reading
The basic concepts
of dance and jazz rhythms.
ALAN
RAPH
DANCE BAI{D READI}IG
AIIII
I}ITERPRETATION
"l have looked over Alan Raph's book very carefully. I feel there is a great need for this work. How does a conductor tell a fine legitimate musician 'Make this next sectionlx'ing'l' A must for every forward looking teacher or young musician." . . . F-t.l-lOT LAWRENCE (Contposer, atranger; condut'tor of the Ilroadtt,uy .shows "Bye Bye Birdie" antl "Hox'to Succeed in Bu,sine.s,,; Ll/ithottt Reatly 7-rying")
"This book ntakes an inrportant contribution toward bridging the gap that exists between dance
nrusic notation and its interpretation."
. . . (iERRY N'IULLIGAN (Buritone
su.rophtsne, c()n1poser, urranger; G
erry M ulligun Quartet
)
"Dance Band Reatling antl Interpretation fills a serious gap in the practical education of musicians to make their living in the world of popular and contntercial music, and have strictly a classical background." . . . JACOB KRACHMALNICK (l'iolin soloi:;t; con('errtnaster Phitudelphia Orchestra) rvho wish
"Here is a book that is complete and uncomplicated value to the aspiring player of dance music."
in all of its aspects. It will be of
great
,,o,,,,;,,'f:,ff,i3 L^il,),!''f:,Tlif:i;,P::';?,,';,,;^;;;;r"i?fiii,,"oi li,, "Mr- Raph's book answers all of the important questions concerning the playing of dance band
music."
. . . IACK HOLLAND(Head ol
Bra.ss Department, Puerto Rico Conservatory ol Music)
"A clear concise presentation. This
book
will
be of immense value to teacher and student alike." . . . JOHN HOTOP (Guitar,"West Side Story")
"This volume teaches material which was once thought 'impossible to and inspire teachers and students." . RA YM oN D sH
"Dance Band R &
l will be a standard
I
N
E
R (o
b o
e, u,
teach'
should help
to, I i,,!,, i f;X:;:: t,:,;!ii,X,,
text for all of my students."
. . . GINO BOZZACCO (Solo trurnpet,,.We't Sitle Story", Metropolitan Opera)
"An excellent and perceptive guide." . . . DAVID JETT (1sr rrombone, Radio City Music Halt)
"A
most complete book on the subject." . . . NICK TRAVIS (Trumpet, NBC Staff Orchestra, Sauter & Finegan, Gerry Mulligan Orchestra)
"Dance Band Reading anti Interpretation is musically sound. in all phases of music."
serious players
I
recommend
it to be studied
by
. JOHN WARE (Trurnpet, New York Philharnonic Orchestra)
The c0rre.ept$
ol dunce end jazz'rhStthms.
ALA|{',RAPFJ All Rigite
O ReserYed:
iAC*lfXl. by $om Fqx,futilicbing Con:pdtry;.lnc.; HerYq'r..k, N;,Y , :lniornctionol CopyrightS*lred ..
.,..'.
Piinied..in U.s.A.
: DA}iCE BAND RE.{DI\G
.{\D I\TERPRETATiON
with, This book is for those instrumentalistsil'houould like to famiiiarize themselves concep[ion'
and be-
come proficienr in playing today's dance and lazz rhvthins wLth a correct
The book's basic principle combines a group of trIVE comprehensiverules (p.3)to be learned are and applied to dance and jazz parrs. Miny examples of the most commonly used rhythms band dance presenied, explained, and- used in context with figures and etudes typical of actual music.
in a vaFor additional reading skill the examples and erudes throughout the book are presented instruwind most of this book utilizes the full range riery of keys. As in dance ments.
".rung",rr"nts,
CONTENTS page
BASIC RULES. Example and Primer for One Bar Figures ONE BAR FIGURES Five Etudes (one bar figures) . SYNCOPATED QUARTERS AND ETGHTHS Four Etudes (syncopated quarters and eighths)' Comprehensive Etude. ONE BAR FIGURES EXTENDED Three Etudes (one bar figures extended) Comprehensive Etude . ANTICIPATIONS Two Etudes (anticipations). TWO BAR FIGURES . Two Etudes (two bar figures) Etude (two bar figures anticipated) . THREE BAR FIGURES . Two Review Etudes. SINGLE -NOTE PUNCTUATION . Four Etudes (single -note punctuation). Three Review Etudes . Comprehensive Review Etude DOTTEb EIGHTH AND STXTEENTH-NOTE RHYTHMS TRIPLETS SIXTEENTH-NOTES. DOUBLE TIME
CUT TIME . Etude (cut time) HALF TIME SPECIAL MARKINGS AND EXCEruIONS TO RULES. SPECIAL EFFECTS . Etude (special effects)
TEN FINAL DANCE ETUDES. Glossary Key.
