BASS (upright preferred) BASS (upright preferred) BASS (upright preferred) WHS Jazz Students- This packet explains the Washburn High School Jazz Audition materials, procedure, scoring, and other information important to the audition process. Please thoroughly read through the materials, as some of the audition procedures have changed. To be considered for the ETHS Jazz Program, you must be currently enrolled in Band, Orchestra, or Choir. In order to be considered for a Jazz Combo, students must participate in a Big Band. Students’ auditions are not a guarantee of placement. Auditions will be held in 8-minute increments in the Band Room (121). The auditions will be held before and after school on the following days: • TUESDAY SEPTEMBER 5th

• WEDNESDAY SEPTEMBER 6TH

• THURSDAY SEPTEMBER 7TH

• FRIDAY SEPTEMBER 8TH

ALL BASSISTS WILL NEED TO PERFORM THE FOLLOWING MATERIALS FOR THE JAZZ AUDITION: Walking Bass Line: • Concert B-Flat Blues (12-measure) Progression • Concert F Blues (12-measure) Progression Audition Piece—State Line Strut by Rowe (included in this packet): • Please note the indicated tempo • You will only be required to play the bracketed music for your audition • A full-length recording of this tune is available at www.kendormusic.com Improvisation • Two choruses of Concert F Blues Sight Reading • You will be asked to play a short excerpt in a swing style Audition Scoring—Students will be evaluated on following: • Tone (ability to play with a characteristic jazz tone) • Style (demonstrates authentic jazz articulation, inflections, & interpretation) • Stability (demonstrates an advanced concept of steady time) • Voicings (demonstrates authentic jazz chord arpeggiation) • Sight-Reading (ability to sight-read accurately with authentic tone & style) • Pitch and Rhythmic Accuracy (ability to play the correct notes and rhythms) • Improvisation (ability to play within the chord changes with authentic tone & style)

   

   

   

 

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Create your own bass lines from the 244,140,625* possibilities shown by mixing measures from each staff. For example: a line could begin using staff #3 for m.1, staff #1 for m.2, staff #2 for m.3, staff #5 for m.4, and so on. Notes on the first and other beats can and should be octave displaced as needed to accommodate smooth linear motion. Create lines that contrast between smooth and angular motion.

© 1994, Bert Ligon

Blues Bass Lines in B flat

*There are five choices for every measure, so 512, 5 x 5 x 5 x 5 x 5 x 5 x 5 x 5 x 5 x 5 x 5 x 5 = 244,140,625.

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Create your own bass lines from the 244,140,625* possibilities shown by mixing measures from each staff. For example: a line could begin using staff #3 for m.1, staff #1 for m.2, staff #2 for m.3, staff #5 for m.4, and so on. Notes on the first and other beats can and should be octave displaced as needed to accommodate smooth linear motion. Create lines that contrast between smooth and angular motion.

© 1994, Bert Ligon

Blues Bass Lines in F

*There are five choices for every measure, so 512, 5 x 5 x 5 x 5 x 5 x 5 x 5 x 5 x 5 x 5 x 5 x 5 = 244,140,625.

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1: 1-2-3-5 pattern. The 5 could be flatted.

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2: Up the scale. A chromatic passing tone leads to the next root.

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3: Broken chord, leap from root down to third, steps chromatically down to next root.

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4: Descending diatonic steps.

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5: Arpeggio, then chromatically down to next root. Compare with 3.

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6: Arpeggio, steps into next root with diatonic note.

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8: Descending arpeggio, lead chromatically above or below to next root.

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11: 1-2-1 then step into next root with diatonic or chromatic movement.

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12: Use of repeated notes.

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1. Arrive at roots on downbeats2. Connect stepwise (half or whole step) over the barlines3. Remember the chord quality & key signature4. Typically, chord tones on beats one and threeFundamental Patterns

p. 93

BASS LINES