rose room - cristinaviolin.com · let us review what the bebop scale is all about. the rules forcé...
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ROSE ROOM ^^^^^ - . Q ^ . . ;
¡ng médium A7 D7
i Gmaj7
Williams/Hickman arr. M. Norgaard
Gmaj7
f xsi I V
-©-
Dm7 G7 Cmaj7
5 Cmaj7
- O -- O -
Hf r v i s é i \-* —0 i —
13 A7
í i A7 D7 D7
17 ^ A D7 Gmaj7 Gmaj7
7 <> -o
n \- 9^ • - © ^ e > é h w
1 r é i — • L-J i -© w
• • • 1 # . . .
; ^ 1 - •y < \ 1 — g j
• / r 1 - G ^ í \
Suggested listening: Django Reinhardt & Stephane GrappeUi
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L E S S O N 9 : REVIEW AND ROSE ROOM
IHEDRYi In the prevíous 8 lessons we have learned jazz rhythm, how to place the chord notes on the
beat, and simple tune analysis. Let US review what the bebop scale is all about. The rules forcé us to place the chord notes from the
dominant seven chord on the beat. Therefore when we improvise foUowing these rules, we play "inside" the chord and firmly within the jazz tradition. Similarly, by using strong rhythm, we play within the jazz tradition.
In this lesson we combine it all and use what we learned to improvise on an oíd standard called Rose Room. As we see in the analysis on the next page, most of the 2 chords and the foUowing 5's are dominants (measures 1, 13, 14,17, and 29). That gives us plenty of places to use the bebop scale. Why are nearly all the 2 chords now dominants instead of 2 minors? Remember that the analysis is always after the fact. The composers do what they want to. The analysis gives us a reference that helps us connect and remember the chord pattems we improvise over, even if we have to remember that a particular tune DOES NOT foUow certainrules. ; i . „ ^ —
In addition, we find a couple of 4 minors going to \>1 dominant chords (measures 9-10 and 25-26). This is an example of a 2m-5 that resolves but not to the expected 1 chord. For now just accept this and try to resolve the bebop scale logically.
EXERCTSES rCT) track K\:
1. ) Play the bebop scale on all the 2-5's starting on the root and resolve to a rhythm. We play the corresponding bebop scale on the dominant 2's but ignore the minor 2's. See the scale analysis on the next page. Examples are not written for exercises 1-3. 2. ) Play the bebop scale on all the 2-5's starting on the beat on a chord note other than the root and resolve to a rhythm. 3. ) Play the bebop scale on all the 2-5's starting on an off-beat on a non-chord tone and resolve to a rhythm. 4. ) Mix in bebop scales with rhythms anywhere. See written solo example. This solo is a fairly free interpretation of our bebop scale and rhythm rules. It contains a couple of chromatic passing tones (measures 1, 3,17, 22, 29, and 30; see lesson 12) as weU as some bebop scale phrases placed "wrong" (measures 14 and 18). This is done to show that, just as with chord analysis, the rules are meant to be broken when it makes sense melodically.
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(Lesson 9, continued) ROSE ROOM (chord analysis)
G: ' A7
57 D7
lmaj7 Gmajy
Imaj? Gmaj7
C: 2m7 Dm7
A7 bebop D7 bebop G major
57 G7 ImajV
Cmaj7
ImajT Cmaj7
G;4m7 Cm7
G7 bebop C major
F7 ImajV Gmaj7
6 ' E7
J
13 A7
F7 bebop G major E 7 bebop
A7
57 D7
57 D7
17 A7
A7 bebop D7 bebop
57 D7 Imaj?
Gmaj7
Imaj? Gmaj7
5 ^ A7 bebop D7 bebop G major
21 C: 2m 7
Dm7
57 G7 Imaj?
Cmaj7
Imaj? Cmaj7
G7 bebop C major
25 i G: 4m7 Cm7
b ? ^ F7
Imaj? Gmaj7
6 E7
7
F7 bebop _ J L .
G major E 7 bebop
29 É 27 A7
'"57-D7
A7 bebop
Imaj? Gmaj7
Imaj? Gmaj7
D7 bebop G major
33 ; -
ROSE ROOM (Solo example)
D7 GmajT GmajT
5 DmT
tes GT CmajT CmajT
9 jl ^ FT GmajT ET
AT DT DT
17 É AT DT
5
GmajT GmajT
25
21 DmT GT CmajT CmajT
— 0 — # 5
CmT FT
AT
GmajT ET
DT
il*i^rr¿rn'i'pr"i GmajT GmajT
34
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