3 4 5
6 8
9
r0
ll
t2 T2
l3 13 T4
r5 r5
l6 17
r8
I9 20
2l 22
23 24 25 26 27
28
29 30 32 JJ
43 44
I5ADTL,, ttI.J LIID Here are FIVE basic rules to the understanding ar-id interpretation of dance band mustc. Ihey are ro be studied and appliecl to the examples, figures, and etudes throughout this book. Special interpretation markings and exceptions to these rules, will be explained as they occur. be of great help to use this page as an overall guide to the pages that follow. Check and pay particular attention to rules l, 4, and 5. frequently, :ack
It wili
- EXAMPLES WRITTEN rl.ule I .
Quarter-notes are piayed short.
Rule 2.
Any note Longer than a quarter-note is given its full tine value.
Rule 3.
Single eighth-notes are played sho^ t (and often accented).
Rule 4.
Lines of eighth-motes are played with a "1i1" in a long-short nranner, the same as eighth-note triplets.
RuIe 5.
or more eighth-notes are sl,urred up to a quarter-note @l' its equiualent). Whateuer foll,orus is started by tongui.ng (T)!
PLAYED
I
1
Truo
:
*On stringed instrunents: (T) = new attack'
APPLY THESE RULES TO
ALL OF THE FOLLOWING EXAMPLES, FIGURES, AND ETUDES.
Tempos in rhis book, when not specified, should be medium bright: ()=126-144). lnterpretations ai other tempos will be presented and explained later. SEE GLOSSARY (PAGE 43) FOR DEFINITIONS OF TERMS USED.
EXAMPLE (Eight bar melody; Apply rules I -5) WRITTEN
PLAYED
Rule 2.
Rule 2.
Rule 3.
i-, ) t-3--' t- 3--t ri-.:
Ru]es+&s- -
*RuIe
,I .
Quart er -nof es shorl
-l .
PRIME,R FOR ONE BAR FIGURES Written
Played
)J
r r-J t-
I
*Th€ last eighth-note (in numbers L,2,3 & 5) anticipates, and should "feel like" the downbeat of the following bar. Thie is r,rl&y it is accented.
ONE BAR FICURES
Repeat each of the above f igures several times. lr4ost dance bar-rd rhythms cai-i be "broken-down" into basic eighth-note
KEY on page
-1-1
for difficult figures.
trtplets.
Use the
FIVE ETUDES (Mixing all of the one bar figures) Notice that key signatures - typical of dance band parts - occur only once at rhe beginning, (21' clmrzges are marked as they take place. .See Glossary (page a3)
:tc. ).
for explanation of tempo markings (Medium brighr, Medium slow,
The number above each measure indicates the one bar figure (page 5) being used.
\ledium bright @
@
I
\{edium bright @ i
The following etude (lll) is at a slower tempo. Make the note values slightly longer, and put more "wei.ght" on isolated notes.
IV
*Become
familiar with different notations of the same figure.
Medium bright
@
Review each etude making smooth.transitions from one figure to another. Play in a relaxed manner feeting eighth-note triplets ( ,J I I throughout.
"
REMEIT4BER: Whenever the last eighth-rnte of a figure falls on the second part of. the fottrth beat @g) it is accented as an "anticipated dowtbeat't of the following bar.
SYNCOPATE,D qUARTE,RS
AI\D EICHTHS
(One bar figures)
Written EXAMPLE: Played
Written
l.
(b) Variation (writteit)
(a) Variation (written)
written* j
2.
(b) Variation
Variation
3iI
(b) \'arration
Variatron
written*
4.
(b) Variation
(a) Variation
writtenx
5.
(b) Variation
(a) Variation
written*
6.
(b) Variation
(a) Variation
+For
music is
written so that the first and third (middle)
I
(Syncopated quarters and eighths) See
Glossary (page 43) for tempo markings.
