ue33703 by Universal Edition

Vorwort Die Idee zu den vorliegenden Kompositionen entstand durch meine Arbeit mit klassisch ausgebildeten FlötistInnen, die gerne Jazz spielen wollen. Die Studien sollen beispielhaft Antwort geben auf die Fragen: • Wie kann ich schöne Melodien über Changes (Akkordprogressionen) spielen? • Wie kann ich stilgemäß artikulieren, so dass es „groovt“? Die zugrundeliegenden Akkordprogressionen entstammen den bekannten Stücken der Jazz-Standardliteratur My Little Suede Shoes, Blue Bossa, Out of Nowhere, Someday My

Prince Will Come, Almost Like Being in Love, Blues in F, Blues in B , All the Things You Are, So What und Giant Steps. Auf der beigelegten CD sind jeweils mehrere Aufnahmen in verschiedenen Geschwindigkeiten, außerdem eine Version ohne Solisten zu hören. Es ist ratsam, die Stücke zuerst synchron zur Melodie der Vollversionen mitzuspielen und später dann die Begleitversionen zu verwenden. Die im Notentext angegebenen Artikulationen sind als Vorschlag gedacht, die Artikulation kann sich auf den Aufnahmen bei verschiedenen Tempi etwas unterscheiden.

Preface The compositions in this book originated from my work with classically trained flautists who wanted to play jazz. The pieces help to answer questions such as: • How can I play beautiful melodies over chord progressions? • What style of articulation should I use to make sure the music grooves? The original chord progressions in the pieces are taken from well-known jazz standards: My Little Suede Shoes, Blue Bossa,

Out of Nowhere, Someday My Prince Will Come, Almost Like Being in Love, Blues in F, Blues in B , All the Things You Are, So What and Giant Steps. On the accompanying CD there are several recordings at different tempos, as well as a version without soloist. At first it is best to play along each piece using the melody of the full versions before trying the accompaniment versions. The articulation shown is only a suggestion and can vary with the different tempi in each recording.

Préface Les compositions du présent recueil sont nées de mon travail avec des flûtistes de formation classique attirés par le jazz. Elles répondront particulièrement à des questions comme celles-ci : • Comment jouer de belles mélodies sur une grille (progression d’accords) ? • Comment articuler pour donner du « groove » ? Les morceaux du recueil suivent les progressions d’accords des standards de jazz suivants : My Little Suede Shoes, Blue Bossa, Out of Nowhere, Someday My Prince Will Come, Almost

Like Being in Love, Blues in F, Blues in B , All the Things You Are, So What et Giant Steps. Le CD d’accompagnement propose les pièces en plusieurs tempos, avec chaque fois une version avec et sans soliste. Nous conseillons de jouer d’abord sur les versions complètes, avant de passer à l’accompagnement seul. Les articulations notées sur la partition sont de simples propositions, qui peuvent légèrement varier sur l’enregistrement en fonction du tempo de la pièce.

Inhalt • Contents • Table des Matières Nice Shoes Bossa Bossa There She Is Waiting for the Prince Almost Like

Seite / Page

CD Track

2 5 8 10 12

1–3 4–6 7–9 10 – 12 13 – 15

Blues for Luis Med Blues All Things What’s Up Big Leaps

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CD Track

14 16 18 20 23

16 – 18 19 – 21 22 – 26 27 – 29 30 – 34

Nice Shoes

CD Track 1/2 q = 161 CD Track 3 q = 199

Tilmann Dehnhard

Straight 8s

Bb7 Eb^ Fm7 Bb7 Eb^ 5 5 5 5 5 = 5 = 5 = 5 = 5 5 5 5M 5 = 5 = 5 ? G Fm7

Bb7 Gm7 C7 Fm7 Bb7 5 Eb^ 5 5 5 5 5 5 = 5 = 5 = 5 = !5 5 5 5 5 ? 55 5 G 5

Fm7

555

= 555

Bb7 Eb^ Fm7 Bb7 5 Eb^ 5 5 ! 5 5 5 5 5 5 5 5 5 5 5 5 5 5 E 5 5 M = = 4 = 5 5 = = = G

Fm7

5 5 ! 5 5 5 5 5 !5 5 5 5 5 5 ! 5 5 E5 5 5 = = = 5 ? G

Fm7

Bb7

Gm7

Fm7

Bb7

Eb^

Swing

555

Gm7 C7 Bb7 Eb Eb7 5 5 5 5 5 5 5 E 5 5 5 5 5 5M ! 5 Fm7 5 5 5 !5 5 5 5 5 5 5 = 55 = G Ab^

C7 Fm7 Bb7 Eb^ 5 5 5 Gm7 5 5 5 5 5 5 5 5 5 5 5 5 5 !5 !5 5 5 5 5 5 = ? G

Abm7

Straight 8s

Bb7 Eb^ 5 5 5 = 5 = 5 = 5 = 5 5 5 5M G

Fm7

Bb7 Eb^ 5 555 5 5 5Â© 5 5 M = = 4 =

Fm7

5 Eb^ 5 5 5 5 5 = 5 = 5 = 5 = !5 5 5 5 555 5 5M 4 5 M 4 G 5 5

Fm7

Bb7

Gm7

Fm7

Bb7

Universal Edition UE 33 703

Bossa Bossa

CD Track 4/5 q = 150 CD Track 6 q = 178

Tilmann Dehnhard

Bossa Nova

    

Cm7



     

 

