Jazz Solos for Flute
by Denis DiBlasio
For Solo Flute
Published by Kendor Music, Inc.
10 grade 3-4 solos based on the chord changes to popular jazz standards
1. F Blues (key of F)
2. Based on the chord changes to “I Got Rhythm” (key of Bb)
3. Bb Blues (key of Bb)
4. Blue Bossa (key of c minor)
5. Based on the chord changes to “Satin Doll” (key of C)
6. Based on the chord changes to “Song For My Father (key of f minor)
7. Based on the chord changes to “Autumn Leaves” (g minor)
8. Based on the chord changes to “Just Friends” (key of F)
9. Based on the chord changes to “So What” (key of d minor)
10. Based on the chord changes to “Take the A Train” (key of C)
These pieces are based on chord changes from popular standards. Their common keys are listed above. Each one starts out simply and gradually gets more involved rhythmically and harmonically. To increase the challenge, increase the tempo. It is recommended to play along with a metronome. To emulate the high hat in a swing feel, it is helpful to hear the metronome clicks on beats 2 and 4 of a 4/4 measure.
Stylistic indicators, such a swing feel, bossa, or straight eighth feel are indicated in order to articulate and phrase correctly. Playing an attack (>) effectively is paramount in articulating this music. The louder the flute is played, the less effective the attack articulation is. An effective attack is more about the difference between what happens immediatley before and after the attack, rather than how hard the attack is played. By thinking play soft – jump out to attack – immediately retreat to soft can help the effectiveness of an attack. It's the difference that makes it “pop”.
Finally, be sure to listen to other flute players as each articulates differently. For example: Eric Dolphy, Joe Farrell, Roland Kirk, Yusef Lateef, Hubert Laws, Dave Liebman, Charles Lloyd, Herbie Mann, James Moody, Jeremy Steig, Frank Wess, Sam Most, Dave Valentin, James Newton, Bus Shank, Paul Horn, Lew Tabackin and Tubby Hayes. Some players use an even eighth/legato concept, while some players tongue and articulate every single note (and all variations in between). It all works as long as the concept emanates from the proper feel.