Use I(EY (page 41) for
difficult rhythms.
The number above each measure indicates the figure (on page 8) being used.
Bright
@
Moderate
Fast
COMPREHEI\SIVT ETUDE -
One bar figures Syncopated quarters and eighths
\-tI\ -fJ .DfLI\
.f I\-r U
rI,IiD f-.A f "f-N UF-U ---r
-3-'r r-3-t
r-J--l 1-.f -r -J T
r-3-
,
3.
r-3
L2
THREE ETUDES
(One bar figures extended) The number over eac h measure indicates the figure (on page
o
Il) @
being used.
COMPREHENSIVE ETUDE One bar figures Syncopated quarters and eighths One bar figures extended
Medium bright
flL\
I l\-.rIL
l-I I l\-tr\
rJ
Veryoften a syncopated (up-beat) notewill anticipate the following down-beat to start a figRecall in one bar figures, anticipations came at the endof the bar.
ure.
r
this point the player should be familiar with quite a few dance band figures anO-l I theirAtconception. All further examples will be explained assumingthe basiJ "swing" f
leighth-note style. Check through the five basic rules again and remember [o use Uoifr [he Glossary and KEY as needed.
l.
J
First beat anticipated.
Second beat anticipated.
'Third
I
I
beat anticipated.
Fourth beat anticipated.
TWO ETUDES (Anticipations)
over each measure shows nhich beat is anticipated.
O-.
TWO BAR FIGURES l
f, and 4 are identical and are used interchangeabty. 4 (also written)
(also ryritten)
(aiso wrirten)
(also written)
l I I
i
.fWO ,b'I'UDE,S (Two bar figures) The number over each measure indicates the truo bar figure being used. Moderate g
Medrurn bright
ETUDE (Two bar flgures anticipated) Medium
i6
THREE BAR FIGURES
l.
5.
TWO ETUDES (Three bar frgures) The number over each measure indicates the three bar figure being used.
-- ---/
r
Mediunr
Moderate
v v \_-r
r!r-l
v II__,/ t I
rt
IJ
I
\_,/ lJ.'l)
SII GLE \ OTE PL-NCTL'ATION (See Glossar",' under "Punctuation" and "Tempo")
The one time a player "sticks out" over the whole band is when he mis-reads a punctuation :^g:ure. Practice the foiiowing figures and etudes carefully. Learn to "place" each note. II
2.
(Single note punctuation)
The number over each measure indicates the punctuation figure being used. Medium bright
Bright
I
m
2A
THREE REVIEW ETUDES Moderate
Moderate
Medium slow
A good review of the preceeding pages from time to time, will help a great deal in becoming familiar with many of the most common dance figures. Learn to recognize and interpret these figures at first sight. Listen to good dance bands at every opportunity, and develo.p skill in hearing and recognizing the various figures. In listening, note any stylistic differences of a
particular band in interpretation (longer quarter-notes, straight eighth-notes, accents, etc.).
When playing in a band always listen to, and phrase with, the lead player (first instrument of a section). Follow him exactly whether you agree with his interpretation or not. When you play lead, expect the same of the players in your section.
v l.u
Moderate
:
i
lift
r I
.U
I
v
uu
DOTTED EIGHTH Al\D SIXTEENTH NOTE RHYTHMS
When in sequence, dotted eighth and sixteenth-notes are playecl almost rhe same as
eighth-notes". The dotted eighth-note, however, is usually piayed shot,t. Written
swutg
Played
When in sequence and
as "swing eighth-r-rotes". Written
slurred, dotted eighth and sixteenth-irores are played exacily the same Played
r- 3--l 3--r --..".---.----__---.-
When isolated (appearing once
Written
in a group of other notes) piay wirh a quick sixreenrh-nore. Played
ETUDE (Dotted eighrh and sixreenth-nore rhythms)
Medium slow
TRIPLETS Eighth-note triplets are played "concert style" (see Glossary), and are usually played gato"
"le-
Written
Quarter-nore triplets are also played legaro, and in strict concert rhythm. Written Played
,+J
r__3_-_1
-]
4 dotted eighth and sixteenth-note figure followed by a triplet, is played with a short dotted eighth-note, and a quick sixteenth-nore, slurred to the iirst nbte of the tiipl"t. Written
Played
>:--r..r-a.
