JAZZ-SPEAK FOR THE CLASSICAL MUSICIAN

Axe: Instrument. “I just got my axe back from the repair shop.”
Blues form: A basic 12 bar blues is twelve measures with the following chord progression of dominant seventh chords:
I I I I
IV IV I I
V IV I I (V)
The feel is of three lines, the drummer will usually do a small fill at the end of each line. The chord in the 2nd measure is often a IV chord. Other chord substitutions are often used. The (V) at the end is a “turn around” chord to lead the ear back to the top. Most blues are minor. All of the chords are dominant seventh chords with the flatted 7th (C7 -- C, E, G, Bb). Improvisation can be done with the blues scale.
Blues Scale: The most basic blues scale is a pentatonic scale. The formula is:
1 3b 4 5 7b 1
Most people also add the 4#/5b so it becomes: 1 3b 4 4#/5b 7b 1
In the key of C: C Eb F F#/Gb G Bb C
Whereas in other kinds of music each chord has its own scale for improvisation, the blues scale can be used over any of the chords in a blues.
Blues Tone: Some notes in a vocal blues were a bent in the singing. The flat 3 is an approximation of this sound.
Changes: The chord progression or chord changes. (see also, “Rhythm changes”)
Chart:The written arrangement. “There are lots of great charts out there for young bands”
Chops: Not just embouchure (“That was a long gig; my chops are beat!”), but also used in reference to skill level “That guitar player has amazing chops!” meaning the guitar player can really get around on the instrument.
Chord symbols: Whereas classical chords are often indicated by upper case & lower case, jazz chords are almost always upper case. Jazz chords can be notated in ways that seem rather strange to us classical musicians:

• C minor seventh chord is notated as: C-7 or Cmi7
  
• C major 7 chord is notated as: Cmaj7 or Cma7 or C7
  
• C^11(b5) is a C 11 chord with a flatted five
  
• Bb9/D -- the “/D” means put a D in the bass
  
Chords/Scales in Improvisation: Much improvisation is done via scales; certain chords suggest certain scales. For example: when improvising on a Cmi7 chord - use a c dorian scale; C7 chord - use a C mixolydian chord (and you thought those church modes weren’t useful!!) (see “modes” for other interesting info...)
Chorus: One time through the melody. “Take two choruses for your solo” means solo over two sets of changes.
Comp: Guitar players & piano players are usually “comping”. This means they look at the chord symbol given and create an appropriate rhythm and chord voicing.
Cymbals: Which cymbal is which??
The hi-hat (or “hat”) are the two cymbals that come together with the foot pedal. This instrument is the heart of the jazz beat. The “chunk” of the cymbals coming together should be on every beat two and four.
The Ride cymbal is the next most important cymbal. It is usually the biggest and it is usually on the player’s right. It “keeps time”.
The Crash cymbal (not crash cymbals as in the two you crash together in concert band) is usually on the players left. The crash is a color instrument. The player might keep time on the ride, then hit the crash during an accent or in the “kick” or switch & keep time on the crash for a while to vary the sound.
Other cymbals, sizzles and the kind that look upside down, or the really tiny ones, are all color instruments for special effects. I discourage their use in middle school at least, so that the students can learn to use the basic instruments.
The Bell or Crown of the cymbal is the bulging part where the hole is. It can be an interesting change of sound to play on the bell.
Fill: A short drum solo to take the band into the next section.
Ghost: When you ghost a note, you play it softer & almost not there. The note is a real note, but it isn’t as full as a regular note. In reality, swing eighths are actually a ghosted note and then a regular note, rather than a regular note and then an accented note. It is sometimes marked by putting the note in parenthesizes.
Head: The basic melody. Ex: when improvising a blues, you play the head through twice, then go into an improvisation section and close out with a repetition of the head.
Horns: The section of wind instruments in the band. Singular, “horn” can refer to any of the wind instruments.
Keep Time: The basic beat that keeps the piece moving. NOT FANCY drum work - basic, steady, the foundation for the piece.
Kick or Hit: An accent from the drummer that usually occurs when the horns have a unison, accented rhythm. The hits are often printed in the music as little cues or as cymbal rhythms. Other times the drummer will hear where the punch is needed and add it. Kicks or Hits are preceded by a “set up”
Modal: Some pieces do not have clear key centers & are called “modal.” A modal tune might have changes that basically go back & forth between Dmi7 and Emi7.

Modes: Classical musicians tend to think of the modal scales (church modes) by how they relate to the major key: the dorian begins on the 2nd step, the mixolydian on the 5th, etc. Jazz musicians tend to think of them relating to the major scale of the same name: C dorian is a C major scale with flat 3 and flat 7, C mixolydian is a C major scale with a flat 7, etc.
“Rhythm Changes”: The chord progression for the George Gershwin song, “I Got Rhythm.” MANY pieces are based on the “rhythm changes” (they have the same chord progression as “I Got Rhythm”).
Rhythm Section: The rhythm section consists of the bass, piano, guitar, drum set and any auxiliary percussion or vibes.
Scales: Jazz musicians are masters of scales! Practice them lots!!
(see Chords/Scales in Improvisation)
Set up: A short drum burst that prepares the way for a kick or hit. It is often said, “set up low, kick high or set up high, kick low.” For example, if you want a high kick (because it will contrast with the low trombone line), the set up should be on the tom & bass and the kick on the crash cymbal and snare.
Set ups always end on the beat but the kick can be on or off the beat.
Shout Chorus: Just before “taking it on home” (ending the piece), the arranger (or the players in an improvised piece) will often really let go and present the tune with all stops out (whoops! organ term...). This is the shout chorus.
Trade fours (or twos): One person solos for four measures, then a second person takes over for four measures, then the first person, then the second, etc. Generally the soloists have some kind of conversation, playing off of each other’s ideas.

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Jazz for The Classical Musician -- Diane Muffitt -- muffitt@bandnotes.info