer: Ignacio Bermeo Juarez, 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.
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SUGGESTED USE OF THIS PLAY-ALONG APPLICATION
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. TEMPOS There is a strong connection between the tempo of a piece and the musical content. Each etude was written to be played at the tempo marked. If the marked tempo is too fast for you to play the piece accurately, practice the etude with a metronome at a slower tempo, taking your time to slowly work the piece up to the marked tempo. NAVIGATION MENU When you launch this application, you’ll see the home page, which is divided into an upper and lower half. The top part of the home page features a large icon of the book cover with a button labeled “read book.” Click on this button to read the book portion of this application without any play-along tracks. This portion of the app gives you access to all of the “suggested use” and “style analysis” portions of the text, as well as the detailed overview page of the etudes. For your convenience, there’s a navigation menu that gives you instant access to all of the different sections of the book. To access this menu, tap on the icon in the middle at the top of the display. To return to the home page, select “main menu” in the navigation menu. The lower half of the home screen features small icons with the names of the etudes. Select the etude you’d like to play by touching the title of the track. 7
PLAY-ALONG TRACKS This application features short and long versions of each play-along track. The short version is a demonstration track, featuring the saxophone playing the etude one time through, taking no repeats and going directly to the final ending. To activate the saxophone demonstration track, click on the saxophone icon in the lower left corner of the screen and the track will immediately start to play. The long version tracks feature the rhythm section only, playing several choruses of each etude and following all repeats as marked in the music. To activate the rhythm section play-along track, click on the drum icon in the lower right corner of the screen and the track will immediately start to play. The long version tracks are designed so that you can improvise over the chords for the extra choruses before playing the etude for the final chorus 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 track time indicator, 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 saxophone demonstration 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). Please note that these buttons function a bit differently in this app than in the Hip Licks or Phrasing applications. The Hip Licks and Phrasing apps both feature play-along tracks identical in duration, with the option of the saxophone being muted or unmuted. Since they’re identical tracks, on those apps, it is possible to switch between the two buttons while the track plays continuously. However, with the sax etude series, these saxophone demo track and the rhythm section tracks
8
are two completely different performances (short and long versions). Since they’re different tracks, you will need to choose whether you want to play along with the sax version or the rhythm section version. You can play either version, but you cannot switch between the two versions without stopping the track. TRACK TIME INDICATOR 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. 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. AUTOMATED PAGE-TURNS For your convenience, the display pages will turn automatically with the playalong tracks, allowing you to keep both hands on the saxophone for each etude. When you reach the end of a page, remember to read ahead 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 rhythmsection track. I have set the page turns so that the new page will appear quickly enough that you can read the new page and keep up with the play-along track. This means that you may need to memorize the final measure of the current page in order to successfully play through every track without missing a note. This is a great skill to develop. It just takes some time and practice to get used to reading ahead.
9
If you’d like to practice the etude without the play-along track, you can manually turn the pages by using a swiping motion across the page with your index finger. Swipe from right-to-left to turn the pages forward, and from left-to-right to turn the pages backward. If you’ve swiped through the pages manually before activating playback, please be sure to swipe back to the first page of the etude before pressing either the sax or drum icon. This will help to ensure that the automatic page turns will synchronize properly during playback. If, on a rare occasion, the automatic page turns do not activate, reset them by going back to the main menu and reselecting the etude. OUTLINING THE GOALS FOR THREE LEVELS Your practice approach to this application will vary, depending on your level of ability and your own personal goals as a player. I've designed this app so that it will work well for three levels of players: intermediate, advanced and professional. Intermediate Level The intermediate level player usually has several years of experience playing in jazz big bands or combos, has memorized chords and scales, and is starting to get comfortable with the concept of improvisation. For this level of player, this application will provide a good model of jazz phrasing and logical development of musical ideas, as well as some technical challenges. It will also sharpen your sight-reading skills, as there are many syncopated rhythms in the etudes. The basic goal of the intermediate level player is to match, as closely as possible, the saxophone playing on the recorded examples, and to be able to play the etudes in time with the rhythm section accompaniment tracks. The intermediate player wanting to move up to the advanced level should start arpeggiating the chords for each etude from the root up to the seventh. The root of the chord is especially important for ear training purposes. I suggest playing the roots of each chord along with the play-along tracks. Once you've played through the etude like this a few times, try to accurately sing the bass-note pitches with the play-along tracks. The reason for doing this is to train your ear to hear the relationship between the melodies of the etudes and the root movement of the chords. Once you've accomplished these goals, you're ready to move on to the advanced level.
10
Advanced Level The goal for the advanced player is to understand the way in which each phrase is developed, how the notes in the phrases relate to each chord, and how each etude progresses logically from one idea to the next. The advanced player should be able to achieve all of the goals of the intermediate player, as outlined above. Additionally, he should be adept at arpeggiating the chords ascending and descending at the marked tempo, as well as playing isolated notes of each chord. For example, the advanced player should be able to play all of the thirds, fifths, sevenths, and ninths of each chord accurately and in time with the rhythm section. When playing along with the rhythm section tracks, think of the etude as the beginning of a solo that you'll continue on your own. Try to make the subsequent improvised choruses sound like they're in the same style as the opening chorus, using some of the compositional devices mentioned in the "Style and Analysis" section of the text. The advanced player wanting to move up to the professional level should write out voice-leading lines (half notes and whole notes) from the root, third, fifth, seventh and ninth of each chord, and play them while listening to the sax on the play-along tracks. Notice how the voice leading lines fit in with the etudes. Next, I recommend writing your own etude based on each voice-leading line. To prepare for the next level, you should memorize each etude and chord progression. I also suggest picking out your favorite phrase or lick from each etude, and practicing it in all twelve keys, up to tempo. Once you've achieved these goals, you're ready to move on to the professional level. Professional Level By the time you've reached this level, you're an extremely accomplished player, probably a professional musician and/or educator and still totally absorbed and inspired, as I am, by this great art form. Listed below are some strategies from my own daily practice routine. Study the etudes from an analytical and compositional standpoint. I recommend a measure-by-measure analysis of each etude. Notice the varying lengths of each phrase, and also take note of where each phrase starts or ends (the downbeat or upbeat of one, two, three or four). In addition, take note of the chord substitutions made in the etudes with more than one chorus. For example, note the descending chromatic ii-7 V7 chords in the second chorus of “Clark Street,” or the subtle difference in the progressions between the last eight bars of the form (letter D and letter H) in “Waveland Avenue.” Notice how the etude smoothly adapts to fit the substitute chords.
