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    Rick Zunigar
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    jazz tune

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    jazz tune

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    © All Rights Reserved
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    492 views2 pages

    Y Todavia La Quiero

    Uploaded by

    Rick Zunigar
    jazz tune

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Flag for inappropriate content
    Download as pdf or txt
    of 2

    [1] with

    drums

    Y Todavia La Guiero

    Half-time feel

    J/~

    ~ 1 17)
    \- 4"
    --,I24"
    I------r 1 - E
    ...
    .Repeat
    E
    _E/~"
    3 ~ 1 ....
    4"
    IiV
    -e- L---==
    i~1Intra
    +t.~.
    ~ 1,i!'1 before
    i~DF#DA~(
    --. 27~
    ...i-,I__
    -----\\~-tE.... E
    ....
    ) 7f1~
    solo.
    ~
    - '-'
    I

    #
    , 3 ")
    4-\22 54 2
    '7
    23 " ,
    I
    5
    -4fLli-4,.....,
    r
    2
    3-4f
    2-4f
    ft,
    .:..
    ---?;
    ~
    5
    3
    nd Canada administered by ENJA-LU
    Records Horst Weber Gmbh/Edition Tutu. International Copyright Secured. Used by permission.

    ead9 F#(1 ) ~
    4

    ;5

    36
    J

    J.I

    '-' '-'

    )~
    ~ .

    --.;:

    -~J

    Four-note 'scale'

    Solo F#
    l'
    ...L

    \~

    'I

    ""U""

    -,

    ~-e-

    "-"'

    f
    5

    D
    J.j.

    .-I '

    D.C.
    Fade on Intra to finish
    Checkpoint: Y Todavia La Quiero
    e Bass line This is the foundation
    of the entire piece. Notice how it always
    includes Rand 5 of each chord, but the unchanging top note F# is in turn R of
    the F# chord, 2 of the E chord and 3 of the D chord.
    If you wish, you may simplify the bass line during the intra and solo sections
    by playing the middle note on the beat (as on the CD). This is the same rhythm
    as the left-hand chords in Major Triad Workout (p. 32):
    Fig 1,40: Alternative

    bass line rhythm

    F~

    -Y'!
    '!J
    Foot-tap:

    ~~.

    etc.~

    e Halftime feel Practise the left hand alone with a foot-tap

    and metronome

    set to

    88 bpm (the 'one' and 'three' of every bar), until you can play it without looking.
    elntro Perfect fourths are played in the right hand, repeating the same two pairs
    of notes, B/E and C#/F#, which are compatible with all three chords. The intra
    is always played between the head and solo. During the repeats, try varying the
    rhythm of the right-hand

    chords rather than just repeating what is written.


    e Melody - section 'A' Notice how the first three phrases follow the notes of
    each triad like a glove, moving down a tone each time the bass line does.
    Fig 1.41: The melody follows the first five notes of each major scale

    F# major scale
    2
    3 4
    5

    32R

    ~~
    To help you memorise this tupe, think of each phrase starting on the third of
    the chord.
    e Melody - section 'B' This begins in section

    'P: with a pick-up on the '3 and' of

    bar 8. The pick-up encircles the first note of bar 9 - A# (once again the third of
    the chord).
    The melody that follows ascends an F# scale over the first two bars, and
    descends an E scale over the next two bars, resolving onto the third of the D
    and E chords (the long notes in bars 13 and 15). These scales are not regular
    major scales as they contain some flattened notes, in particular the seventh.

    ~I

    14

    We'll be looking at scales like this in more detail in Chapter 3.

    37

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