Carl Poole-DUETS jazz Juniors 15 PROGRESSIVE DUETS DESIGNED TO DEVELOP INTERPRETATION OF DANCE MUSIC By Carl Poole ist TRUMPET M.A, STAFE ORCHESTRA - NEW YORK ABOUT THE AUTHOR: --~ Catl Poole studied music at Northwest Missourl State College and Juilliard School of Music, N.Y, He studied Trumpet with Bernard Baker and Harry Glantz. Played professionally with the orchestras of Will Bradley, Ray Noble, Paul Whiteman, Richard Himber, Johnny Long, Vincent Lopez, Benny Goodman, Abe Lyman, Raymond Scott, C,B,S, Staff Orchestra and free-lance work fn the following Radio, TV. and Recording dates:-Frank Sinatra Show- Axel Stordahl, Milton Berle- Al Roth, Show of Shows-Charles Sanford, Sid Caeser Show-Bemnle Green, Paul Winchel-Johnny Gart, Soloist with the Band of America, (playing his own compositions)-Paul Lavalle, Album of Bugle Calls, for Decca #1010, Solo Trumpet on “Pavanne" - Morton Gould, Your Hit Parade~ Dick Jacobs, Harry Sosnik, Record of Buglers Holiday - Leroy Anderson, Project 20 Series ~ Robert Russel Bennett, Steve Allen Show - Skitch Henderson, ete.+see+e++ (© 1961 by HENRY ADLER, Inc. All Rights Assigned to and Controlled by Alfred Publishing Co, Inc. {All Rights Reserved including Public Performance. Printed in USA2 TEACHER AIDS: Dance music is played much more legato than legitimate music. More liberties are permitted in phrasing. This does not mean that the tempo can be uneven. The tempo must remain constant. Simple moving passages can be written two ways and are generally played the same. Example No. 1 Example No. 2 Moderate Four Beats to the bar. LEGATO TONGUE, M. M. 4=80. Actually both passages are played more like triplets than the way they are written. For example, here is the same passage written in Six-Eighth time: Two beats to the bar. Below is the same passage written in Four-Four time using Eighth-note triplets. $m pS I M3 II When the tempo is increased, Examples No. 1 & 2 above are played more like Eighth-notes but the notes falling on the beat are played slightly longer than the notes on the up-beat. The faster the tempo, the more even the Eighth-notes become. SYNCOPATION IN DANCE MUSIC: One of the most common figures is: and is played similar to the spoken syllables "Da Dut Da". The "Da" syllable gives full value to the note. The "Dut" syll- able shortens the note by half its value and the other half is replaced by a rest. de aut da In other words, the above figure could be, and often is written like this: da du aa Now if we apply the triplet interpretation to this same figure, it would be written like this: HABA S43 da dur (© 1961 by HENRY ADLER, Ine. All Rights Assigned to and Controlled by Alfeed Publishing Co. Inc. ‘All Rights Reserved including Public Performance. Printed in USA aaPractice each example repeatedly until you can do it consistantly, and remember it's no crime to tap your foot. Try to get a triplet feeling when you practice these ex- amples. , Duet No. 1 SSS daa ds Ex. 2, Duet No. 3 daa dada dt da de Ex. 3, Duet Nos. 2, 9. Ex. 4 da dut da dada da da da dat Ex. 5, Duet Nos. 7, 11. (or) duc da ut da dut dut da duet da due Ex. 6, Duet No. 4 Ex. 8, Duet No. 8 a aut dat dak aut dam dt dada Ex. 9, Duet No. 3 ada da dat a Ex. 10, Duet No. 3 (or) In the following duets, the syllables "da"' and "dut" are replaced by the symbols ‘"-"" (long) and ","" (Short). Passages not marked are left to the discretion of the teacher and student. GENERAL RULE: Eighth notes; Legato, Quarter notes; Short.4 DUET No.1 LOOKIN’ ACHOO M.M, J=138 (Legato tongue the eighth-notes) EZ _ HABAS © 1961 by HENRY ADLER, Inc. All Rights Assigned to and Controlled by Alfeed Publishing Co., Ine All Rights Reserved including Public Performance. Printed in USAHABA96 DUET No.2 M.M. J=76 SS 3 3 (Legato-Slow Biyes) HAB49HAB498 DUET No.3 ‘M.M, J=168 simHAB4910 DUET No.4 SIDEBURNS M.M, 4=160 (Legato tongue) —— —————— se ee ee ee ‘ h —— —— SSS Se = a HAB49wu HABA12 DUET No. 5 MINOR BIRD M.M, J=160 HAB49HAB494 DUET No.6 GOOFIN’ M.M, J=84 HAB4915 Legato to the end HABA16 DUET No.7 M.M. /=168 HEXICO HAB491 HAB4918 DUET No.8 BLUEJAY M.M, J=138 HAB4919 HAB4920 DUET No.9 BROKE UP M.M, J=80 HAB4921 = HAB4922 DUET No. 10 FANTAIL M.M, J=168 A A HAB4923 HAB4924 DUET No.11 GROOVY M.M, J=15225 HAB4926 DUET No. 12 KOOK-TOWN MM, J=126 ( i @ i27 HAB4928 DUET No. 13 O'HENRY M.M, J=152 Legato tongue HAB492930 DUET No. 14 BUSTED M.M, J=138 ———— : SE = == 7 Legato ——— + i xe i i — = = HABA31 HAB4932 DUET No. 15 POM POM M.M, J=160 HABA9,33 ‘Music Autographed by Lwin Rabinowitz