11
I like to practice displacing the phrases in the etudes. This sharpens my ability to hear where I can start or end a phrase. I do this by changing the starting points of each phrase. I start some phrases earlier than written, others later than written. The challenge is to make sure that the phrase still adapts gracefully to its new position. Sometimes I like to work on my editing skills. I’ll use a “minimalist” approach to the etudes by editing them down to the minimum number of notes that will still convey the musical point of each phrase. Most of the eighth-note lines can be distilled down to a streamlined, melodic essence. I enjoy the challenge of practicing these etudes in all twelve keys. Because the etudes were written to cover the full range of the saxophone, there will be times when you'll have to adjust some phrases by shifting up or down an octave from the original etude. While the etudes were designed to feel most comfortable in the original written key, the professional player takes pride in making these adjustments sound easy, even if they’re not. MORE RESOURCES AVAILABLE ONLINE If you'd like to read more about my concepts on jazz improvisation, please visit my educational website: www.gregfishmanjazzstudios.com. There are downloadable articles on theory and ear-training, as well as a variety of licks and useful practice tips. CLINICS, MASTERCLASSES AND VIDEO LESSONS I'm available for clinics and workshops throughout the U.S. and internationally. I’m also available for private lessons via webcam. Please feel free to contact me regarding scheduling a private lesson at: Greg Fishman Greg Fishman Jazz Studios 824 Custer Avenue Evanston, Illinois 60202 (847)334-3634 E-mail:
[email protected]
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STYLE & ANALYSIS
ARTICULATION The suggested articulation throughout this book is illustrated in the exerpt below. Note that all upbeats are tongued, and downbeats are slurred. Once you've mastered this approach, feel free to experiment with a more varied style of articulation.
G7
G 7/F
A7
œ œ œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b œ # œ œ œ œ n œ œ. Œ ‰ c J œ œ œ œ & Aï
DÈ
EÈ
"Halsted Street," mm.8-12
SPECIAL FINGERING OF MIDDLE D Sometimes you'll notice a small letter "s" over a fourth line "D" natural. In this case, use the palm key "D" fingering WITHOUT the octave key. This will produce a tone closer in character to the surrounding notes in the phrase than the normal "D" fingering.
. . # ‰ œ # œ œ œ n œ # œ n >œ ‰ Jœ ‰ Jœ ‰ Jœ. #œ J & Eï
AÈ
S
"Clark Street," mm.8-9 VOICE-LEADING Voice-leading is the smooth connection of chords by moving no more than a whole step from one chord tone to another chord tone. Many of the complex lines are based on simple voice-leadings. In the example below, the lower line reveals voice-leading used to construct a phrase in "Michigan Avenue." Note that the voice-leading notes are sometimes anticipated.
& &
AÈ D´ BÈ> E7 -œGÿ. Eî œ . œ # œ # œ. œ n œ # œ ˙ n œ # œ ˙
#
˙
˙
˙
#˙
n˙
#˙
AÈ
D7
DÈ
G7
nœ œ nœ ‰ J œ œ œ #œ œ œ œ #œ œ œ œ œ œ
n˙
3
˙
n˙
˙
"Michigan Avenue," mm.33-37 13
ENCLOSURES A common element in the bebop style involves the use of a device known as the "enclosure." The enclosure produces upper and lower neighboring tones to a targeted note. The chromatic enclosure is most common, but some enclosures are diatonic. The purpose of the enclosure is to bring attention to an important note in a phrase. Below are a few varieties of enclosures that are used in this book:
&
œ œ n œ ^œ œ nœ #œ œ œ œ œ c œ œ œ nœ œ nœ #œ œ nœ œ #œ nœ œ BÈ
###
Eï
EÈ
"Irving Park Road," mm.13-15 SEQUENCES
Sequences help to make an improvised solo sound more structured and melodic. They involve the use of repeated melodic, rhythmic or harmonic patterns. The pitches of the repeated pattern are often transposed to fit a new harmonic setting. The rhythm of a sequence is sometimes displaced, starting on a different beat than the original occurence of the idea. This is known as "rhythmic displacement." Sequences usually occur in groups of two or three, with the original idea counting as the "model" sequence upon which subsequent sequences are based. There are two basic types of sequences, direct and indirect. With "direct sequence," the model is immediately sequenced without the addition of different musical content. The example below, from "Rush Street," demonstrates use of direct sequence with rhythmic displacement.
&
##
EÈ
˙
A7
#
F È
BZ B© œ œ nœ #œ œ . œ œ . œ # œ œ œ œ œ œ j œ Œ ‰#œ œ œ ‰ J ‰ œj œ œ œ AZ
"Rush Street," mm.9-12
model
sequence of model
Indirect sequence, in the example below from "State Street," involves the use of a sequence in which the "model" is separated from the subsequent sequence by new musical content.
E7 EÈ A7 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 œ Œ &Œ œ BÈ
model
D7 DÈœ G7 œ œ œ œ œ œ #œ œ œ œ œ œ œ œ # œ œ #œ œ #œ œ œ œ b œ n œ œ œ Œ œ œ & œ AÈ
sequence of model "State Street," mm.17-24 14
REFERENCES References are restatements of short motives which occur earlier in the piece. They are similar to sequences in that they restate a musical idea. However, while sequences occur in close proximity to one another, references restate something which occured much earlier in the solo. "Halsted Street" uses two references to the motive which opens the piece. Play through the etude and notice how these musical references give the etude a unified quality.
G7
C7
‰ œj -œ œ.
&c
œ œ -œ Cœ. 7
"Halsted Street," pickup to m.1
DÈ
GZ
&Ó
"Halsted Street," m.12
G7
C7 ^ œ bœ œ #œ nœ œ œ œ DÈ
&
"Halsted Street," m.24
This motive first appears as a pickup to measure one of "Halsted Street." The first reference to the original motive is found in measure 12. An extra note has been added, and the idea is now transposed up an octave. The second reference to the motive is found in measure 24. This time, the original motive is added to a longer eighth-note line. I call this an "appended reference." In this particular case, the motive was added to the end of an eighth-note line, but it can also be added to the beginning or middle of a phrase. However, in cases where the original motive is longer, the reference can appear with some notes deleted. In that case, it's called an "edited reference."
ORNAMENTS Bebop is a highly ornamented style of music. The "ornaments" are usually sixteenth notes or sixteenthnote triplets within a line of mostly eighth notes. They add a polished, sophisticated quality to the lines. The ornaments can be embedded within the line or sometimes used as a pickup to an eighth note line.
# # ‰ œ œ œ œ œ œ œ œ œ >œ œ ˙ & J 3 F Ì
Cÿ
Œ
"Clark Street," mm.4-5
#
F È
AÈ
œœœœ œ œ 3 n œ #### œœ ˙ œ n œ Œ œ œ & D7
"Grand Avenue," mm.27-28 15
GREG FISHMAN
CD TRACK #1 (GREG FISHMAN + RHYTHM SECTION) CD TRACK #2 (RHYTHM SECTION ONLY) COUNT OFF: 1 BAR + 3 BEATS (5 CLICKS)
Halsted Street
PLAY 4 X (8 CHORUSES)
(Blues)
ÿ C7
Swing (q = 208)
j -œ œ. .. Œ ‰ c & œ
C7
j #œ
& n œ b œ œ œ œ œ œ- œ. 3 # F ∂
6
11
16
GÈ
∑
C7
3
œ &œ &
EÈ
œ œ
œ œ œ œ œ
œ
œ
œ
A7
n -œ
œ.
G7
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-œ . œ œ # œ n œ # œ œ b œ nœ Œ œ œ & DÈ
9
DÈ
Œ
G7
œ
C7
F7
‰ œj œ œ b œ œ œ œ Aï
‰ œJ œ œ # œ œ œ œ
Ó œ
œ
DÈ
Ó
©2005 Greg Fishman Jazz Studios All Rights Reserved. Copyright Secured.
œ
G 7/F
œ œ bœ #œ
GZ
œ œ
-œ
œ.
