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大摇大摆1940‘s ---- 回归JAZZ、SWING、GANGSTER、BIG BAND的经典年代
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&&&&&爵士乐与摇摆舞以其自发即兴、节奏明快等微妙成分使舞者以及观众兴奋愉悦。城市日益繁华，生活压力也日渐严重，学习跳摇摆舞或者只是欣赏一场爵士表演都能够在不同程度上起到有益的减压作用——这次回归经典时代的爵士之夜也正回应了后经济危机时代人们对浪漫的需求。 演出时间：6月26日21:00开始 演出地点：两个好朋友酒吧 演出安排： 21:00-21:45 摇摆舞体验教学 21:45-22:30 JERRY SWING BAND 22:30-23:30 摇摆舞表演 23:30-00:30 DH & Chinese Hellcats 00:30-02:00 FREE DANCE 门票：50元（含小礼物一份） Jerry Band介绍: Jerry Band 成立于2008年，是来自美国的吉他手Jerry组建的 乐队成员都曾在北京大乐队里演奏大家都对Swing 非常熟悉。Jerry Swing Band 乐队是一支纯正的二三十年代Swing风格，Jerry还是位非常棒的歌手。每一次演出都会吸引很多北京的Swing Dancer们都会随着乐队的节奏偏偏起舞。 DH & Chinese Hellcats介绍： /artist/dh/
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爵士乐资料(颖专用)
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爵士乐资料(颖专用)
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Jazz&is&not&just&&Well,&man&this&is&what&I&feel&like&playing.&&It's&a&very&structured&thing&that&comes&down&from&a&tradition&and&requires&a&lot&of&thought&and&study.&-Wynton&Marsalis&
细谈《Intro to Jazz Notes for Music to Part 1 ~ 》中第三首St. Louis Blues (有试听!)
Bessie Smith 演唱Louis Armstrong演奏cornet （短号。逐渐人们就不用cornet短号，用trumpet小号）Fred Longshaw演奏reed organ（簧风琴）
Blues 这个概念既可以指structure（曲式结构）又可以指scale(音阶）。
Blues曲式是指 12 bars form（十二小节结构）
&12个小节作为一组反复演奏。
音节是指pentatonic(Blues五音音阶）
（wiki:& Minor Pentatonic scale on A)&&&
接下来是歌曲分析这里trumpet/cornet（小号） 的声音是mute 处理，也就是在小号的底部装一个东西，让它的声音有些变化。不同的mute（哑音装置）会有不同的效果。一个很有名的例子是Miles Davis 用的Harmon mute, 所吹出的声音已经成为Miles很标志性的声音了，以至于他后来的小号手很少用Harmon mute 。经过Harmon mute出来的声音有种cool 凉凉的感觉。Miles身为Cool Jazz的代表人物，这样的凉凉的声音再适合不过啦。
Miles Davis （大家注意小号底部的那个东西）
(Wiki: Mute)
扯得有点远了，，总之20年代就很流行用mute啦
继续来说St. Louis Blues仔细听Bessie的演唱和Louis演奏小号，就像两个人在对话,一问一答。这个jazz中很常用一种方式,称为call & response.为什么小号在这里是作为主音乐器呢?一般器乐分类为两个部分 front line和rhythm sectionrhythm section（节奏部分）指那些让最让感觉到节奏的律动的乐器，比如鼓，钢琴，贝斯（其实也可以有旋律性），banjo( 班卓琴）,tuba(大号）front line 那些与rhythm section相对的，没有强烈的节奏感的，比如(saxophone)萨克斯风，(clarinet)单簧管, (trumpet)小号，（trombone)长号, 还有人的嗓音
小号和人的声音都属于front line, 所以小号在这里扮演的角色是和人声形成一问一答的对话感。
最后附上这首歌的MV，1929年的黑白MV&
Intro to Jazz
Notes for Music to Part 1
~ 最经典的曲子
来自McGill爵士入门课的notes
1. Carolina Shout James P. Johnson piano, recorded October 1921.Johnson reveals his incredible energy and rhythmic strength in one of his greatest performances. This is an excellent example of stride piano playing combined with a balanced melodic and harmonic sense.
