Jazz+Ensemble+Journal

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** Vocabulary **
**Groove:** ﻿ the composite rhythm. This is generally referred to the combined repetitive rhythmic patterns of the drums, bass, piano, and guitar, but may also include repetitive patterns in the winds. Some grooves are standard, such as swing, bossa nova, and samba, while others are completely new, such as original combinations of rhythms. ** ﻿ **
 * Break: ** the rhythm section stops for one, two, or four bars within the context of an ongoing time feel. Very often a soloist will improvise during a break.
 * Call and Response: ** repetitive pattern of contrasting exchanges between parts, which was derived from the church practice of the minister making a statement, then the congregation would answer with an "Amen." These patterns usually pit one group of instruments against another group of instruments. Sometimes we call this "trading twos," "trading fours," "swapping fours," etc., especially when it involves improvisation, such as **//Granada Smoothie//** last year. The numbers denote the amount of measures each soloist or group will play.
 * Coda: ** also known as the "outro." "Tags" or "tag endings" are frequently used as codas. They most often use deceptive cadences that finally resolve to the tonic (I), or they go from the tonic (I) to the sub-dominant (IV) and cycle back to the tonic.
 * Comp: ** improvised accompaniment, usually for piano or guitar.
 * Head:** melody chorus.
 * Interlude: ** a different, relatively short length, form, sandwiched between two chorus forms. If they set-up a key change, they are simply called "modulations. "
 * Intro: ** short for the introduction.
 * Ride Pattern: ** the most common repetitive pattern played by the drummer's right hand on the hi-hat or ride cymbal.
 * Riff: ** a repeated melodic motif. May times, riffs are exactly repeated, or with slight alterations, while the harmonies change beneath them.
 * Shout Chorus: ** also known as the "sock chorus," "out chorus," or sometimes it is just called "the shout." This is the final ensemble passage of most big band charts and where the climax most often occurs.
 * Soli: ** a harmonized section for two or more instruments playing the same rhythm. It is customary for wind players to stand-up, or even move in front of the band, when playing these passages. This is done so that the audience can hear the passage better and to provide the audience with some visual interest. One type of soli, used by Duke Ellington, was known as the "pep section." It involved combining two trumpets and a trombone using plungers / mutes in triadic harmony.
 * Stop Time: ** a regular pattern of short breaks, usually filled-in by a soloist.
 * Swing: ** the perfect combination of rhythmic tension and relaxation in music creating a feeling of euphoria, and characterized by accented weak beats and eighth notes that are played as the first and third eighth notes of an eighth-note triplet. Duke Ellington's definition of swing was "when the music feels like it is getting faster, but it isn't."
 * Vamp:** a repeated two- or four-bar chord progression. Many times, there may be a riff, or riffs, played on the vamp.
 * Voicing: ** the specific inversion, spacing, and choice of notes that make-up a chord.

** Sight Reading **
- Key Signature / Changes - Time Signature / Changes - Accidentals - Solo / Soli / Duet / Trio - Repeats (ll: :ll, D.S., D.C., etc.) - Tempo / Changes - Style Markings - Problem Rhythms &/or Ranges - Dynamic Markings || O = Important Things
 * = **Sight Reading** ||= **Markings** ||
 * *Build a Road Map

= Practice Areas

[ ] = Bring Out

// = Break / Grand Pause ' = Breath Mark (Small Break) ||

** Practice vs. Rehearse **
**Practice Time:** individual time working on such things as scales, technique, and problem areas. **Rehearsal Time:** ensemble time working on such things as balance / blend, musicianship, and other group related musical concepts.


 * Practice Effectively = Develop a Routine **

1. Warm-ups (Breathing Exercises, Long Tones, & Flexibility Exercises) 2. Tune with tuner (iPod) 3. Scales with a tuner 4. Technique Exercises (Tonguing (ST, DT, & TT), Vibrato, Blast Tones, Etc.) 5. Problem Areas 6. Fun Music 7. Cool-down (Long Tones)
 * Wind Routine **


 * Listen to recordings to develop aural concepts of the style, articulation, and good tone.
 * Make recordings of yourself playing to offer constructive criticism of yourself.

** Percussion Routine ** 1. Stretches 2. Rudiments & Technique Exercises 3. Scales on a keyboard instrument 4. Problem Areas 5. Fun Music

1. Tune (Guitar & Bass) 2. Scales 3. Technique Exercises 4. Problem Area 5. Fun Music
 * Piano, Guitar, & Bass Routine**
 * Listen to recordings to develop aural concepts of the style, groove, etc.
 * Make recordings of yourself playing to offer constructive criticism of yourself

** Jazz Seventh Chords **

 * [[image:Jazz_Seventh_Chords_+1.jpg]] ||


 * Scale Usage**
 * **Chord** || **Scales Used** ||
 * **Major 7th** || **Major, Major Pentatonic, and Lydian** ||
 * **Dominant 7th** || **Dominant 7th (Mixolydian)** ||
 * **Minor 7th** || **Dorian, Natural Minor (Aeolian), Minor Pentatonic, Coltrane Minor Pentatonic** ||
 * **Half-diminished** || **Half-diminished and Half-diminished #2** ||
 * **Diminished** || **Minor Scales (in general)** ||
 * **Augmented** || **Dominant 7th (Mixolydian w/ #5)** ||
 * **Seven Suspended** || **Dominant 7th (Mixolydian)** ||
 * **Major 6th** || **Major, Major Pentatonic (comprised of 1, 3, 5, and 6 scale degrees)** ||