Ÿ
13
C7
#œ
& Ó
DÈ
œ #œ
œ
GÈ
nœ
C7
œ
œ
œ
C´
G7
œ #œ
œ
œ
F7
œ œ œ -œ b œ. œ œ œ œ œ œ bœ œ œ œ #œ œ œ & bœ n œ œ œ œ œ 15 # F ∂
& ‰ # œj ˙ > 18
21
&
DÈ
n -œ
œ.
C7
bœ #œ -œ œ œœ œ œ œ œ # œ n œ œ #œ œ œ ‰ J
Œ Œ
EÈ
Aî
‰
j œ #œ
Aï
1. - 3.
bœ œ œ œ & ‰ œj œ œ # œ 3
23
EÈ
Aï
4.
œ œ j # œ ‰ œ & œ œ 3
25
œ bœ
œ
G7
œ œ œ nœ œ - œ. Œ
DÈ
G7
œ bœ œ #œ nœ œ œ DÈ
G7
œ bœ œ #œ nœ œ
C7
^œ
C7 ^ œ œ
17
..
GREG FISHMAN
COUNT OFF: 2 BARS (6 CLICKS) PLAY 4 X (4 CHORUSES)
Irving Park Road BÈ
Swing (q = 200)
&
###
c Œ
### . w . &
#
### œ &
7
œ œ œ
n œ>- -œ # œ. ‰ œ œ œ J
BÈ
#
F7
œ n œ #>œ ˙
>œ œ œ œ œ œ Œ œ BÈ
˙
E7
Ó
Ÿ
B¢
AH
Œ
3 ### œ œ œ œ œ œ œ œ œ œ #œ œ œ n œ nœ Œ &
10
BÈ
Eï
n>œ œ œ œ œ
B¢
‰ œj œ œ œ œ œ œ
### œ œ œ nœ ˙ & > 4 CÈ
Eï
SOLO BREAK
ÿ Aÿ
1
n œ # œ >œ b œ œ œ
E7
œ nœ #œ
j #œ
>œ œ .
nœ J
>œ œ œ œ œ œ œ nœ #œ œ œ œ œ œ ‰ J EÈ
œ œ œ n œ ^œ ### œ nœ #œ œ œ œ œ n œ œ œ # œ œ nœ aœ #œ nœ œ & nœ œ 13 18
©2009 Greg Fishman Jazz Studios All Rights Reserved. Copyright Secured.
A7
# # # ‰ ^œ ‰ n œ # œ œ n œ œ & J J
16
&
19
###
œ œ œ œ œ œ œ œ
### ‰ œ # œ #œ œ œ œ œ & J
22
¤
&
25
&
28
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Aÿ
œ- œ œ n œ œ œ # œ >
&
31
### œ 4.
&
33
#
CÈ
#
CÈ
### œ
’
œœ nœ œ œ Œ ‰ œj œ œ œ nœ # œ nœ # œ
œ œ œ œ œ œ.
B9
-œ œ. œ ^ œ œ œ ‰ # Jœ 3
Œ
BÈ
E7
œ œ œ œ œ j> œ œ œ #œ œ œ œ œ œ nœ #œ > >œ n j œ # œ ‰ œ œ œ œ >
œ œ œ ˙ >
1. - 3.
⁄ Dÿ
#
F7
’
#
F7
> n œ n œ # -œ
BÈ
œ n œ # œ Œ ‰ œJ ’ nœ #œ
B7
’ B7
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B¢
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E7/D
>œ >œ œ œ œ œ œ œ E7
’ nœ #œ
’ E7
>œ
..
’ œ
œ-
A6
œ v
19
GREG FISHMAN
COUNT OFF: 4 BARS (8 CLICKS) PLAY 6 X (6 CHORUSES)
State Street (RHYTHM CHANGES)
DÈ G7 EÈ Aõ œ œAÈ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ . œ Œ Œ &c . ‰ J
Swing (q = 264)
ÿ Cÿ
1
DÈ
G7
GÈ
4
&
œ
œ bœ
7
Cÿ
Aï
œ #œ
bœ
AÈ
œ œ œ j œ œ & ‰ œ œ
Ÿ
9
DÈ
G7
œ
œ
DÈ
&
14
20
œ
# F ∂
œ œ œ bœ œ œ #œ
œ
G7
DÈ/G
œ œ œ œ #œ #œ œ œ
œ #œ
œ œ œ ˙s œ
œ & œ œ œ #œ œ œ œ 12 Fÿ
DÈ
GÈ
# F ∂
Fÿ
œ b œ œ œ bœ œ œ œ
œ & œ œ œ œ #œ œ œ EÈ/G
C7
EÈ
G7
œ œ
œ b
Œ
EÈ
œ œ œ bœ bœ bœ œ bœ 3
CZ
œ œ œ œ bœ œ œ œ G7
œ œ #œ œ œ œ œ œ ©2009 Greg Fishman Jazz Studios All Rights Reserved. Copyright Secured.
Cÿ
œ œ Œ Ó
BÈ
E7
A7
AÈ
œ # œ œ œ #œ Œ œ &
⁄
œ
17
œ & œ œ œ #œ
œ
20
&
DȜ
œ
œ œ œ œ œ bœ
DÈ
Gï
23
G7
F7
& nœ
31
6.
DÈ/G
& nœ
33
œ
œ
œ #œ œ #œ
œ
G7
œ
DÈ
œ œ
œ œ
G7
Œ œ nœ œ nœ œ # F ∂
œ #œ œ œ œ bœ œ #œ #œ
29
G7
Aï
bœ œ œ nœ œ œ #œ ‰ J
EÈ
œ #œ #œ nœ œ J œ bœ & ‰ DÈ/G
Cÿ
œ œ œ bœ bœ bœ œ bœ
C7
1. - 5.
¤
œ œ #œ œ #œ œ œ
b
EÈ
26
GÈ
œ
œ nœ œ #œ œ #œ œ œ
œ œ œ b œ ‰ œJ b œ # œ &
œ œ œ œ #œ œ #œ œ D7
œ œ œ Œ œ œ œ
Œ
EÈ
#œ œ #œ #œ œ œ #œ
œ œ
3
CH
bœ
b
B7
bœ
œ n œ-
œ v
Ó
œ n œ-
œ v
Ó
B7
CH
..
21
GREG FISHMAN
COUNT OFF: 2 BARS (6 CLICKS)
Waveland Avenue
PLAY 2 X (4 CHORUSES)
b
&c
ÿ Cÿ
1
4
œ bœ j b œ b œ œ œ ‰ bœ bœ
7
SOLO BREAK
3
œ œ - . œ œ . Ó & . . œ b œ & ‰ # œj œ b œ &
Cÿ
œ.
G7
Ó
D7
˙.
œ #œ
3
œ J œ.
œ bœ
FÈ
œ bœ œ œ # œ Œ ‰ & J
13
DÌ
Gï
˙.
^œ b -œ & ‰ J Œ
19
22
CÈ
3
œ.
œ. Œ
Aï
Œ
Cÿ
œ.
Ÿ
b
b -œ
b œ -œ . bœ Ó
b
bœ œ œ œ œ œ œ ‰ J
DÈ
Œ
œ œ bœ œ bœ bœ nœ œ ⁄
CÈ œ D7
^œ J Ó
B7
œ œ œ bœ œ œ œ œ & ‰ J
16
œ.