2. The Meanest Kind O& Blues Recorded Aug. 29 1924Fletcher Henderson and his OrchestraFletcher Henderson, Elmer Chambers, Howard Scott, Teddy Nixon, Don Redman, clarinet, alto sax, Lonnie Brown, Coleman Hawkins, Charlie Dixon, Ralph Escudero,
Kaiser Marshall, drums.Don Redman, one of the earliest arrangers in jazz, started playing music at an early age and was proficient on many instruments. His writing provides plenty of room for the soloists, and early example of call and response between reeds and brass, dynamic control and tonal shadings using mutes and percussion.
3. St. Louis Blues New York Jan. 1925.Bessie Smith, Louis Armstrong, Fred Longshaw, reed organ
4. Black Bottom Stomp Chicago Sept. 1926Jelly Roll Morton&s Red Hot Chili Peppers: Morton, piano, George Mitchell, Kid Ory, Omer Simeon, Johnny St. Cyr, John Lindsay, Andrew Hillaire, drums.
5. Sidewalk Blues Chicago Sept 1926.Jelly Roll Morton&s Red Hot Chili Peppers: Morton, piano, George Mitchell, Kid Ory, Omer Simeon, Johnny St. Cyr, John Lindsay, Andrew Hillaire, drums.
6. Pep July 1929Jelly Roll Morton, solo piano.
7. Cornet Chop Suey
8. Muskrat Ramble Chicago Feb. 1926Louis Armstrong, cornet, Kid Ory, Johnny Dodds, clarinet, Lil Hardin Armstrong, Johnny St. Cyr, banjo. Louis& opening trumpet statement in Cornet Chop Suey reveals his rhythmic sophistication and flair. Also of note is the use of &stop-time& for Louis& main solo. Muskrat Ramble begins with a classic New Orleans style intro, then continues with some of Kid Ory&s best work, a solo from Louis with rhythm section, and a finish in the New Orleans style.
9. Potato Head Blues
10. S.O.L. Blues Chicago May 1927Louis Armstrong, cornet, John Thomas, trombone, Johnny Dodds, clarinet, Lil Hardin Armstrong, Johhny St.Cyr, Pete Briggs, Warren &Baby& Dodds, drums. The excerpt of Louis& solo on S.O.L. Blues begins with him hitting a high note, playing a run, then returning to the high note, playing a run of notes, and returning the high note, etc. He demonstrates perfectly a &Question and Answer& approach to his improvising. In Potato Head Blues, he reveals a brilliant rhythmic sense during his stop-time solo.
11. West End Blues Chicago June 192812. Basin Street Blues Chicago Dec. 1928Louis Armstrong, cornet, Fred Robinson, Jimmy Strong, clarinet, Earl Hines, Mancy Carr, Zutty Singleton, drums. West End Blues contains the famous cadenza which critic Gunther Schuller says epitomizes jazz playing. Earl Hines provides an inspired piano solo, full of his own rhythmic invention, decoration, and harmonic imagination. We hear the &Questions and Answers& between clarinet and vocal, culminating with Louis& long high note. Basin Street Blues features an unusual introduction on celeste by Hines, and Hines Louis& solo begins very simply with some implied double-time sophistication. The classic New Orleans style finish is altered by a return to celeste.
13. Weather Bird Chicago Dec. 1928Louis Armstrong, Earl Hines, piano. This remarkable duet features incredibly nimble playing from Louis, while Earl Hines scrambles to provide just the right balance of interplay and rhythmic support. At times his accompaniment is like a dance, and Louis provides us with an example of just how quick-witted he was able to be under inspired conditions.
14. Singin& The Blues Feb. 1927 (a)15. Royal Garden Blues May 1927 (a)16. In A Mist Sept. 1927 (b)(a) Frankie Trumbauer, C Melody Saxophone, Bix Beiderdecke, Bill Rank, Jimmy Dorsey, alto sax, Paul Mertz, piano, Eddie Lang, banjo, Chauncey Morehouse, drums.(b) Bix Beiderbecke, composer, solo piano.
17. I&ve Found A New Baby Sept. 1932Sidney Bechet, Tommy Ladnier, Teddy Nixon, trombone, Hank Duncan, Wilson Myers, Morris Morland, drums. This selection highlights Bechet&s prodigious technique and fertile imagination. He reflects the ragtime style in his arpeggiated runs and syncopated phrases.
