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

31

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.

32

(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