Cÿ
œ œ >œ . œ J œ œ œ ‰ &
10
œ bœ œ bœ œ œ œ œ
Dÿ
Swing (q = 184)
‰ œj œ œ œ œ œ b œ GÈ
b
Ó
Eÿ
œ.
-œ
œ œ
©2005 Greg Fishman Jazz Studios All Rights Reserved. Copyright Secured.
b ^œ J
œ œ œ œ bœ œ Œ
-œ œ. œ œ œ œ œ œ Cÿ
>Cœ 7.
3
D9
∑
œ #œ œ œ ˙
b
D9
Cÿ
>œ œ >œ j b & ‰ œ bœ #œ œ
22
¤
Dmi
Dmi/C
œ œ bœ œ Œ œ œ &
25
D∂ #
D7
Cÿ
œ œ bœ œ œ Œ œ &
31
b>œ œ œ œœ œ ‰ œ & J 34
œ œ -œ œ.
G[
Aî
œ bœ #œ nœ œ œ #œ & ‰ J
40
Cÿ
& œ.
43
b
B7
j œ ˙
›
Ó
3
b
D9
bœ bœ bœ bœ œ DÈ
3
Cÿ
‹>
œ nœ œ œ œ- œ Œ .
b
œ œ œ œ œ œ œ œ. œ -
second chorus
Gî
œ œ bœ ˙ Cÿ
œ œ n -œ . nœ Ó
bœ bœ bœ ‰ J œ bœ bœ œ bœ
œ œ œ bœ
Eÿ
j #œ
œ nœ bœ
3
G7
œ bœ œ œ œ œ ˙
œ œ bœ œ œ œ œ bœ
bœ œ œ b œ & ‰ œj b œ œ œ
46
DÌ
Œ ‰ œJ
CÈ
œ >œ ˙
œ œ œ œ ˙
A7
nœ œ œ œ œ >œ œ œ
œ b œ -œ . œ œ œ œ ‰ bœ & ‰ EÌ
G7
Aï
AÈ
œ œ bœ œ #œ œ #œ œ
D9
37
œ
E7
EÈ
b
B7
œ œ œ b>œ
˙
BÌ
œ œ nœ #œ # œ b œ & ‰ Jœ œ 28 3
Bï
b œ œ œ b œ -œ >œ Œ
FÈ
œ
3
œ bœ œ Œ - œ. DÈ
Ó
G7
œ. -œ -œ 23
fi
&
Cÿ
-œ >œ
49
& Œ
52
&
55
Cÿ
œ
Dmi
Œ
‰ œj v
Œ
n ^œ ‰ J
^œ ‰ J Œ
œ bœ œ œ Œ
Ó
D9
# ^œ ‰ J ‰ Jœ -œ EÌœ
‰
Dmi/C
œ œ #œ œ œ œ œ # œ &
fl
57
AÈ
AÈ/G
Dñ
Gï
>œ œ > œ œ œ ‰ œ ‰ J & J
59
& Œ
62
2.
&
65
24
b
^œ ‰ J Œ
D‹
Ó
#
œ
œ œ bœ bœ
1.
b
œ bœ œ
3
’
Œ
b
D9
Œ
b -œ b -œ bœ Aï
œ #œ
b ^œ ‰ J œ #œ œ bœ
œ
Eï
>œ œ œ œ œ œ œ #œ
œ n>œ œBï œ >œ
D‹
’
-œ >œ
-œ
BÌ
FÌ
j #œ
^œ ‰ J
CÈ
-œ œ- œ- œ-
’
œ œ ^œ b œ
’
EÈ
œ. ’
œ œ œ
’
^œ Añ ^œ J Œ ‰ J
Cÿ
Uw
’
’
..
GREG FISHMAN
COUNT OFF: 4 BARS (8 CLICKS) PLAY 2 X (8 CHORUSES)
Fullerton Avenue ( BLUES)
Swing (q = 216)
#
1
3
G7
j œ œ œ œ . ‰ c . #œ & œ œ G7
ÿ
# -œ . Œ & œ #
C ∂
Œ nœ #œ
-œ b œ œ œ œ # . #œ Œ &
6
9
&
#
AÈ
nœ œ ‰ J œ œ œ œ œ A7
D7
œ # # œ œ œ nœ œ œ nœ &
12
&
15
DÈ
DÈ
. -œ œ Œ
œ œ œ œ œ #œ œ œ C7
Ó
œ œ j œ œ ‰ œ
Œ
G7
Eï n œ nœ . œ œ #œ -œ œ. n œ œ œ Œ Œ œ Œ 3
D7
Gÿ
E7
œ œ nœ bœ bœ œ œ œ œ œ œ œ n œ nœ #œ # œ Ÿ
œ # nœ œ œ œ œ œ œ œ 3
G7
#
C ∂
C7
G7
#
C ∂
C7
œ œ -œ n œ. œ bœ œ œ œ œ #œ #œ œ œ Œ ‰ G7
œ œ œ œ œ œ nœ œ
©2005 Greg Fishman Jazz Studios All Rights Reserved. Copyright Secured.
C7
-œ . œ Œ Ó 25
&
CÈ
F7
œ -œ b œ. œ œ œ J J ‰ ‰
#
18
AÈ
# ‰ # œJ œ œ œ œ œ # œ &
21
AÈ
D´
Gÿ
œ
DZ
AÈ
BÌ
- . œ #œ œ œ œ nœ D7
BÈ
‰ œJ ˙ .
Eï
b
BÈ
œ œ b>œ n œ b œ >œ œ bœ
œ œ œ œ œ œ œ nœ G7
#
C ∂
C7
-œ . œ ⁄ b > œ œ J # nœ #œ œ œ œ œ œ # œ n œ œ œ ‰ n œ # œ n œ œ & œ œ œ œ
24
&
DÈ
# ˙.
27
&
30
26
#
#
C ∂
Œ
G7
Œ
‰ œj œ œ b œ œ # œ œ
œ œ nœ œ œ bœ Gÿ
AÈ
C7
n œ œ œ n œ # œ -œ . bœ œ
œ œ œ œ œ œ œ œ
b
BÈ
bœ œ bœ n ^œ
b
E7
Ó
AÈ
# Π&
D7
œ bœ œ
b
EÈ
œ œ œ
bœ œ bœ
33
b
Eÿ
b
A;
b
A7
bœ nœ œ bœ #œ
b
Gÿ
B;
#
Bï
œ œ œ œ nœ b œ œ œ
Gÿ
FÌ
# bœ nœ œ bœ bœ œ œ ¤ #œ œ œ nœ œ œ bœ nœ œ œ œ #œ œ œ œ œ œ &
36
&
39
#
b
EÈ
EÈ
#œ œ œ œ nœ bœ bœ bœ CÈ
F7
# ‰ j œ œ bœ nœ œ #œ & œ &
# nœ
45
2.
œ œ œ œ #œ œ œ
G7
# Ó &
49
E† b œ œ œ œ.
Gï
Cÿ
#œ œ nœ œ bœ œ bœ #œ
BÈ
b
E7
BÈ
‰ # œj œ # œ œ œ œ n œ
42
AÈ
DÈ
1.