18. Indian Summer Feb. 1940Sidney Bechet, Sonny White, Charlie Howard, Wilson Myers, Kenny Clarke, drums. This piece showcases Bechet&s ability to really play a melody lyrically. His improvisation is filled with harmonic sophistication. Also of interest are the bowed quarter notes on the bass during the opening melody, and the presence of future bebop drumming master Kenny Clarke.
19. A Handful of Keys March 1929.Fats Waller, solo piano.
20. Honky Tonk Train Blues 1929Meade &Lux& Lewis, piano. This is one of the earliest recorded examples of Boogie Woogie piano style. Boogie Woogie usually featured a juxtaposition of difficult rhythmic var a steady repeated pattern in the left hand with various polyrhythmic phrasings in the right hand.
21. Black Beauty Oct. 1928Duke Ellington, solo piano.
22. Night Life Chicago April 1930Mary Lou Williams, solo piano. Williams was born in Atlanta Georgia in 1910. She became a professional musician while she was still a minor, and joined Andy Kirk and his Clouds of Joy in 1929 as pianist and arranger. Soon she was arranging for other band leaders as well, including Benny Goodman, Earl Hines, and Tommy Dorsey. She later became an important contributor to the bebop movement, and was closely associated with Thelonious Monk and Bud Powell.
23. The Mooche Oct. 1928Duke Ellington, piano, arranger, leader. Arthur Whetsol, Bubber Miley, Joe &Tricky Sam& Nanton, Johnny Hodges, clarinet, alto an Harry Carney, clarinet, alto and Barney Bigard, clarinet Fred Guy, Lonnie Johnson, Wellman Braud, Sonny Greer, drums.
24. Rockin& in Rhythm Nov. 1930Duke Ellington, piano, arranger, Arthur Whetsol, Freddie Jenkins, Cootie Williams, Joe &Tricky Sam& Nanton, Juan Tizol, Johnny Hodges, clarinet, soprano, Harry Carney, clarinet, alto, Barney Bigard, clarinet, Fred Guy, Wellman Braud, Sonny Greer, drums, Cootie Williams, vocal.
25. Rexacious
26. Lazy Man Shuffle Dec. 1936Duke Ellington, Rex Stewart, Lawrence Brown, Johnny Hodges, alto an Harry Carney, clarinet an Ceele Burke, Billy Taylor, Sonny Greer, drums.27. Caravan
28. Clouds In My Heart Dec. 1936Duke Ellington, Cootie Williams, Juan Tizol, Barney Bigard, Harry Carney, Billy Taylor, Sonny Greer, drums.Note the differing nature of each piece, and the way that Duke used different players to bring out different nuances. In Lazy Man Shuffle, Ceele Burke combines the slide blues guitar technique with amplification to produce a unique sound. The beat-style arrangement is reminiscent of Jimmie Lunceford. The piece ends simply with guitar and drums, unusual for that time. Clouds In My Heart provides a completely different soun the clarinet melody and ensemble phrasing, the &questions and answers& with clarinet and brass, and Cootie William&s Louis-influenced solo all work to show a very different side to the band. Caravan features Tizol&s valve trombone and Duke&s use of pedal point riff provide a Middle Eastern quality. Cootie Williams muted growl and Barney Bigard&s thorough knowledge of harmony are all featured in this work, which ends innovatively with a fade-out.
29. Sugar Foot Stomp April 1931Fletcher Henderson, piano, bandleader, Russell Smith, Bobby Stark, Rex Stewart, Claude Jones, Benny Morton, Russell Procope, Harvey Boone, clarinet Coleman Hawkins, Clarence Holiday, John Kirby, Walter Johnson, drums.
30. Down South Camp Meetin& Sept. 1934Fletcher Henderson, piano, bandleader, Russell Smith, Irving Randolph, Henry &Red& Allen, Claude Jones, Keg Johnson, Buster Bailey, Russell Procope, Hilton Jefferson, clarinet Ben Webster, Lawrence Lucie, Elmer James, Walter Johnson, drums.
