"Do You Know...?": The Jazz Repertoire in Action by Howard S. Becker, Robert R. Faulkner
By Howard S. Becker, Robert R. Faulkner
<P style="MARGIN: 0in 0in 0pt">Every evening, someplace on the planet, 3 or 4 musicians will climb on degree jointly. even if the gig is at a jazz membership, a bar, or a bar mitzvah, the functionality by no means starts off with a observe, yet with a query. The trumpet participant could flip to the bassist and ask, “Do you recognize ‘Body and Soul’?”—and from there the delicate craft of enjoying the jazz repertoire is verified in entrance of a reside viewers. those usual musicians could by no means have performed together—they might by no means have met—so how do they easily wear a convey with out getting booed offstage.
In “Do you recognize . . . ?” Robert R. Faulkner and Howard S. Becker—both jazz musicians with a long time of expertise performing—present the view from the bandstand, revealing the array of talents useful for operating musicians to do their jobs. whereas studying songs from sheet song or through ear is helping, the jobbing musician’s lexicon is dauntingly big: thousands of tunes from jazz classics and pa criteria to extra unique fare. because it is very unlikely for an individual to memorize all of those songs, Faulkner and Becker exhibit that musicians jointly negotiate and improvise their option to a profitable functionality. gamers needs to discover every one others’ components of workmanship, advance a capability to faux their approach via unusual territory, and reply to the unpredictable calls for in their audience—whether an unforeseen gang of polka enthusiasts or a tipsy father of the bride with an imprecise favourite song.
“Do you recognize . . . ?” dishes out unique tales and sharp insights drawn from the authors’ personal studies and observations in addition to interviews with a number musicians. Faulkner and Becker’s vibrant, targeted portrait of the musician at paintings holds precious classes for someone who has to imagine instant or below a spotlight.
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Additional resources for "Do You Know...?": The Jazz Repertoire in Action
Example text
They call the chord built on the first note of the scale of a given key “I” and describe chords built on other notes of the scale with Roman numerals indicating the number of scale steps from that note to the tonic, I. So, in the example below, C is I, D is II, and G is V. The tag after each Roman numeral indicates the kind of chord that is built on that scale tone: a “II7” or a “V7” indicates that the chord built on that note of the scale is a dominant seventh chord, the one that leads “naturally” to the tonic and gives a sense of closure; a “ii7” or “v7” indicates that the chord built on that note of the scale is a minor seventh chord.
But not every player has all that knowledge. Sometimes a performer knows the melody but not the harmonies or, Repertoire as Activity: The Basic Elements just as common, knows the harmonies but not the melody. Or knows the melody and harmony but not the well-known (to some other performers) variations on the melody or harmony, or the background or counter figures that might be used when playing that tune. Certain variations are critical, depending on the situation. If someone else in the band can play the tune when it’s called for, the player who doesn’t know it won’t suffer.
I learned that one from the Count Basie recording, which featured a beautiful solo by trumpeter Buck Clayton. I listened to it over and over, sang it to myself until I had the melody surely in place, then worked out what the harmonies were likely to be Learning Songs and Building an Individual Repertoire (back then I would have said, I’m sure, “had to be”) and tried them out until I had the tune down. Then I could teach it to Bobby Laine or whoever I could get to give it a try on the job. (I almost invariably learned the words as well, I’m not sure why.