^
ETUDE (Triplets with dotted eighth and sixteenth-notes) Medium slow
D. C. al Fine
24
SIXTEEIVTH IVOTES
Four sixteenth-notes in a row are played legato and even (concert style). Written Played
Aneighth-note followed by twosi.xteenth-notes is played short. The two sixteenth-notes are quick and lead tothe nexr nore. Written
Played -J-
Two sixteenth-notes followed by an eighth-note are played quick (leading to the eighrh-note which is playe''C short). The eighth-note should be played exacrli in the middle of the blat (concert style).
Written
Plaved
When playing l;ines of eighth-notes and sixteenth-nores, sixteenth-notes even.
Written
roll the eighth-notes
and playthe
Pleved Played
A sixteenth-note followed by an eighth-note, and another sixteenth-note, is played by slurring the first sixteenrh-note into a shorl eighth-note. The second sixteenth-note is also slurred into whatever follows. Written
ed
ETUDE (Sixteenth- nore rhythms)
Moderate
,-J\J
\) t-tut)
where the within an arrangement in a medium slow 4, there often is a "double time" section rhythm doubles lts beat and each bar in { "feels" like 2 bars in fi' Each type of nore is played as though
it were
Written PlaYed l_r i=)Long ) a'hl \\ J = ))
a note twice its value.
Short RoIIed
N=NEven
aa One bar in double time should sound the same as two bars in a bright tempo. EXAMPLE: Slow 4 Double Ti,me Sounds exactly
the same as..
DOUBLE TIME EXAMPLE
Double Time
foot beat (J= ot-t" beat)
double foot beat (.lt= o,t" beat)
E,TUDE (Double time) Slow
Double tinte
time
:t
CUT TIME
Cut time indicates
2
beats in a
CI
! nar. The hatf note ge ts one
beat.
\otes on rhe up-beat are strongly accented. Written
Figures with eighrh-nores follow the regular rules, but are usually clipped shprt. lVritten Piayed
CUT TIME FIGURES
(Cut time)
The number over each measure indicates the cut time figure being used. Bright 2 @
28
HALF TIME Half time is the direct opposite of Double time (see p.25). Half timeoccurs inan up tempo (fast) arrangement, where for a period of time (often toward the end) the rhythm "ha1ves" its beat and becomes a slow heavy swing. Each bar in { b".ortt"s one half of abar infi.
it were a note half its value. Written - Played
Each type of note is played as though
fal = I |
aa
= l)
short Rolled
V=VEven EXAMPLE:
Fast
Half Time ("Roll" the quarter
4
;F
|--J-----#-
foot beat (J= on" beat)
C
F
"half" foot beat ( J = ott" beat)
ETUDE (Half time) Fast
4
-Ss)
l
Jr rJ\-ltftrr
lvlftl\l\ff\
bJ
EXCEPTIONS TO BASIC RULES
Written
Played
r-- J -r
l=3=r
-J
-r Y
dl
Play even eighth-notes (concerr style). 2.
Continuous phrase (soft -tongue each o
J.
Sit heavy on accented quarter-notes. AA
4.
rapid decline 5.
Soft attack on second eighth-note. 6.
Down-beats long, up-beats accented. :>
:>
Down-beats short, up-beats accented. :>
:>
:>
Straight eighth-notes (concert style) 8.
(Swing)
SPEUIAL \\ |{ITTEN
BRASS
SOUNDS
(
1rr (FLARE)
F.\LL-OFF
GI-ISSANDO
Start before the beat and run three or four notes up Lo the main
Start before the beat and run tiliee or four notes up lo the main
note. Play main no[e strong and scatter fall-off notes with a decrescendo.
note. Play main note strong and scal[er fall-off notes with a decrescendo.
Use half -valve; creating a smooth sound from one note to the
Down Gliss: light chroma[ic scale. Up G-!iss: haif -hole or, trngered ltotes aided by lip.
other. -.\lEAR
Lip main note "flat" and bring up to pitch. (Or use half -valve. )
TURN
Play
first note and "fall down" to 2nd note from one or two overtones* above. Lip trill note with one over[one higher, or shake horn (rougher sound). Play as shown in ex-
SHAKE, (TRILL)
BEND
;.EEDS SAXOPHONE)
ample.
