Premier Guitar - August 2009

Harmonics

From Hal Leonard Guitar Method

Jazz Guitar (00695359)

ROCK PREMIER CLINIC Jazz Intros 11 Tried-and-True Opening Riffs and Phrases

BY JEFF SCHROEDL

There are numerous ways to begin and end a jazz song. Most fake books and lead sheets usually do not include these specific elements; instead, jazz musicians either compose something on the spot or rely on a few stock phrases that most band members are likely to be familiar with.

Intros are used to establish the key and set the tempo. They can also suggest a mood and add interest to an arrangement. One of the most common ways to set up the top of a tune is to play the song’s “last eight” measures. Here are some additional tried-and-true intros.

JAZZ INTROS & ENDINGS

There are numerous ways to begin and end a jazz song. Most fake books and lead sheets usually do not include these spe- cific elements; instead, jazz musicians either compose something on the spot or rely on a few stock phrases that most band members are likely to be familiar with.

INTROS

Intros are used to establish the key and set the tempo. They can also suggest a mood and add interest to an arrangement. One of the most common ways to set up the top of a tune is to play the song’s “last eight” measures. Here are some additional tried-and-true intros.

I–vi–ii–V…
INTROS & ENDINGS

There are numerous ways to begin and end a jazz song. Most fake books and lead sheets usually do not include these spe- cific elements; instead, jazz musicians either compose something on the spot or rely on a few stock phrases that most band members are likely to be familiar with.

INTROS

Intros are used to establish the key and set the tempo. They can also suggest a mood and add interest to an arrangement. One of the most common ways to set up the top of a tune is to play the song’s “last eight” measures. Here are some additional tried-and-true intros.

I–vi–ii–V…
INTROS & ENDINGS

There are numerous ways to begin and end a jazz song. Most fake books and lead sheets usually do not include these spe- cific elements; instead, jazz musicians either compose something on the spot or rely on a few stock phrases that most band members are likely to be familiar with.

INTROS

Intros are used to establish the key and set the tempo. They can also suggest a mood and add interest to an arrangement. One of the most common ways to set up the top of a tune is to play the song’s “last eight” measures. Here are some additional tried-and-true intros.

& b

4

4j oe

. . . oe oe oe Fmaj7

& b

4

4j oe

. . . oe oe oe Fmaj7

& b

4

4j oe

. . . oe oe oe Fmaj7

I-vii-ii-V...

˙ ˙ ˙ ˙

Dm7
˙
˙
˙
˙

Dm7

˙ ˙ ˙ ˙

Dm7

T A B T A B T A B

10 9 10

8

10 9 10

8

10 9 10

8

6

5

7

5

6

5

7

5

6

5

7

5

. . .

. oe oe oe

oe
Gm7

3

3

3

3

. . .

. oe oe oe

oe
Gm7

3

3

3

3 . . .

. oe oe oe

oe
Gm7

3

3

3

3

j oe oe oe oe

. . . . oe oe oe oe C9

TRACK 84

j oe oe oe oe

. . . . oe oe oe oe C9

TRACK 84

j oe oe oe oe

. . . . oe oe oe oe C9

TRACK 84

j oe oe oe

oe

Am7

˙ ˙ ˙

˙ j

oe oe oe

oe
Am7

˙ ˙ ˙

˙ j

oe oe oe

oe
Am7

˙ ˙ ˙

˙

. . .

. oe oe oe

oe
b

b b A¯ 7

. . .

. oe oe oe

oe b

b b

A¯ 7

. . .

. oe oe oe

oe b

b b

A¯ 7

j oe oe oe

oe

Gm7

3

3

3

3

. . .

. oe oe oe

oe j

oe oe oe

oe
Gm7

3

3

3

3

. . .

. oe oe oe

oe j

oe oe oe

oe
Gm7

3

3

3

3

. . .

. oe oe oe

oe

j oe oe oe oe

‰
.
.
.
.
oe
oe
oe
oe
b
C9 C7¯ 9

to F

j oe oe oe oe

‰
.
.
.
.
oe
oe
oe
oe
b
C9 C7¯ 9

to F

j oe oe oe oe

‰
.
.
.
.
oe
oe
oe
oe
b
C9 C7¯ 9

to F

3

3

2

3

3

3

2

3

3

3

2

3

5

5

5

5

5

5

5

5

5

5

5

5

4

5

4

4

4

5

4

4

4

5

4

4

3

3

2

3

3

3

2

3

3

3

2

3

2

3

2

3

2

3

2

3

2

3

2

3

j oe oe oe

.oe .oe

F/G

1 2 3

33

let ring throughout

j oe oe oe

.oe .oe

F/G

1 2 3

33

let ring throughout

j oe oe oe

.oe .oe

F/G

1 2 3

33

let ring throughout

Pedal on V

TRACK 85

TRACK 85

TRACK 85

PEDAL ON V PEDAL ON V PEDAL ON V

& 4 4 & 4 4 & 4

4

j

oe j oe oe oe

.oe j

oe j oe oe oe

.oe j

oe j oe oe oe

.oe

.oe .oe .oe

j

oe j oe oe oe

.oe j

oe j oe oe oe

.oe j

oe j oe oe oe

.oe

.oe .oe .oe

to C to C to C

T A B T A B T A B

3 33

1

2

3

1

2

3

1

2

3

3 33

3 33

3 33

1

2

3

1

2

3

1

2

3

3 33

3 33

j oe oe oe oe

oe b b G7

1

2

1

3

3 w w w w

w ¯ 9

¯ 5 j oe oe oe oe

oe
b
b
G7

1

2

1

3

3 w w w w

w ¯ 9

¯ 5 j oe oe oe oe

oe
b
b
G7

1

2

1

3

3 w w w w

w ¯ 9

¯ 5

I-%VII Vamp

I–¯VII VAMP I–¯VII VAMP I–¯VII VAMP

& 4

4 & 4

4 & 4 4

.

.

. . .

. oe oe oe

oe b C13

.

.

. . .

. oe oe oe

oe b

C 13

.

.

. . .

. oe oe oe

oe b

C 13

J oe oe oe

oe

10 9 8 8 J oe oe oe

oe

10 9 8 8 J oe oe oe

oe

10 9 8 8

Ó Ó Ó

. . .

. oe oe oe

oe b

b
j
oe
oe
oe

oe Ó

B¯ 13

TRACK 86

. . .

. oe oe oe

oe b

b
j
oe
oe
oe

oe Ó

B¯ 13

TRACK 86

. . .

. oe oe oe

oe b

b
j
oe
oe
oe

oe Ó

B¯ 13

TRACK 86

T A B T A B T A B

.

.

10 9 8 8

.

.

10 9 8 8

.

.

10 9 8 8

8

7

6

6

8

7

6

6

8

7

6

6

8

7

6

6

8

7

6

6

8

7

6

6

. .

.

. to C

. .

.

. to C

. .

.

. to C

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