31. Walkin& and Swingin& March 1936Andy Kirk and his Clouds of Joy: Harry Lawson, Paul King, Earl Thompson, Ted Donnelly, Henry Wells, John Harrington, John Williams, Dick Wilson, Mary Lou Williams, piano, Ted Robinson, Claude Williams, Booker Collins, Ben Thigpen, drums.This selection features the arranging, composing and piano skills of Mary Lou Williams. Kirk&s ensemble was one of the most prominent &territory& bands that toured exhaustively throughout the Midwest, and was centered in Kansas City. The pronounced swing and syncopation, call and response, and longer lines of eighth notes, all contribute to a fresh and innovative performance.
32. T&Aint What You Do Jan. 1939Sy Oliver, Jimmy Lunceford and his Orchestra: Eddie Tompkins, Paul Webster, Sy Oliver, Elmer Crumbley, Russel Bowles, Trummy Young, vocal, Willie Smith, Earl Carruthers, clarinet, Ted Buckner, Dan Grisson, Joe Thomas, clarinet, Edwin Wilcox, Al Norris, Moses Allen, Jimmy Crawford, drums. Solos: Young, Smith, Crawford.This band is associated with a strong beat and this piece is no exception. The band is a tight cohesive ensemble with very uniform phrasing. The vocal call-and-responsepatterns demonstrate the idea of arranging between sections. The three sections play riffs against each other, and we hear a drum solo with a bass line--very unusual for the time.
33. Lonesome Nights August 1940Benny Carter, arranger. Cab Calloway and his Orchestra. Mario Bausa, Lamar Wright, Dizzy Gillespie, Tyree Glenn, Quentin Jackson, Keg Johnson, Jerry Blake, clarinet, Hilton Jefferson, Andrew Brown, alto, Chu Berry, Walter Thomas, Bennie Payne, Danny Barker, Milt Hinton, Cozy Cole, drums.Solos: Berry, Payne, Berry.This arrangement represents Carter&s investigation of new harmonic movement, while retaining a sense of simplicity. Even though the chord structure is more modern, Chu Berry glides effortlessly through the piece. We hear a harmonized sax soli with arpeggiation and there is the dynamic contrast of muted trumpets and rhythm with saxes.
34. Honeysuckle Rose
35. One O&Clock Jump
Count Basie and his Orchestra: Buck Clayton, Joe Keyes, Carl Smith, Dan Minor, George Hunt, Lester Young, Herschel Evans, clari Caughey Roberts, Jack Washinton, alt Count Basie, Claude Williams, guitar, Walter Page, Jo Jones, Jimmy Rushing, vocal.
36. Lady Be Good Oct. 1936Count Basie, Lester Young, Carl Smith, Walter Page, Jo Jones, drums.
37. I Want To Be Happy 1946Lester Young, Nat &King& Cole, Buddy Rich, drums.This bassless trio recorded for Norman Granz in 1946 and the session probably contains some of the best later Prez. Nat &King& Cole is perfect in his accompaniment, interplay with Lester and Buddy, and in his time-keeping role.
38. I&ll Never Be the Same June 1937Billie Holiday, Lester Young, Buster Bailey, Buck Clayton, Teddy Wilson, Freddie Greene, Walter Page, Jo Jones, drums.39. When You&re Smiling Jan. 1938Billie Holiday, Lester Young, Buck Clayton, Benny Morton, Teddy Wilson, Freddie Greene, Walter page, Jo Jones, drums.40. The Man I Love Dec. 1939Billie Holiday, Lester Young, Jack Washington, Buck Clayton, Harry &Sweets& Edison, Joe Sullivan, Freddie Greene, Walter Page, Jo Jones, drums.
41. Wabash Stomp Jan. 1937Roy Eldridge, Scoops Carry, Joe Eldridge, Dave Young, Teddy Cole, John Collin, Truck Parham, Zutty Singleton, drums.
