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Brubeck Dave Jazz Impressions of Japan

This document is a music transcription of the album 'Jazz Impressions of Japan' by the Dave Brubeck Quartet, edited for solo piano by Howard Brubeck. It includes six pieces that reflect Brubeck's impressions from his 1964 tour of Japan, along with suggested fingerings and chord symbols for improvisation. The content is aimed at assisting pianists in learning the music and understanding jazz improvisation techniques.
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© © All Rights Reserved
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0% found this document useful (0 votes)
71 views42 pages

Brubeck Dave Jazz Impressions of Japan

This document is a music transcription of the album 'Jazz Impressions of Japan' by the Dave Brubeck Quartet, edited for solo piano by Howard Brubeck. It includes six pieces that reflect Brubeck's impressions from his 1964 tour of Japan, along with suggested fingerings and chord symbols for improvisation. The content is aimed at assisting pianists in learning the music and understanding jazz improvisation techniques.
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF, TXT or read online on Scribd
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CONTENTS
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Rising Sun
Tokyo Traffic
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6
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The City Is Crying
OsakaBlues
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23
30
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Fujiyama
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The music in this collection has been extracted from the )
Columbia Records album of the Dave Brubeck Quartet
entitled, "Jazz Impressions of Japan". These tunes repre-
sent Dave Brubeck'spersonalimpressions from the Quartet's
tour of Japan,Spring, 1964.The splendidjob of transcribing
and editing these piecesfor solo piano was done by Dave's
lr
brother, Hou'ard Bnrbeck. a highlv respected composer,
arranger,and editor. l|
All six selections included in this volume contain Dave
Brubeck'spiano improvisationsin their entirety.In addition,
five of the six pieces contain the complete improvisations
l|
of the Quartet's masterful alto saxophonist,
Paul Desmond.

In order to assistthe pianist, suggestedfingering has been


l|
given, and optional cuts have been provided in the event
that the player wishes to avoid the more difficult improv-
isations. )

Chord s-vmbolshave been included in order to help show


the student of iazz improvÍsationhow the accomplishedjazz
musician improvises within the framework of the chords
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on which each theme is based. Furthermore, the symbols
serve as a point of reference for the player who wishes to
undertake his own improvisation on these most attractive
themes.
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The Jazz lmprovisationSeries By John Mehegan
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1.TonalandRhythmicPrincrpies PreÍaceby LeonardBernstein
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T h e Í u n d a m e n t a l m u s i c a l c o n c e p t su s e d b y e v e r y g r e a i j a z z m u s i c i a nf r o m B u d d y B o l d e nt o D i z z y G i l l e s p i e .
H e r e í o r s t u d e n t s ,p r o Í e s s i o n aal n d a m a t e u r m u s i c i a n s ,a n c j s e r i o u sj a z z e n t h u s i a s t sa r e m o r e t h a n 7 0 l e s s o n s
t h a t C e f i n ea n d c l e a r l ys y s t e m a t i z et h e b a s i c p r i n c i p l e so Í j a z z - u s i n g m o r e t h a n 6 0 j a z z s t a n d a r d sa s e x a m p l e s :
I
" L a u r a , " " B o d y a n d S o u l , " " S p r i n g i s H e r e , " " S t e l l a b y S t a r l i g h t , "" A u t u m n i n N e wY o r k , " " R o u n dM i d n i g h t , "
a n d o t h e r s b y s u c h l e a d i n gc o m p o s e r sa s G e r s h w i n ,R o d g e r s ,P o r t e r ,E l l i n g t o na n d K e r n . " A h i g h l y i m p o r t a n t
a n d v a l u a b l e p u b l i c a t i o n , " - L e o n a r dB e r n s t e i ni n t h e p r e Í a c e ." A g r e a t b o o k . " - D a v e B r u b e c k ." F u l f i l l s a
t
d e s p e r a t en e e d . " - O s c a r P e t e r s o n ." A m o s t v a l u a b l ev o l u m e . " - A n d r é P r e v i n ." T h e Í i n e s t o r g a n i z a t i o no ' í i a z z
m a t e r i a lt h a t I h a v es e e n . " - B i l l E v a n s .
t
2. Jazz Rhythm and the lmprovised Line prerace Arren
byHarord
A b r i l l i a n t a n a l y s i sa n d s c h e m a t i ch i s t o r y o f t h e s e t w o s u p r e m e l yi m p o r t a n t Í a c e t s o ' f j a z z . M a n y f i g u r e d b a s s
l i n e s a n d s o l o s a r e g i v e n f o r d o z e n so f w e l l ' k n o w nt u n e s o f a l l p e r i o d s - " H i g h S o c i e t y , "" O h , D a d d yB e G o o d , "
t
" J u s t Y o u , J u s t M e , " " l C a n ' t G e t S t a r t e d , "" N i g h t i n T u n i s i a , " " B e r n i e ' sT u n e " a n d o t h e r s - a s w e l l a s 2 9
t r a n s c r i p t i o n so f p e r Í o r m a n c e sr e c o r d e dí r o m 1 9 2 3 t o i 9 5 8 b y s u c h a r t i s t s a s B e s s i eS m i t h , L o u i sA r m s t r o n g ,
B i x B e i d e r b e c k eR, o y E l d r i d g e A , r t T a t u m , B u d P o w e l l ,C h a r l i eP a r k e r ,D i z z yG i l l e s p i eM , i l e s D a v i s ,S t a n G e t z ,
I
t
H o r a c eS i l v e r ." J o h n M e h e g a ni n t h i s b o o k c o n t i n u e st h e h i g h s t a n d a r d so Í i a z zt e a c h i n gh e h a s s e t p r e v i o u s l y
i n a f i e l d t h a t n e e d st h e s e s t a n d a r d ss o b a d l y . " - N a t H e n t o Í Í .