D7
G7
E†
Dî
n -œ œ œ # œ. n -œ
b
E7
‰ œj b œ œ b œ b œ n œ œ
œ œ œ œ œ -œ ^œ œ ’ ’ ’ ’ Aî
^œ œ Œ Ó
j #œ
Aî Dî
’ ’ ’ ’ ..
G7
œ- œ v
27
GREG FISHMAN
COUNT OFF: 2 BARS (6 CLICKS) PLAY 4 X (4 CHORUSES)
Belmont Avenue
Swing (q = 168)
1
&
3
&
6
#
Gÿ
E7
œ bœ œ œ œ #œ nœ . J & c . ‰ #
AÈ
ÿ
‰ œj ˙ EÈ
# ˙
Gÿ
Œ
bœ œ bœ œ
D7
Ó
œ n œ # œ œ # œ œ ‰ Jœ BÈ
œ œ œ œ
b
b
BÈ E7
œ nœ ˙
˙ AÈ
œ #œ nœ œ
Œ
Eî
œ œ œ œ Dî
>œ b ^œ ‰ J ‰ J
AÈ
# œ . œ œ œ œ œ œ œ nœ œ œ œ & #œ nœ nœ œ #œ œ œ œ œ œ #œ 9 Ÿ
12
#
D7
œ & nœ œ œ #œ œ nœ œ ˙ DÎ
15
BÈ
G7
# œ œ œ œ -œ n œ. Ó & œ
28
EÎ
b
EÎ
j œ œ œ œ œ bœ nœ bœ ‰ #œ œ œ bœ 3
œ œ œ #œ
⁄
©2005 Greg Fishman Jazz Studios All Rights Reserved. Copyright Secured.
Cÿ
>œ nœ œ œ œ œ œœ œ
18
&
b
b
BÈ
# œ
E7
bœ nœ bœ
#
FÈ
20
23
œ œ b >œ
B•
œ
Eÿ
# œ œ œ # œ n œ # œ n œ >œ ˙ . œ & #
3
b
Aÿ
bœ œ b œ œ b œ & bœ nœ œ
¤
25
b
Aÿ
&
Gÿ
# œ
œ œ Œ
œ bœ
œ nœ
b
‰ œJ œ œ œ œ n œ œ œ 3
œ
Eî
>œ ‰ J
B7
Dï
œ b œ >œ b œ œ AÈ
œ nœ œ œ œ œ ‰ J
>œ œ #œ nœ Œ ‰ J
Dî
3
E™
Œ AÈ
b œ n >œ œ œ œ
E7
A7
D7
1. - 3.
>œ œ #œ # œ > œ - >œ œ >œ œ # œ # œ œ ‰ œ œ # œ J ‰ J œ œ #œ ‰ J ‰ ‰ J & J 28
31
#
GH
& ’
’
’
’
’
A7
D7
AÈ
’
’
4.
’
D7
GH
œ # œ >œ -œ >œ œ .. ‰ J ‰ J
29
GREG FISHMAN
COUNT OFF: 2 BARS (6 CLICKS) PLAY 3 X (3 CHORUSES)
Grand Avenue
Swing (q = 160)
1
&
### # GÈ
Eÿ
^j ^ . c . ‰ œ ‰ œ ‰ Jœ œ œ J ÿ
CZ
^œ . n œ œ œ œ œ œ ‰ J C7
Eÿ
^ # # # # b Jœ n œ œ œ n œ œ n œ n œ ‰ ‰ J b œ n œ n -œ œ n œ ˙ &
3
### # ˙ &
6
9
12
#
FÈ
### # Ó &
Ÿ
### # Ó &
#
FÈ
15
Ó Œ ‰
#
GÈ
‰
-œ . œ nœ œ bœ
œ nœ œ œ œ # œ œ j œ œ œ 3
#
G Ì
Ó
#
#
C ï
j - n œ. #œ œ . œ nœ Œ
FÈ
œ œ œ œœ œ œ œ ‰ J œ œ œ œ- œ . 3
GÈ
œ nœ nœ œ nœ nœ nœ œ
# # # # ‰ œJ ‰ œ œ n œ œ n œ & J
30
#
C- ï
œ œ #œ œ
C7
œ
Œ Bï
n -œ # œ.
œ ‰ J
œ œ œ œ œ œ œ œ nœ
©2005 Greg Fishman Jazz Studios All Rights Reserved. Copyright Secured.
⁄
17
&
Eÿ
####
GÈ
‰ œj œ œ œ œ œ n œ œ b œ œ ˙ œ
œ œ œ œ ˙ CZ
20
C7 n œ # # # # ‰ j b œ n œ n œ œ œ n œ. ‰ # œJ. œ & Aÿ
#### œ . &
22
¤
25
&
#
FÈ
. # # # # -œ œ #
3
j œ. œ
FÈ
27
30
33
œ nœ œ bœ œ œ œ >
-œ n -œ J
&
&
FÈ
œ.
AÈ
#
C ï .
nœ ‰ J D7
####
B;
Eÿ
1. - 2.
œ œ œ œ >œ w œ œ œ
#### 3.
Eÿ
˙
#
C ï
# # # # Œ œ œ œ œ œ œ œ n œ n œ 3œ œ ˙ œ œ & #
œ ˙ ‰ J
G Ì
œ n >œ œ
œ. ‰ J ‰
#
Eÿ
œ
œ- n œ. Œ
œ ‰ Jœ
n -œ # -œ œ. ‰ J Œ #
G∂
GÈ
‰ n œj # œ œ œ œ œ œ b œ n œ B7
’ ’
’ ’ ..
œ œ œ œ >œ w u 3
31
GREG FISHMAN
COUNT OFF: 2 BARS (6 CLICKS) PLAY 3 X (3 CHORUSES)
DH
ÿ EÈ œ #œ œ œ œ n œ œ œ œ œ œ œ œ nœ #œ ## J œ .. œ & c ‰ 3
Swing (q = 126)
SOLO BREAK
A7
2
Rush Street
œ ## # œ œ œ œ œ œ œ & 3
E9
3
#
F È
B7 œ nœ #œ œ œ œ #œ œ œ œ œ #œ œ nœ œ œ Œ
E b[
3
Eb 9
Dÿ
^œ n >œ œ . b n œ bœ ## ‰ j n œ b œ œ b œ J n œ ‰ ‰ œ & J # œ œ - . 5 Bï
# # Œ ‰ n >œ œ & J
8
11
13
15
&
##
&
##
&
32
#
F È
Ÿ
EÈ
œ œ ˙
œ œ # œ j œ ‰ #œ œ œ E9
œ œ œ #œ œ œ œ œ œ Dÿ
## ˙
œ œœ - . œ œ #œ
AZ
A7
-œ . œ œ œ œ Œ ‰ œj œ œ œ BZ
-œ . œ
Eb 9
‰
œ J
B©
œ
nœ #œ
nœ bœ œ œ #œ œ bœ nœ bœ 3
BÈ
Bb È ⁄ A È >
œ #œ nœ œ œ œ œ œ œ œ nœ ‰ J ©2005 Greg Fishman Jazz Studios All Rights Reserved. Copyright Secured.
œ.
>œ ˙ J
18
&
DZ
##
‰
BÈ
21
# # ‰ œJ &
23
## œ
&
D7
œ œ J œ œ n œ -œ œ >œ œ
EÈ
œ
AZ
œ bœ œ
-œ œ.