42. After You&ve Gone
43. Body and Soul July 1935Benny Goodman, Teddy Wilson, Gene Krupa, drums.44. Dinah Aug. 1936Benny Goodman, Lionel Hampton, Teddy Wilson, Gene Krupa, drums.The unusual combination of instruments in both the trio and quartet drew attention to this ensemble, originally formed to play in intermissions between sets at a dance or concert. The glue that held everything together musically was Teddy Wilson, whose perfect sense of time and accompaniment, combined with flawless piano technique, provided an ideal balance of support and interplay. Goodman, known as a perfectionist, provided an ideal compliment to Krupa, whose frenzied rhythmic forays brought out the best in each musician&s soloing. Lionel Hampton, playing the vibraphone, showed that a novelty instrument could be musical, and the instrumentation of the quartet, along with the carefully laid out arrangements, allowed people to see this ensemble as the first &chamber jazz group.&
45. Body and Soul Oct. 1939Coleman Hawkins, Tommy Lindsay, Joe Guy, Jackie Fields, Eustis Moore, Gene Rodgers, William Oscar Smith, Arthur Herbert, drums. This recording is regarded by many critics and musicians alike as being one of the finest jazz recordings ever made. Hawkins is very much in the spotlight, anticipating some improvisational discoveries usually associated with the Bebop movement.46. I Can&t Believe That You&re In Love With Me
Coleman Hawkins, Roy Eldridge, Benny Carter, Bernard Addison, John Kirby, Sid Catlett, drums. May 1940.
47. When Lights Are Low Sept 1939Lionel Hampton, Benny Carter, Ben Webster, Chu Berry, Coleman Hawkins, Dizzy Gillespie, Charlie Christian, Clyde Hart, Milt Hinton, Cozy Cole, drums.
48. Parfum April 1937Django Reinhardt, solo guitar.49. Tears April 1937Django Reinhardt, Stephane Grapelli, Joseph Reinhardt, Pierre Ferret, Marcel Bianchi, Lucien Simoens, bass.
50. Day Dream November 1940Johnny Hodges, Cootie Williams, Lawrence Brown, Harry Carney, Duke Ellington, Jimmy Blanton, Sonny Greer, drums.This arrangement and composition by Billy Strayhorn showcases Hodges incredible sound and vocal-like approach to playing a ballad.
51. Stardust Oct. 1940Artie Shaw Big Band with Strings, featuring solos by Dick Clark, tenor sax, and Billy Butterfield, trumpet. Two things are important about this selection: first, the fine solo work of Artie Shaw, clarinet, who was very sophisticated harmonically and rhythmically and second, the inclusion of strings and woodwinds in a jazz band. Shaw was very interested in pushing the boundaries of accepted jazz practices, and he was always searching for new sounds. His improvising with strings probably influenced Charlie Parker when he recorded with strings almost ten years later.
52. Seven Come Eleven Nov. 1939Benny Goodman, Lionel Hampton, Charlie Christian, Fletcher Henderson, Artie Bernstein, Nick Fastool, drums.
53. Wholly Cats Nov. 1940Benny Goodman, Charlie Christian, Cootie Williams, trumpet, Georgie Auld, Count Basie, Artie Bernstein, Harry Jaeger, drums.With the arrival of Charlie Christian on electric guitar, people heard that a new force was on the scene. He tried to emulate the sound of Lester young, using Lester&s phrasing and sense of adventure, combined with the new sound of the electric guitar to achieve this. Christian was gifted with a highly developed imagination and his solos are freer rhythmically than those of his peers. In addition, he found new ways to imply harmony in his solos, and lengthened his lines to enhance the saxophone effect. His musical output, although minimal, has shown him to be the &link& between the Swing and Bebop styles.
54. Humoresque Feb 194055. Yesterdays 1955Art Tatum, solo piano. These selections reveal Tatum&s flawless technique, his playful imagination and his ability to provide a wide range of expressiveness from popular songs of the time.
