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Tons of Jazz patterns (PDF)


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craigtrumpet
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PostPosted: Fri Jun 29, 2007 11:42 am    Post subject: Tons of Jazz patterns (PDF) Reply with quote

I work at a music store where I spend 90% of my time surfing the internet and I like sharing my findings with fellow trumpeters. So here is yet another cool site that I found with tons of ii-V's and other patterns in PDF. format (i.e. printable)

Trane Patterns:
http://valdez.dumarsengraving.com/PDFmusic/JohnColtranePatterns.pdf

Brecker Patterns:
http://valdez.dumarsengraving.com/PDFmusic/BreckerIsms.pdf

Ray Brown (trumpeter not bass player) patterns:
http://valdez.dumarsengraving.com/PDFmusic/raybrownwhole.pdf
http://valdez.dumarsengraving.com/PDFmusic/RayBrownDiminshedPatterns.pdf
http://valdez.dumarsengraving.com/PDFmusic/raybrownii-v-i.pdf
http://valdez.dumarsengraving.com/PDFmusic/raybrownminor.pdf

Paul Cantos patterns (easier):
http://valdez.dumarsengraving.com/PDFmusic/PaulContosIIVIPatterns.pdf
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Jazzalive
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PostPosted: Fri Jun 29, 2007 1:35 pm    Post subject: Reply with quote

Pure gold. These are availble for free? Nice. Thanks for sharing.
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oxleyk
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PostPosted: Fri Jun 29, 2007 2:11 pm    Post subject: Reply with quote

This is one thing that has always baffled me about learning jazz. What do you do with these patterns?

Kent
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Yamahaguy
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PostPosted: Fri Jun 29, 2007 4:46 pm    Post subject: Reply with quote

Check this site out...this cat is a really good sax player and there is SOOO much good stuff here:
(look on the left!)
http://www.petethomas.co.uk/jazz-patterns.html
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beartrumpet74
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PostPosted: Fri Jun 29, 2007 5:38 pm    Post subject: Reply with quote

the stuff you guys are posting is really great stuff all in all.
One thing that players in the past and present have done is to keep a note book of licks and phrases that they like and then take them through all keys. I know this isn't new information, but when playing through these patterns and licks it helps if you take only what really sounds pleasing to your ear.
As you gain more facility with chords/scales/lick etc... then it helps ( at least it helped me) to try new things with regards to patterns that I didn't gravitate toward to start with. This has helped keep it fresh for me in general.

One other thing I would caution against. When playing patterns too much or even transcribing too much you can sort of lose your own ear and gravitate toward phrases that have been a bit over used. We all do this, and I am just as guilty as the next person. It has always helped me to try and just invent patterns on my own regardless of whether or not they have been played by someone else before. This way, the impetous to create falls firmly on my shoulders. In addition, if I do play something that is standard in the way of a lick, the conviction I have while playing it makes it a little more my own, even if it's not new so to speak.
This is helping me find my own sound which is a long way off right now, but I am starting to see the light at the beggining of the tunnel so to speak

Best
Matt

PS - isn't this thread better than the one millionth "olds v.s. Conn v.s. bach" threads every day here!!!
good grief at least this ones (thread) about music
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Billy B
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PostPosted: Sat Jun 30, 2007 5:25 am    Post subject: Reply with quote

oxleyk wrote:
This is one thing that has always baffled me about learning jazz. What do you do with these patterns?

Kent


Patterns are all about ear training. You can easily identify a major scale because you have played and heard it many times. But can you recognize a ii-V-I? Jazz also has a language with many different dialects. Most everything from bop on uses the bop language in some form. Patterns teach us the bop language. What we do with it is only limited by our creativity.
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natetpt
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PostPosted: Sun Jul 01, 2007 10:55 am    Post subject: Reply with quote

Wow!! Thanks for the links!! Most helpful!!
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fnchdrms87
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PostPosted: Mon Jul 02, 2007 3:03 am    Post subject: Reply with quote

craigtrumpet,

thanks for putting this stuff up here. again I agree that all these conn vs bach and martin committee threads are getting annoying. This kind of thing will really help me develop as a musician. thanks dude.
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dmf
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PostPosted: Mon Jul 02, 2007 3:08 am    Post subject: Reply with quote

Awesome links. Just the sort of thing that TH is great at !!!!