œ
œ nœ
G6
^œ n œ œ ˙ œ œœœœ œ œ 3
E7
œ
A7
-œ . œ n œ # œ œ ‰ J #œ œ œ
œ œ œ -œ œ. œ ‰ œ œ Ó J
¤
#
A7
F È
EÈ
>œ œ œ >œ œ œ j œ ‰œ œœ 3
3
3
>œ œ >œ >œ # œ n œ # œ n œ # œ >œ œ œ ‰ # œj œ œ œ
# # >œ œ œ œ &
26
Gÿ
3
3
B7
3
3
E9
3
3
>œ œ >œ œ # # # >œ œ œ >œ œ n íœ # œ. ‰ j ‰ œ3 œ # œ œ ‰ b œj œ & œ 3 > > 28 3 3 3
# íœ œ. DH Gÿ - . F Ì Bï > b n œ n œ 3 b œ œ œ. œ œ j ## ‰ b œ œ œ .. ‰œ œ œ ‰ J ‰ œj ‰ & œ- # œ. - . 30 3 Eb 9
3.
#
FÌ
1. - 2.
Bï
## ‰ j & œ -œ # œ ‰ . 33
>œ .
EÈ
-œ >œ Œ Ó 33
COUNT OFF: 2 BARS (6 CLICKS)
Michigan Avenue
PLAY 2 X (4 CHORUSES)
(Rhythm Changes)
-œD7 œ œ # c . ‰ j œ œ œ œ #œ nœ œ œ œ . & œ œ
Swing (q = 240)
1
ÿ Gÿ
AÈ
EÈ
AÈ
D7
DÈ
E7
AÈ
# œ œ bœ œ œ œ œ œ &
4
BÈ
AÈ
Dî
Gÿ
G7/B
G7
˙
BÈ
D7
Ó
Ÿ
Gÿ
b
BÈ
BÈ
œ œ n œ.
Cÿ
œ œ œ #œ œ nœ œ nœ
>œ œ # œ œ œ œ # œ &
7
GREG FISHMAN
F7
Eï
Œ ‰ # œJ
œ œ œ bœ nœ œ œ œ EÈ
j œ œ nœ œ œ œ ‰ #œ œ 3
AÈ
D´
AÈ
Dï
œ œ œ œ # œ œ œ #œ nœ bœ œ bœ œ œ œ bœ nœ bœ œ b œ œ #œ œ œ & 10
13
16
19
C7
#
C ∂
œ # -œ œ. ‰ œ ‰ œ œ œ b œ œ œ b œ & nœ œ œ œ J J &
#
Gÿ
œ œ Œ v
BÈ
Ó
⁄
#
FÈ
Ó
E9
B7
#œ nœ #œ œ œ œ ‰ œj œ # œ # œ œ # œ 3
# œ n œ œ œ # œ œ œ œ œ œ œ - œ. Œ œ #œ &
34
œ bœ œ œ œ œ œ œ
©2005 Greg Fishman Jazz Studios All Rights Reserved. Copyright Secured.
EÈ
Œ
‰ œj # œ n œ # œ œ >
22
&
¤
25
28
31
34
37
40
& &
A7
Gÿ
#
œ œ -œ œ. ‰ j œ œ œ
EÈ
# œ
AÈ
œ œ œ œ œ œ >
AÈ
D7
œ
D7
œ œ œ œ œ œ >
G7 -
œ œ.
œ œ œ œ œ œ œ œ
AÈ
Gÿ/B
Œ
D7
œ œ œ nœ #œ œ œ >
BÈ
œ
C7
Eï
œ œ #œ œ œ œ œ # C ∂
-œ b >œ œ. ‰ œJ ‰
Ó
D7
Gÿ
œ ‹ -œ >œ EÈ œ œ œ œ œ # ‰ œ œ œ œ œ œ # œ n œ & J & &
AÈ -
D´
# œ nœ #œ ˙ DÈ
# nœ
AÈ
BÈ
n œ.
G7
œ #œ œ œ œ œ œ D7
>œ
CH
E7
AÈ
#œ ˙
‰ F7
œ œ œ œ nœ bœ œ œ Gÿ
E7
# Œ n >œ œ œ >œ œ › œ œ œ œ #œ œ nœ #œ œ & BÈ
43
AÈ
# œ œ œ œ œ bœ œ œ
b
BÈ
# œ œ œ œ bœ nœ bœ bœ &
AÈ
D7
œ œ œ œ nœ œ nœ œ
Eî -
œ.
œ # œ.
second chorus
D7
nœ œ œ œ #œ œ œ J œ 3
BÈ
E7
œ # -œ œ. œ œ œ Œ AÈ
D7
œ #œ œ œ œ #œ œ nœ Gÿ
G7/B
œ œ œ nœ Œ
œ œ 35
# C ∂
C7
46
# œ œ œ # œ b œ & œ œ œ B7
52
B7
3
E7
58
64
F7
∑
b
-B 7
A7 ^ . œ œ œ b œ œJ œ œ œ # n œ œ œ œ œ # œ n œ # œ #œ #œ œ œ œ ‰ ‰ J & #œ
#
AÈ
G ∂
AÈ
b B ∂
# œ œ œ. b œ œ -œ n œ. & DÈ
61
Gÿ
E7
A7
# n œ œ -œ œ. Œ ‰ œ & J
55
DZ
œ -œ œ. Œ J
œ.
œ #œ œ #œ œ œ #œ nœ # ‰ #œ œ œ œ œ bœ œ œ nœ bœ œ œ œ œ œ & #œ J
fi
49
C7
AÈ
G7 œ >œ œ œ œ n œ. # Œ &
#
G6
& ’
36
AÈ
œ
œ n œ- # œ. ‰ œj œ œ
BÈ
’
’
E7
fl
‰ œ œ œ œ œ #œ œ J Cÿ
F7
Gÿ
œ œ œ œ -œ AÈ
#
G ∂
D7
œ. ‰ œ J
œ œ œ œ œ œ œ œ
1.
AÈ
D7
^ œ œ œ b >œ ‰ ^œ ‰ œ œ œ œ œ œ œ œ œ J J AÈ
2.
’
D7
D7
G6
œ ^œ œ œ œ œ .. œ œ
COUNT OFF: 2 BARS (6 CLICKS)
GREG FISHMAN
PLAY 2 X (4 CHORUSES)
Clark Street
Swing (q = 192)
#
& c
ÿ AÈ
1
4
7
# . ‰ >œ J & .
Emi
Û. Û J
(RHYTHM CUE)
˙.
D11
3
D´ >œœ # œ œ n >œ œ 3
# ‰ œ œ œ œ œ œœ œ œ & J 3 &
Emi
œ # œ œ n ^œ
# ˙
D7
œ b œ >œ œ œ œ œ œ
œ ‰ œ #œ #œ J
‰ Jœ
Cÿ
Eï >
#
FÌ
>œ
œ ˙
‰ œJ # œ œ # œ œ n œ # œ S
Gÿ
13
&
# œ.
# ‰ &
16
#
FÌ
Bü
. œ. # œ. œ J ‰ J ‰ J
œ J
#œ
œ
n -œ # -œ n -œ œ œ
^œ
œ
n>œ
>œ ˙ J
œ. # œ œ ‰ œ #œ œ J
Ÿ
AÈ
. . œ. œ œ > J nœ ‰ ‰ J ‰ J
Cÿ
>œ # -œ -œ œ œ Œ #œ œ œ œ œ œ nœ &
10
œ. Bï
Œ
Eï
Gÿ
-œ œ œ œ œ œ ‰ œ œœ J Emi
œ
# ⁄FÌ
©2005 Greg Fishman Jazz Studios All Rights Reserved. Copyright
˙.