节奏练习，摇摆！（一个学期没有更新，现在补上来~）
&&&爵士乐里swing（摇摆）的感觉是怎么来的？
我们拿一对八分音符& ：
在爵士乐里通常不把它理解为两个音值相等的八分音符，而是将它理解为三连音。
把以第一个八分音符变长，把第二个变短。
先打三拍子的节奏，习惯之后把前两个音连在一起，这样就有了爵士的摇摆的感觉~：）
跟着这些曲子打打拍子，摇摆起来吧~
1.Les Brown - I've Got My Love to Keep Me Warm
2. Duke Ellington & His Orchestra - Take the a Train
3. Glenn Miller-In The Mood
&4. Billie Holiday-Lover Man (Oh Where Can You Be)
&这里有个清单 &
，有兴趣的话可以一首首听过来~
&1. Sing, Sing, Sing - Benny Goodman & His Orchestra (1937)
&&2. Take The A Train - Duke Ellington (1941)
&&3. In The Mood - Glenn Miller Band (1939)
&&4. Begin The Beguine - Artie Shaw & His Orchestra (1938)
&&5. Lover Man (Oh Where Can You Be) - Billie Holiday (1944)
&&6. White Christmas - Bing Crosby (1942)
&&7. Stardust - Artie Shaw & His Orchestra (1940)
&&8. I'll Never Smile Again - Tommy Dorsey Orchestra w/Frank Sinatra & the Pied Pipers (v) (1940)
&&9. Mack The Knife - Louis Armstrong (1955)
10. Chattanooga Choo-Choo - Glenn Miller Band, w/Tex Benecke & The Modernaires (v) (1941)
11. String of Pearls - Glenn Miller Band (1942)
12. Bei Mir Bist Du Schon - The Andrews Sisters (1937)
13. Boogie Woogie Bugle Boy - The Andrews Sisters (1941)
14. At The Woodchoppers Ball - Woody Herman Orchestra (1939, Decca)
15. Jumpin' At The Woodside - Count Basie Orchestra (1938)
16. T'Ain't Whatcha Do - Jimmie Lunceford Band (1939)
17. One O'Clock Jump - Count Basie Orchestra (1937)
18. Flying Home - Lionel Hampton Band (1942)
19. Blues In The Night - Woody Herman w/his Orchestra (v) (1941)
20. Tenderly - Randy Brooks & His Orchestra (1946)
21. Sentimental Journey - Les Brown Band w/Doris Day (v) (1945)
22. Sometimes I'm Happy - Lester Young (I) (1943)
23. Don't Be That Way - Benny Goodman Orchestra (1938)
24. Stardust - Charlie Spivak Orchestra (1943-aircheck)
25. The Blues My Naughty Sweetie Gives To Me - Sidney Bechet & His Hot Six (1951)
26. Satin Doll - Duke Ellington & His Orchestra (1953)
27. Solitude - Billie Holiday (1940)
28. Why Don't You Do Right? - Benny Goodman Band w/Peggy Lee (v) (1942)
29. The Man I Love - Benny Goodman Quartet (I) (1937)
30. Over The Rainbow - Judy Garland (1939)
Ken Burns Jazz EP01 Gumbo
爵士纪录片，非常好的片子~爵士课一开始教授让我们看这个~
第三课--改变歌词（Let's scat!）
Scat：& 演唱风格独奏即兴旋律感性，拟声（&制造相当于独奏乐器的声音&【1】)，和无意义音节代替文字。&【2】
我们不再唱歌曲里既定的歌词，而是用无意义的音节来代替歌词。比如 sa ba you ya du ben da la...
最经典的一首大概就是It don&t mean a thing，曲名就说白了。这里是Ella Fitzgerald版的。&
