how's it going?
We're gonna now read
a Latin jazz standard.
Entitled Blue Bossa.
That's the song that
would be called in just about any jazz
jam session you would ever go to.
[LAUGH] It's high on the list
because everybody knows that song.
So it's a good one to work on.
So as you look at the chart that I
provided for you both in E-flat and
B-flat by the way, so if you're playing
tenor or soprano pull up a B-flat chart,
if you're playing alto or
baritone pull up that E-flat chart.
So, in taking a look at this chart,
we're not gonna deal with the chord
changes right now, later on.
In my curriculum you're going to
see more of the performances and
there will be more harmonic analysis.
But I want to get into the reading
of the melodies with you and
thats the purpose of this lesson
here.Cool thing too is that we have
a great track for you to have so
you can download the MP3.
It's edited there will be two versions for
There is one that's edited for
the length of the reading version,
the reading practice and
then there will be a full length one for
you for the improvisation part as well.
So let's take a look at this chart,
The fun part about reading this is
that you will have this really great
track to play along with, so right here.
Only at ArtistWorks will you
have this chart, and this track.
So, in looking at our chart here,
in comparison to the chart.
We've read so far,
there's no major pitfalls except for one
thing and you're gonna see it repeatedly.
Starting in the second bar of the song,
see that quarter note on the,
I'm pointing to it, that begins in the and
of three, and of beat three right here.
So we have beat one, two,
the beginning of beat three,
starts with this eighth rest here.
And then it goes to this quarter
note right there in the middle.
So here is a great reason
why we want to be thinking about
what we talked about earlier.
About imaginary bar lines where you
think about a bar line in between,
right in the middle of a bar four four.
So again with this second
bar into the song the first,
we have our four four time, don't forget.
I almost forgot to even mention our key
signature, I forgot to mention it because
it doesn't exist,
we're in the key of C on this chart.
On the B flat chart this is
our E flat alto baritone part.
On the B flat chart your
gonna see one flat.
One big B sign right there.
It means that all the Bs that you see
on the chart are going to be flat.
I'm sure you knew that.
We're in 4/4 time obviously all saxophones
are played in treble clef except for
a bass sax.
When we get to here,
we want to make sure that we think about
the bars being half here and half there.
Four-four time, that means the first
half of the bar is two beats,
and the second half of
the bar is also two beats.
We have a line in our
imagination right in between.
The reason that's important
is because this quarter
note lands on a relatively
awkward part of the bar.
It's on an upbeat.
One, two, three, [SOUND].
One, two, three [SOUND].
One and two and three [SOUND].
So we're subdividing in Eighth notes,
so beat one and
beat two and beet three and beet four.
It's the ands that tell
us where all these eighth
note entrances start,
like here or here or here.
Or every time you see an eighth
note in the song on a upbeat.
Good, so by thinking about the imaginary
bar line you can think about one,
two, three four.
One, two, three, four.
It's a little bit easier
than the count one,
two, three, four, one, two,
three, four, one, two.
It just gives you one more sort of pivot
point, one more leg-up to latch onto.
So I'm gonna play this for you.
Freely I'm just gonna count and
play and I want you to follow along.
We're gonna play it together.
In fact we're gonna play it
together along with the track, but
I'm just gonna play it here.
And feel free to play
along if you want to,
but, we're gonna play it together
of course with the track.
So, right on, here we go.
So you know you got your repeat
signs,so I would normally repeat back
if I wasn't doing so
much talking and repeat back, and
that repeats over and over and
over again ad nauseam.
The, you know the slurs.
You know that when you have a slur
between two notes like right here,
you know the second note is
not reattacked hence the slur.
And right here obviously.
Here, here, here.
And this ending here, here and there.
It's a little deceiving.
Okay so let's play it along
together with the track.
If you've got any questions, let me know.
You can shoot a question to me
through the forum obviously.
I'm gonna ask you if you're able to
send me a video of you performing it so
I can listen to you and
give you any comments if you like.
So here we are with a track of Blue bossa.
And here we go.
Okay, so there again, as I was playing
that song I was trying to keep it
as relatively straight as I could,
adding little inflections here and there.
Again, it's a pretty melody and
it's hard not to inflect some.
We're not robots,
we wanna play music here.
One thing to notice too, just obviously
when you're, when you're playing a melody.
We're so used to hearing this melody, I am
anyway, you may not be but you will be, I,
I guarantee, if you're not already to
have that pickup the very first note.
Ba da da da da da.
So that wouldn't be incorporated in the,
in the song once it's been repeated
because if you look at the song.
You've got the repeats from
the very end to the first full bar.
And that pick up note is outside.
So our first beat right here actually
rather our pickup beat, is actually
a rest, so you wouldn't wanna play that
in keeping with the reading of the chart.
All right so, and
also as I was mentioning,
we're gonna talk about the chords in
the later performance area of this song.
And pretty straightforward,
it's really pretty.
Great, so work on this.
Enjoy the great track that we did for you.
And again, if you can film it,
record yourself doing that and
send that to me, I'd love to hear it and
make comments if you like.
Okay, all right, there's Blue Bossa,
on to the next one.