3
œ œ œ # œ -œ . œ Œ Œ 37
Bï
Emi
Eï
# ‰ œ œ œ œ œ nœ # œ œ œ œ œ #œ œ œ ˙ #œ & 3
18
&
AÈ
# ˙
21
&
24
&
27
#
Cÿ
nœ ‰ Jœ # œ
Ó
EÈ
# œ. #
FÌ
^œ
^œ
¤
A7
œ. -œ -œ n œ J J J
œ œ. # -œ œ b œ -œ #
-œ œ.
œ
Bï
AÈ
# n >œ œ œ œ œ & #œ œ œ
‹
33
second chorus
GÈ
C7
# ‰ œ nœ œ bœ & œ œ n œ- œ Œ . 36 &
39
38
EÍ
# œ œ #œ œ œ ˙
Eï
Gÿ
œ œ
œ œ > œ n œ œ # œ J ‰ G´
C9
œ # œ> œ œ œ œ œ œ œ
Emi
3
3
œ œ # œ œ >œ Œ œ œ D7
^ œ œ œœœœ œ œ #
-œ œ œ
œ œ œ œ >
˙
BïS
Œ Ó
DÈ
# ‰ œ œ & J œ #œ nœ œ œ 30 3
3
Dî -
FÌ
Ó
j #œ
3
FÌ
œ œ ˙
Eï
>œ >œ # œ #œ ‰ nœ œ #œ œ #
GÈ
3
#
C7
œ #œ œ # œ # œ œ- n œ. Œ
-œ œ # œ nœ ‰ #œ œ œ œ 3
Œ
3
Bî
˙
œ # -œ >Jœ J
› AÈ œ œ œ œ œ # œ # œ > nœ œŒ Œ ‰ œ œ œ œ œ #œ œ œ œ œ 3
&
D7
# œ #œ
42
>œ
œ
GÈ
œ #œ #œ
Œ
#
FÌ
C7
&
47
Emi
3
3
# w
nœ bœ œ œ œ œ œ œ #œ ‰
^œ # œ œ œ œ œ >œ ‰J‰
EÁ
# œ œ œ & œœ œ Œ > 51 D7
œ n œ # œ #>œ
3
# b œ œ œ œ œ n œ œ >œ Œ &
44
#
GÈ
#
3
#
C7
Œ
œ nœ œ 3
Bï
œ #œ œ œ œ œ œ œ œ Bï
fi FÌ
^œ # œ œ œ œ œ # >œ ‰ J‰
w
Eï
3 > >œ n>œ œ # œ >œ ‰ #œ nœ œ œ œ >
AÈ
œ.
^œ J Ó
3
Gÿ œ #œ n œ #œ nœ œ œ œœœœ œ œ œ œ #œ nœ œ # ‰. œ œ œ œœœœœœœœœ &
54
&
56
&
# nœ 1.
63
œ œ œ ‰J
DÈ
60
&
# FÌ fl >œ >
C‹
# ˙
Emi
# ˙
3
G7
œœ œœœ ‰J œ #œ 3 > C7
œ # œ œ œ œ œ œ nœ œ bœ > 3
E´
Bï
’ ’ ’ ’ ’ ’ ..
2.
Emi
EÈ
> # œ # œ n >œ > œ œ ‰œ ˙ œ. J J
A7
j #œ
˙.
#
FÌ
‰
œœ
B7
3 > j œ œ œ #œ œ #œ #œ œ ‰ œ
E´ >œ ˙ ‰ J # œ œ œ #>œ œ œ œ œ #œ œ >
AÍ
U w
39
COUNT OFF: 1 BAR (4 CLICKS)
GREG FISHMAN
PLAY 2 X (2 CHORUSES)
Wabash Avenue ÿ FÈ
Cï
b
FÈ
B´
3 œ - n œ œ œ œ. > b b œ œ . œ œ #œ œ b c ‰ œ œ ‰ Œ ‰ . œ œ œ œ œ nœ œ & b œ> 1 3 3
Ballad (q = 66)
b
Eÿ
b -œ b & b
3
b
A 7
b G ∂
GÈ
œ . b -œ ≈J
FÈ
3
. ≈ œR œ œ œ
F È/E
œ œ œ bœ œ œ . -
b
DÈ
5
7
-œ œ œ œ # r b œ œ œ œ œ œ œ ≈ n œ b œ œ b & b œ œ nœ Ÿ
&
9
11
bbb
FÈ
r #œ
b
Eÿ
b &b b œ
40
œ.
œ
Gï
œ nœ bœ œ œ œ œ œ nœ . œ œ ≈ œ #œ œ œ .
b œ. œ œ &b b CÈ
œ.
3
F7
Cï
‰ ≈
b
FÈ
b
B´
3
Eÿ
3
FÈ
#œ . nœ nœ œ . œ≈ R J
FÈ
≈ œR n œ œ œ
GÈ
‰
Cî
œ3 ó œ œ œ. œ nœ œ ‰ BÈ
E7
3
œ œ -œ œ # œ œ . nœ #œ #œ bœ -
≈ Rœ b œ n œ œ . œ Œ
©2005 Greg Fishman Jazz Studios All Rights Reserved. Copyright Secured.
b G ∂
≈ Rœ œ n œ œ œ œ œ
FÈ
13
bb œ b &
b
E È
œ œ bœ
‰
3
CÈ
15
b
3
18
20
#
G È
### # ≈ &
#
### # ≈ &
Eÿ
### # n ˙ &
Dÿ
œ. J œ. J
œ. ### # ≈ J &
22
23
FÈ
3
b
B 7
œ œ œ œ nœ œ bœ œ œ œ nœ #
Eÿ
B;
F È
⁄ œ . œ nœ #œ œ œ œ # œ œ . ## œ œ # œ œ # b # œ #œ nœ # œ . nœ #œ ≈ J &b b
G È
19
Gï
œ ≈ œ œ œ nœ œ œ œ j‰ œ n œ b œ œ n œ b œ œ J - œ
r b œ œ & b b ≈ œ nœ nœ Eÿ
16
DÌ
&
### #
EÈ
œ J
œ #
C È
œ.