PreÍaceby
3. SwingandEarlyProgressivePianoStyles HoraceSilver
A n a n a l y s i so f t h e g r e a tp i a n os t y l e so Í 1 9 3 6 t o 1 9 5 0 , a p e r i o do f c r e a t i v eÍ e r m e n tw h i c hs a wt h e c u l m i n a t i o no Í
i h e r a g ' t i m e t r a c j i t i o na n d i t s d e s t r u c t i o na n d r e p l a c e m e n tb y t h e i n n o v a t i o n so í t h e " b o p " e r a . T h i s v o l u m e
t
e x a m i n e st h e s t y l i s t i cs t r u c t u r eo Í o v e r Í i Í t y m a j o r p e r Í o r m a n c e sb y t h e f i v e g r e a t e s tj a z z p i a n i s t so Í t h e p e r i o d -
T e d d y W i l s o n , A r 1 T a t u m , B u d P o w e l Í ,G e o r g eS h e a r i n g ,H o r a c e S i l v e r - g i v i n g i n u n p r e c e d e n t e d e t a i l t h e i r
y p r o v i s a t i o nosn t h e b a s i cs o n g so f t h e l a z z r e p e r t o i r e", B r i n g s t o t h e a s p i r i n gj a z z m u s i c i a na
e x t r a o r d r r r a ri m
h e l p i n gh a n d t h a t w i l l p r - rht i m o n t h e r i g h t t r a c k . " - H o r a c e S i l v e ri n t h e p r e Í a c e .
t
4. ContemporaryPianoStyles t
A r i c h , i n s t r u c t i v es u r v e yo Í t h e h r s t o r yo Í j a z zp i a n oÍ r o m 1 9 5 0 t o t h e p r e s e n w
t i t h c l e a ra n d s y s t e m a t i ac n a l y s e s
c Í t h e s t y l e s o f s u c h l e a d i n gÍ i g u r e sa s O s c a r P e t e r s o n ,B i l l E v a n s ,G e o r g eS h e a r i n gA

m o d e s ,s o l o p i a n o ,c o r n p i n g ,t u r n a r o u n d s ,m o d e r n Í u n k y p i a n o ,h a r m o n i cd i s t o r t i o n sm
, h m a dJ a m a l , H o r a c e
S i l v e r ,R e d G a r l a n d ,C e c i l T a y l o r a n d m a n y o t h e r s . A b u n d a n t i l l u s t r a t i c n so f l e f t h a n d v o i c i n g s ,r i g h t h a n d
, o d a l f o u r t h s ,m i n o r
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b l u e s ,a n d m o d a l f r a g m e n t sp r : a b l et h e s t u d e n tt o a p p l y m o d e r nd e v i c e st o h i s p e r s o n a sl t y l e .
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