Drop from higher overtone to writ[en note.
Lip main note "flat"
(loose embouchere) and bring up to pitch.
first note and "fall down" lo 2nd Play
note from one or two notes higher (in key).
trill
with keys from writlen no[e to one tone higher. Fast
Play as shown in example.
Start before the beat and run fivc or six notes down to written note.
IMPLIED NOTE
SQUEEZE (PORTAMENTO)
CLOSED-OPEN
F
inger the implied note but play it much softer than the other
Finger the irnplied note but piay it much softer than the other
notes.
notes.
Similar to Gliss. but notes in between
Similar to Gliss. but notes in between
should be heard less
should be heard less
distinctly. Half -valve and lip to
distinctly. Play fast scale to note
about an octave above written note.
about an octave above the written note.
*
* Bite hard to close
Hand over Bell o Hand away from Bell.
note. o Open to free note.
closed open close-open *Overtoneg are the varioug notes
that can be produced rlth the llp alone in one valve settlng on brass lnatrunsnts'
3l STRINGS
USED IN CONTEXT
(GUITAR)
Start before the beat and run thr.ee or four noLes up Lo the nrain
"
RlP"
note.
Play main note strong and scatter fall-off notes with a decrescendo.
ALL_OF'F''
Slide finger along the fingerboard for the 2nd note.
''GLiSSANDO''
Siide along f inger board from half-tone bclow to rnaln note.
''SME,AR''
I ;'
Play first note and "fa1l dowrr" to 2nd note from one or two notes highe-r (in key).
''TURN''
TrilI
''SHAKE''
Play as shown in ex-
"BENI)"
note with one tone higher.
amp1e.
Play like fast Giis sando down to written note.
"DROP"
Play implied note
lightly. (Guitar, finger but don't pluck the implied note. ) "SQUEEZE" Same as Glissando.
Slide along fingerboard to note about one octave above the
written note.
*
Press finger lightly on string. o Normal Pressure.
(or;
Iv
.)
Pla1,
"I" light-
''CLOSED-OPEN''
)
OTHE,R SPECIAL TFFECTS
The following effects should be used at the player's own discrerion when playing a solo, or
lead part in an ense mble.
l.
FLUTTER TONGUE
2.
GROWL
3.
THROAT HUM
-
- Roll rongue like a Spanish "R" - (Trrrrr).
[Jse throar growl
like a French "l{'].
- Hum deep in throat while playing a note, rhis gives rhe rone a "rough" quality.
l.
AI-TERNATE FINGERING
-
Repeated notes on Brass or lleed instrunlenrs are often played with an alternate or "false" fingerir-rg on every other note.
5.
HALF'-VALVE - (Brass)
6.
HALtr-HOLE
-
-
Used frequently for ltips, Fa1l-offs, Doirs, Ghssandos, erc. Press valves halfway down.
(Open F{ole Reeds: clarinet, flure, etc. ) Use ir-r a sirntlar manner to halt -va1ve or-r brass ins[runtents for Ghssai-rdos, Squcezes, Doits, Smears, etc. Cover a portion of theopeir hole with fir-rger and ther-r slicie open. use on several holes for "true" Glissando upwards.
ETUDE
(Special effects)
Medium slow
'I.L,N T.'NAL DAI\L]h, L,'I'UDL,S Note various effects through use of Dynamics. Medium slow l>
f
nw
-
;-=T> p-f
--'--.-//
----.-.---
.l
Apply the same rules as llt Moderate (in
l)
,'.
+
III
--=-----
--_____-_--./--\----.l
rf
IV Bright
Same tempo
from 1*
t.
(feel the U"t" in !
I
and rhe
ftbars in a fast 4.)
Nore
irregular (7, 9, etc. bar) phrases. Medium bright
VI
YII Moderate
^
r
t
r I
WII
{0 Moderate
rl\
Many arrangements also "swing" rn irreguiar meters. Medium bright
r
Br ight
D.C. aI Fine
\-llv
vva
^rv
-
Measure
Bar
Comprehensive etude
Concert style Down beat (Up beat).
A study in which all of the important features. of a lesson are contained. Straight meter; exact note values: each quarternote is divlded into two equal eighth-notes. Down beats are on the uumbers (I , 2, 3, 4). Up beats are on the &s (19 29, 3&' 1&). r-3--r
r3r r3- -3-
(lf , p, nW, nf , f, ff).