AÈ
nœ nœ
œ
#
≈
F È
œ
EÈ
œ
œ œ nœ œ 3
œ
œ nœ œ 3
A´
œ F∂
œ nœ
œ
œ œ œ œ
nœ
3
œ œ œ nœ œ #œ œ ≈ œ
nœ nœ ≈ R ≈ n Rœ A7
œ #œ
E ∫/B
œ bœ
œ œ
œ. -œ œ ≈œœœ œ ≈ J R œ
nœ
D7
-œ
œ
‰
œ
œ
œ œ
3
œ 41
&
24
D7
### # œ
FÈ
27
b
Eÿ
bb ‰ . b &
GÈ
28
29
30
&
FÈ
DÌ
b ‰. b & b
CÈ
31
rK œ
^œ
-œ
r œ >
≈ œ r œ
œ
œ
FÈ
^œ R
≈
‰.
b Gœ ∂
œ nœ BÈ
nœ
F È/E
œ
œ
œ 3
œF7
&
42
bbb
b
Eÿ
œ
nœ bœ
bbb
E7 b œ n œKr œ Kr œ œ F È œ œ œ œ # œ œB Èn œ -œ -œ n œ. # n œ # œ # œ R œ nœ ≈ Rœ
Gï
≈
b
œ ≈ R
. E7
3
œ bœ
œ
œ
œ
œ
œCï œ 3
nœ
œ
-œ œ
b
Cï
˙
œ œ nœ
œ bœ
œ Kr #œ
’
œ
^œ R
≈
œ
Eÿ
1.
3
^œ
-œ
r œ >
bœ nœ bœ
#œ nœ œ bœ # œ r # œ b œ & b b ≈ œR œ œ ≈ # œ n œ œ 2.
33
E∂
^œ 3 bœ nœ œ b œ œ œ &b b ≈ R ≈ œ b bb
b
G 7
C7
bœ œ b œ n œ œ nœ œ œ n œ œ œ nœ
œ b Œ ≈ &b b
¤
25
b
D 7
œ
# œ nœ
n œ.
’
FÈ
b œ ^œ
..
GREG FISHMAN
COUNT OFF: 2 BARS (6 CLICKS) PLAY 3 X (3 CHORUSES)
Swing (q = 138)
#
Addison Street
& c
Emi
Bñ
>œ œ œ # >œ œ œ n >œ œ œ >œ > > > > > œ œ œ œ œ œ œ œ œ #œ œ Œ
SOLO BREAK
ÿ Emi
1
# . ^œ & .
‰
3
3
œ
œ œ J
3
œ
œ
Emi
3
-œ # >œ œ œ œ # œ œ #œ œ œ & 3
Emi
5
# Π&
^ ‰ Jœ Œ
BÌ
n ^œ ‰ ‰ J
9
# œ œ œ #œ nœ œ œ œ & &
#
CÈ
# œ
#
F 7
F Ì
œ #
F ï
‰
#œ œ #œ ‰ nœ #œ nœ œ
j #œ
3
3
3
Bï
œ #œ œ
Bï
-œ # œ n œ #œ œ J
‰ œ J œ- >œ
3
j nœ
Ami
7
#
3
Eï
œ- # œ >
‰
œ #œ œ œ J
œ
œ
Œ
-œ
3
œ nœ
œ # -œDî. œ œ œ Œ œ AÈ
©2005 Greg Fishman Jazz Studios All Rights Reserved. Copyright Secured.
43
Gÿ
#
F Ì
Cÿ
nœ œ œ œœœœ œ œ œ ‰ & J #
11
#
13
16
18
20
23
& œ
œ
#
3
3
Eÿ
F Ì .
#œ
# -œ ^œ
œ #œ œ œ œ œ # œ # œ œ 3
Bï
œ
œ #œ œ œ nœ #œ Emi
œ œ n >œ œ Œ ‰J Ÿ
#
C Ì
Emi
Bï
œœœ
# œ œ. œ. # œ œ . . . >œ œ nœ #œ œ #œ # œ œ œ # œ œ œ Œ & & & &
#
F í # #œ
# #
3
ï
n BÌ œ œ #
CÈ
3
œ œ #œ 3
Bï
nœ
Eï
3
3
-œ
nœ
œ.
œ
œ œ œ ‰ J
^ ‰ œJ Œ
Ami
œ nœ #œ > œ œ œ œ œ. Œ ‰ # œJ œ œ Œ œ œ œ œ n -œ œ. Œ #
F 7
AÈ
-œ > nœ
œ #œ œ #œ œ œ # œ ‰ J ‰ J
Gÿ
Emi
œ >œ
3
Cÿ
#
F Ì
3
Dî
nœ #œ œ nœ bœ ‰ J
Bï
Eÿ
œ œ nœ #œ w > ^ # nœ œ œ œ -œ œ ‰ Jœ ‰ œJ # œ œ & 25
28
#œ œ œ #œ œ #œ # Œ œ œ &
44
⁄
BÌ
nœ œ œ #œ œ œ nœ #œ
E7
30
35
œ œ œ #œ œ œ œ œ -œ >œ Œ Œ
nœ nœ œ œ #œ œ œ œ #œ & #
33
Ami
AÌ
& ‰
Gÿ
3
œ ‰ œJ b œ n œ œ œ J Cÿ
# œ œ œ œ œ œ œ œ &
¤
#
#
C Ì
Emi
-œ . Œ œ‰œ
Dï
#
œ œ bœ nœ #œ œ œ #œ
F Ì
œ
#
F Ì Bï
-œ ^œ
∑
37
&
40
# # >œ œ œ n œ œ œ œ œ # œ >œ &
42
#
Fï
#
F Ì
# Ó &
Emi
3.
#
45
3
& Œ
3
Bñ
- > œ. # œ œ J ’
Bï
‰
3
^œ ‰ J Œ
Emi
œ
Emi
‰ J-œ
’
’
-œ
>œ
F Ì
Bï
œ
œ # œ-
#
œ Œ >
CÌ
. ‰ -œ œ. ‰ -œ . œ Œ œ ‰œ Emi
Œ
1. - 2.
#
‰ b œJ
’ ‰
3
3
3
#
CÌ
^œ ‰ J Œ
#
F Ì
’ -œ J
’
Bï
-œ
Bï
’
# -œ
^œ ‰ J ’
Emi
..
>œ
45
DETAILED OVERVIEW OF THE ETUDES
Title
Tempo
Form
Length of Form
Saxophone Key Signature
Page Number
Halsted Street
q = 208
Blues
12 Bars
C Major
16
Irving Park Road
q = 200
AABA
32 Bars
A Major
18
State Street
q = 264
AABA (Rhythm Changes)
32 Bars
C Major
20
Waveland Avenue
q = 184
ABAC
32 Bars
C Major
22
Fullerton Avenue
q = 216
Blues
12 Bars
G Major
25
Belmont Avenue
q = 168
AABA
32 Bars
G Major
28
Grand Avenue
q = 160
ABAC
32 Bars
E Major
30
Rush Street
q = 126
AABA
32 Bars
D Major
32
Michigan Avenue
q = 240
AABA (Rhythm Changes)
32 Bars
G Major
34
Clark Street
q = 192
AABC
32 Bars
E Minor
37
Wabash Avenue
q = 66
AABA
32 Bars
Eb Major
40
Addison Street
q = 138
AABC
44 Bars
E Minor
43
46
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. 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, Volumes 1 – 3, Jazz Phrasing for Saxophone, Volumes 1 – 3, Hip Licks for Saxophone, Jazz Guitar Etudes, Jazz Trumpet Duets and Tasting Harmony™ are in circulation worldwide and have been endorsed by top educators and jazz performers, including Michael Brecker, Jerry Coker, Bob Sheppard, James Moody and Phil 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 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 Golson.
Greg is the co-founder, along with Brazilian guitarist/vocalist, 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 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 the ear as he forges lines that take unexpected twists and turns...” –– Chicago Tribune
“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
48