我在加拿大打不开这个网页，不知道到底能不能听，如果不能，还有另一首。（Ella 有太多Scat经典。）Ella Fitzgerald 的One Note Samba (Samba de Uma Nota S&)&
刚刚在听王菲的浮躁，里面也用到了这种无意义syllable. &以 Wordless Scat式 的 演 唱 ， 将 主 唱 歌 声 融 入 音 乐 中 的 Ambience 从 而 构 成 那 独 特 之 音 墙 效 应 ， 一 直 以 来 都 是 英 籍 乐 团 Cocteau Twins为 人 所 称 道 （ 或 摒 弃 ） 之 处。&【3】&
王菲《浮躁》
Cocteau twins & Carolyn's fingers&&
言归正传到爵士scat。这些音节按理说怎么选择都行。如果没有灵感了，Bob Stoloff 的&Scat! Vocal Improvisation Technoloques&里提供了各种常用的scat音节练习。&
【下载：】如果搞不定可以来找我要，留言就行。：）&
如果唱拉丁爵士会就用到不太一样的音节，比如西班牙语，葡萄牙语里的音节，这本书里同样有涉及。（看来音节还是会根据语言来定的，就是不知有没有系统的汉语scat音节归纳。。）&
这里有篇文章，&自创语言的歌唱&，讲了很多乐队延伸了无意义音节，并自创语言。提到了Sigur Ros，The Cocteau Twins，Enya等，有兴趣可以看一下~&
Reference：&
【1】http://zh.wikipedia.org/wiki/%E6%93%AC%E8%81%B2%E5%90%9F%E5%94%B1
【2】&【3】&
爵士即兴。含试听音频等~
即兴用的音阶们：）
第二课 （改变旋律 --Melodic Paraphrase）
改变旋律是我最爱的。可以把平时哼哼的小旋律放进曲子里，把转瞬即逝的小灵感放进去，反正怎么样都行~如果一下子想不到好的idea？不要紧，七和弦是我们强大的后盾！7和弦在爵士乐里有非常重要的地位。它的bass音，3级音和7级音是三条即兴的线索。如果想不到好的旋律可以试试7和弦里的这3个音.&拿到一首曲子的时候，看上面的和弦名，把所有的bass note 唱出来。举个例子。&Lullaby of Birdland&
第一小节有两个和弦（F minor6 和 D minor7降5）。只唱这两个和弦的bass音，也就是F和D。如果按照曲子里的音，本来应该唱Do,Do, 降Si, 降La, So, Fa (C C bB bA G F), 但是现在只唱Bass line,也就是Fa,Fa,Fa,Fa,Re,Re (F F F F D D).Bass line 给了我们一条很好的线索。如果没有灵感了就试试bass line里的音，百试不爽。&如果Bass line 还不够，那就试试这个和弦里的3度和7度音。
上表的1，3，5，7是用C和弦来做参照。以C major seventh举例，它的1级（C它自己）与3级(E)之间是2个全音关系，3级(E)和5级(G)之间是1个全音加一个半音的关系，5级(G)和7级(B)之间2个全音关系。（在C调音阶里，Mi, Fa(E, F)之间是半音关系;Si, Do(B,C)之间是半音关系。其他的两音之间都是全音关系。）拿这首&Lullaby of Birdland&里的G7和弦举例。G7是Dominant seventh （属7和弦），和弦结构见上图(1，3，5，b7)。1与3之间2个全音， 3和5之间一个全音加一个半音，5和b7之间一个全音一个半音。G7和弦里的1级是G，3级是B（因为谱子上有B的降级号，所以记作还原B）, 5级是D（因为谱子上有B的降级号，所以记作还原D），7级是F。现在唱G7的第3级音，那就是B；唱它的第7级音，那就是F。把曲子里所有的和弦都这样分析一下，就可以得到两条新的即兴线索--3级音和7级音。&以上是我目前学到的Melodic Paraphrase技巧。如果有错，还请大家不吝指教~ （不好意思，我以前把几&级&音说成了几&度&音，现在改过来了。。。）
第一课 （改变节奏--Rhythmic Paraphrase）
在我的第一堂爵士声乐课上，老师就让我即兴改编节奏、旋律和歌词。当时的我真是不知道如何是好。当时我想，这些事只有非常有经验的的爵士歌手才能做到，她怎么会在第一节课上就让我做这些？后来我才明白，即兴是爵士的精髓。我们天生就喜欢改变歌曲原本的节奏、旋律和歌词，只是现在我们要把歌曲变得爵士一点~&改变节奏--Rhythmic Paraphrase3种phrasing1) Back Phrasing 推迟下一句的演唱。慢几拍再开始；在原本应该开始的地方留出空间再很快地演唱把节奏补上。很常用。这些歌手很擅长Back Phrasing：Betty Carter, Billy Holiday, Shirley Horn, Diana Krall (受Shirley Horn影响很大)2)Forward Phrasing 提前下一句的演唱。快几拍；提前唱，再留出空间。没有Back Phrasing那么常用，但也很实用。一些巴西歌手经常用这个技巧，比如 Astrid Gilberto, Elis Regina.3)Phrasing Over the Bar Line 改变节奏不局限于一个小节内，而是横跨几个小节。把前两种phrasing技巧拼在一起用。&参考书籍：《Jazz Singer's Handbook》 By Michele Weir
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