Dynamics
Volume markings
Eighth-note triplets.
(See
Etude
A study; with musical form and direction.
Figure
A rhythmic statemenr or patrerit (shorr or long).
Impulse Legato
Part. Punctuation
elghth-notes
Syncopation
Tempo markings
Time
.
Short rhythmic accents to highlight various impulses of a bar. Often used by one sectior-t of a bar-rd, while a melody is beir-rg played by another section, to create rhythmic excitement. E,ighth-note triplets, with the first two nores ti.ed. The basis for interpreting dance band musi.c.
Same as
rolled eighth-notes (see above).
Figures involving accented up beats. Approximate metronome markirrgs
:
Slow, SIow heavy, Medium slow: .l =$Q - 72 (longet notes, heavy accents, more weight on notes. ) Medium, Moderate, Moderate lift, Medium bright: )=tz - tq+ Bright, Bright 2, Fast, Very fast: )=t++ - 208 (eighthnotes become more even, pultctuation figures tend to be played in more of a concert style, shorter notes. lighter accents. ) rr) Cut; t=') Regulat t, 2, tr, 8 Double: Stop:
Up bear
)
Markings in dance band music are basically the same as those found in concert music. > sharp attack and decline. ,r heavy. - long. or tie. . short. ,^slur I breath. decrescendo or diminuendo (softer)' The music that one instrument reads from.
Markings
Swi.r-rg
be1ow.
Any one of theeightrolled eighth-nores rhar underIie each bar of regular metered dance band music. Smooth; slurred.
.
Roiled eighth-notes
"rolled eighth-notes"
l=$
tt i+i
Half
:
1t, r - aT.)
KEY
-'t
(E,ight "swing" eighth-r-iotes to the bar)
ln order to in[erpret the rhythrn of difficult figuresi
I.
Place an "X" for each separate note of the figure on the appropriate line of the diagram.
Example: (cne bar figures #5)
L-3-r r.-3J '-3J 2. Beat a constant "swing" eighth-note rhythm with the hand and sing each "X" as it occurs. Leave lines blank wherever rests occur" l.-JI
For quarter-notes, place "X" and leave the next line blank. lf part of the flgure has a note longer than a quarter-note (or two tied eighth-notes) draw line afier the initial "X" through all the beats it covers. Example: (one bar figures #13)
++-+ + l + Use this KEY
L-3J
for I through 4bar phrases.
L3J
L-
a
l
3-r t-3J
I -31
t--3-J
1[ ) -Jr
4. 4l .. '
L-3J
t-3J
r-3-J L3--.t r-3---t t-3-r r--3J L3l
I L-3-
L3-J r-3J
L-3-r L3--r l-3J
L-3-J L-3 rL-3r L-3J L- 3J LJ-
!llllll t-3J
t-3J
t-3-
t-3J
t-JJ
r-3-r L-3--l L-JJ L3-
.-H.
I) ) | L) I t t--3J 3 , L-J-r L-J---t
t)
L-3J L-3r L- 3J L 3-l I 3J L-3--l i-3-r t- 3J
,-3--.r
l-3-'3J
L-3
|
rAh,
Rap'6
Alan Raph is one of the few instrumentalists who maintains an outstanding reputation as a performer in both the concert and dance band fields. A graduate of New York University (Music Education), he has studied composition with Mme. Nadia Boulanger at the School
of Music in Fontainebleau,
France.
Mr. Raph has been a member (bass trombone) of the Gerry Mulligan ((Concert Jazz Bandtt since its inception in l9 60, and has played and recorded with many of the top bands in the country, including Gordon '$?'aring, Larry Elgart, Jenkins, Eddie Sauter, Fred Quincy Jones, Elliot Lawrence, Bob Brookmeyer and Manny Albam. He is leader of the "Chamber Brass Players" (."cordings on Golden Crest, Music Minus One and Classic Editions), and his background in the concert field in-
cludes the Little Orchestra Society (solo trombone), NBC-TV Opera, Bolshoi and Leningrad Ballets, S)-*phony of the Air, Empire State Music Festival Orchestra. American Symphony Orchestra (Stokowski), as *-ei1 rs numerous Broadway and television sho''n's.
\\