David
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dershem
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PostPosted: Wed Jul 04, 2007 5:45 pm    Post subject: Re: Tons of Jazz patterns (PDF) Reply with quote

craigtrumpet wrote:
I work at a music store where I spend 90% of my time surfing the internet and I like sharing my findings with fellow trumpeters. So here is yet another cool site that I found with tons of ii-V's and other patterns in PDF. format (i.e. printable)

Ray Brown (trumpeter not bass player) patterns:
http://valdez.dumarsengraving.com/PDFmusic/RayBrownDiminshedPatterns.pdf


Very nice. That said, the one I left marked ... the triplet patterns are a bit hard to read. I'm gonna have to go into Finale and see if I can stretch them out to make them legible.
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dershem
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PostPosted: Wed Jul 04, 2007 6:16 pm    Post subject: Reply with quote

Another very interesting book I just got (and haven't thoroughly absorbed yet) is "Cutting the Changes: Jazz Improvisation via Key Centers"
by Antonio Garcia. It's a very interesting way of approaching changes.
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Marcinkiewicz Mic G. trumpet, Custom Marcinkiewicz mpc. (Among others)
Marcinkiewicz Rembrandt flugel, Benge 8Z cornet, King 2B, Bach 36, Benge 190, Getzen 3062... many more. All Marc. mouthpieces.
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Matthew Anklan
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PostPosted: Wed Jul 04, 2007 6:40 pm    Post subject: Reply with quote

Thanks Craig!!

I'm still trying to work out the last set of patterns you showed me!!!

Thank for showing us these links! Happy 4th
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MFMeow
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PostPosted: Thu Jul 05, 2007 7:11 am    Post subject: Reply with quote

dershem wrote:
Another very interesting book I just got (and haven't thoroughly absorbed yet) is "Cutting the Changes: Jazz Improvisation via Key Centers"
by Antonio Garcia. It's a very interesting way of approaching changes.

I'm really enjoying Garcia's approach in this book as well. I'm using it as a supplement to some of the introductory Aebersold books.

To the OP: Thanks for the links! These are great.

Kirsten
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phna
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PostPosted: Thu Jul 05, 2007 12:32 pm    Post subject: Reply with quote

How do you guys phrase/articulate these patterns?
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trumper
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PostPosted: Wed Jul 25, 2007 7:54 pm    Post subject: Reply with quote

Billy B, or anyone

New to harmonic theory and the concept of playing progressions. I understand how to play a chord progression (ii-V-I) for example on keyboard but don't understand how you play the progression on a non-chord (if that's correct) instrument like a trumpet. Best guess if using the above progression as a triad in the key of C for example you'd start playing combinations of DFA , then GBD, then CEG? Add more notes if using 7th cords, etc. Like I said- a guess. Can anyone help with a beginner level explanation?

Thanks for the patterns and pointers. I hope to work up to them.
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PH
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PostPosted: Thu Jul 26, 2007 3:29 am    Post subject: Reply with quote

Great resource, Craig!

Would these sound better on an Olds Recording or on a pre-strike Elkhart Bach? Would mouthpiece gap change my ability to play these licks in all 2 keys?
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Billy B
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PostPosted: Thu Jul 26, 2007 5:06 am    Post subject: Reply with quote

trumper wrote:
Billy B, or anyone

New to harmonic theory and the concept of playing progressions. I understand how to play a chord progression (ii-V-I) for example on keyboard but don't understand how you play the progression on a non-chord (if that's correct) instrument like a trumpet. Best guess if using the above progression as a triad in the key of C for example you'd start playing combinations of DFA , then GBD, then CEG? Add more notes if using 7th cords, etc. Like I said- a guess. Can anyone help with a beginner level explanation?

Thanks for the patterns and pointers. I hope to work up to them.


The best thing you could do is listen and copy.
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Yamahaguy
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PostPosted: Thu Jul 26, 2007 11:05 am    Post subject: Reply with quote

Check this out for two pdfs with 100+ pages of info, and a bunch of
transcriptions to get into...
http://charlesmcneal.com/index.html
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altamira_28
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PostPosted: Sun Jul 29, 2007 10:44 am    Post subject: Reply with quote

trumper wrote:
Billy B, or anyone

New to harmonic theory and the concept of playing progressions. I understand how to play a chord progression (ii-V-I) for example on keyboard but don't understand how you play the progression on a non-chord (if that's correct) instrument like a trumpet. Best guess if using the above progression as a triad in the key of C for example you'd start playing combinations of DFA , then GBD, then CEG? Add more notes if using 7th cords, etc. Like I said- a guess. Can anyone help with a beginner level explanation?

Thanks for the patterns and pointers. I hope to work up to them.


Check out the topic Key Jazz Forum Threads in this forum. The first blue link is to a thread topic started a while back that goes through the Jamey Aebersold books on improvisation. Read these to get you started, and get the books the OP recommends. Good stuff...
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healey.cj
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PostPosted: Thu Jan 17, 2008 12:30 am    Post subject: Reply with quote

...

Last edited by healey.cj on Wed Jan 15, 2014 5:20 am; edited 1 time in total
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