Fm7



    

 

G7b9 Cm7                                   9 Ebm7 Ab7  Db^                                       5

Dm7b5

G7b9 Cm7 G7sus4                                  

Dm7b5

              Fm7                               

Cm7

G7b9 Cm7                              

Dm7b5

 

Ebm7    Db^      Ab7                              

 G7b9 Cm7                      

Dm7b5

       

                                               

Cm7

Fm7

UE 33 703

There She Is

CD Track 7/8 Straight 8s q = 146 CD Track 9 Swing q = 192

Tilmann Dehnhard

Eb7sus4                                  Bbm7



  

Am7



Bm7b5 E7b9                               

 

 

                          E7b9

Am7

    

                             

Bbm7

Am7

Eb7

                                



 

Bbm7

Eb7

Bm7b5

                 

           E7b9

                                   Am7

Bm7b5

E7b9

Am7

                    Bm7





Am7

Cm7

Am7

             3

                       

Bbm7

Eb7

UE 33 703

Waiting for the Prince

CD Track 10/11 q = 129 CD Track 12 q = 170

Tilmann Dehnhard

Jazz Waltz

    Bb^/F

  





     

Bb^

  

Cm7

Dm7

  

 



   

Bb^/F

  

Bº/F

 



  

Bº/F

 

D7#5

     G7#5      C#º

        



Cm7/F

   

F7             

Cm7/F

Eb^

    

   

      

Cm7

 

 

G7#5

     

  

Cm7

     





  

                            

Dm7

  

Bb^

Cm7

   

C#º

D7#5            

    

G7#5



    

Cm7



          

Eb^

G7b9

     

Cm7



     

                      

 



Fm7

Bb7

Eb^

Ebm6



  UE 33 703

Almost Like

CD Track 13 q = 168 CD Track 14/15 q = 215

Swing F^

     

Tilmann Dehnhard

 G7     

                  

G#º

  

C^                   

Dm7

G7sus4

Dm7



    

     

G#º

C^                       

Bm7

F^ E7b9 3                            

Am7

    

       

Am7

E7 A^                           

Gm7

               

G7        

Am7

G7      

  

        Bm7b5



E7b9



  

Am7                    

G#º

   F^                           3  

Dm7

D#º

Am7

     

C/E

G7 C^ Gm7                    

Dm7

    UE 33 703

Blues for Luis

CD Track 16 q = 84 CD Track 17/18 q = 102

Tilmann Dehnhard

Slow Blues F7

Bb7

Cm7

                         3

  

D7b9                                    3

Bb7

Bº

Am7

Gm7

  

                 C7

Bb7

                

Dm7

Gm7

  

Cm7

 

         

 

Bº F7/C Bb7 Am7 D7                                        3

Bb7

                      3 3 3

Gm7





  

D7b9

C7#9



Bb7 F7                               

Am7        Bº         F7/C F7/Bb                 3



Bb7

D7b9



 

UE 33 703

Med Blues

CD Track 19/20 q = 162 CD Track 21 q = 204

Tilmann Dehnhard

Swinging 8s

Gm7 C7            F7        C7                   C7





Dm7

  



   

Fm7       

A7b9               

Em7

G7          C7        

   

A7b9

Dm7

  

F7 C7 Gm7 C7                             

A7b9 Em7                                        

Fm7

G7 C7 A7b9 Dm7 G7                              

Dm7

Eb7 Ab^ G7 C7           B7   E^                      

      Em7         

   

Fm7

      Ebm7              3

G7b9 C^ A7b9 Dm7 G7b9                         C7 C7   F7         37                    33



Dm7 





 

C/G   F7               F#o

       Em7b5

A7b9

 

UE 33 703

All Things

CD Track 22/23 q = 145 CD Track 24 q = 164 CD Track 25/26 q = 201

Tilmann Dehnhard

Swinging 8s

         

                    

Fm7

Bbm7

Eb7

Ab^

                

Db^

Cm7

Ab^

Dm7

    

   

 

          

Fm7

Bb7



Am7

   

  

       

Eb^

                     





     

                             

Am7

E^ C7#5                     

F#m7

Fm7

   



  

Bbm7 Eb7    Ab^                         

Cm7 Bº                                        

Db^

Dbm7

Bbm7 Eb7 Ab^ Gm7b5 C7b9                          

Fm7

     





Bbm7

  

Ab^                        Eb7

UE 33 703

20 CD Track 27/28 q = 162 CD Track 29 q = 213

What’s Up Tilmann Dehnhard

Swinging 8s Dm7

Dm7

                          6

                  

Dm7

      

      

            

     

    

                                         3

Dm7

     



Ebm7

    

 

    

           

                       



                     3 3

       

    

UE 33 703

Big Leaps

CD Track 30/31 Bossa Nova q = 143 CD Track 32 Swinging 8s q = 232 CD Track 33/34 Swinging 8s q = 255

Tilmann Dehnhard

B^ Ab^                               F^

 8

 12

  D^

F#7sus4

      



Bb7



 

Eb^

F#7

  

 

Am7

   

Fm7

Bb7

   

Eb^



 

  

   

  

Eb^



 Am7

Fm7



C#m7

 

Bb7

 





         

      

    



Eb^

F#7

C#m7

        

   

Bb7



 D7



F#7

   

       

D7             B^

Bb7 Eb^ Am7 D7                                   

Bb7

                               

Eb^

F#7

Fm7

Bb7

UE 33 703