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ALL ALONE BY THE VIBRAPHONE By VICTOR FELDMAN

VICTOR FELDMAN BIOGRAPHY

Victor was born in London, England inL934 and is considered the finest versatile iazz musician that country has produced. He plays vibes, piano, drums, bongos and conga drums. He was named "Kid Krupa" when making his debut playing drums on the concert stage at six years of age. He played on the B. B. C. , appeared with Glenn Miller and was featured in several motion pictures and stage shows at that time. Before leaving Great Britain to come to America, Victor made 20 record albums, topped the music polls for 6 years and represented London in the Paris lazz Festival for 2 yeats.

arrived in the States in 1955, his first job was a tour with Woody Herman followed by 2 years with the "Lighthouse Allstars". He was a member of the Cannonball Adderley Quintet for a year and accompinied Peggy Lee on her first European tour. His fame had preceded him, and he worked with all the top vocalists and leading American iazz men. When he

The State Department sponsored the fLrst Jazz Tour to Russia in which Victor was featured with Benny Goodman's Sextet and Big Band. Upon his return he completed writing and recording his original tunes on Columbia Records with Miles Davis, of which his title song is the name of the albim - "Seven Steps To Heaven". He also recorded "TheWorld's First Album Of Soviet Jazz Themes".

Victor records with such artists as Frank Sinatra, Henry Mancini, Michel LeGrand, and Quincy celeste, Jones. His Hollywood studio work consists of playing such instruments as tympani,Riverside, "marimba, the Contemporary, on xylophone and Latin percussion. Victor's albums are Paci.fic Jazz-, Infinity and Ava recording labels. His iazz vetsion of "Stop The World, I Want To Get Off; is featured on Pacific Jazz along with his latest, "Victor Feldman Plays Everything In Sight". Being permanently settled in Los Angeles with his family, he is pursuing another musical enVictor has penned ftre music for two science and art films for U.C.L.A. deavor - film ""oiitrg. "The World Within" i.ttd "A Freighf Yard Symphony", His unique quartet consists of Tom Scott, musicians for his beautiful ;ofrn Cuerin, and Chuck Domanico. Victor is.admired by his fellorv work. Being a softspoken, solo excellent rhythm patterns and his exciting taste in chord voicings, "V", truly a "musician's he is exact in his creativeness proves the fact that talented gentleman, musician".

Photos: Steve Merchant Engraving: Stan Sheldon Music Service, Inc. Pr:inted by: Golden West Music Press

ALL ALONE BY THE VIBRAPHONE By VIGTOR FELDMAN

c01{TEt{TS

ROCKAVIBABE BACKWOODS BLUES TREVOR'S WALTZ MAX . FEELTN'GOOD cLosER... MINOR CATASTROPHE . MANHATTAN AFTER DARK TOO BLUE

3 4 6

....

...... 8 .......10 .....14 ......16 .... 18 ...2O

......22 .....24 .......26

FELTCTDADE DANNY BOY . HAUNTED BALLROOM FINALE IN FIVE

...28

$3.95

@Copyright 1971 bY

GWYN PUBLISHING C(IMPANY P.0. Box 5900 SHERMAI{ OAKS, CALIFORNIA 91413 lnternational Copyright Secured Made in U. S.

A. All

Rights Reserved

I FOREWORD by Shelly Manne

There is a tendency on the part of the musician who reaches security in studio work to stop creating. I can think of no better example of a musician who has found that security *d hut continued to contribute creatively to music, than Victor Feldman. Fie is a consummate craftsmantn all kinds of music with a constant curiosity, enthusiasm and dedication that makes him give so much to the growth of the music he loves. He is without a doubt one of the greatest Jazz musicians.

Any musician, beginner or professional, can learn and learn and learn from someone like Victor. Knowing the effort he put in this book, it is with great pleasure and love that I write this Foreword.

publisher's Note: As you know, Shelly Manne is a l5 year lazz poll winner anil noted percussionist. He is also a top studio musi' recordings ood composer. ilis recent creitiis include tne Ti Show Diktari, and the rnouie, "Young Billy Young". His latest i'Outrid""-and "in, or" "Shel\r Manne Atiue In London" on Contemporary Records'

NOTES

When you see a note followed by an x, it means that the note should be dampened without raising ttre peOat - by pressing the bar with a mallet. An x under another x indicates that two notes are to be OampeneO withou"t raising the pedal. When a few in succession are to be dampened in this manner, f have used the conventional slur marks (- )' Do not use the motor unless it is indicated. notes, I have occasionally drawn a diagram

In order to show the sticking to be used on two 7-t 't ?

ftL)"' V

rR)

A line and letter under a chord symbol indicates the bass note to be played with the chord. For example, D-7 is D minor 7 with C in the bass. C

r&---- -----------J

dim. + (2')

Pedal Marking

is the symbol for minor is the symbol for diminished is the sYmbol for augmented Sth

in a chord symbol means added 2nd A11 added altered notes are indicated by sharps andflates, except for augmented (+) Sths.

to During some passages that contain many- chord changes, some were omitted in order notnot although spelling correct their in complete are cluttel up the musi"c. Most chord symbols all notes of the chord are written-

ROCKAVIBABE Medium Hard Mallets I

J =105--ll0

't'ozXo

nf D7

8.7 Ff-T cfibs c-z rfzfg nrpflt nz*$s 4zfo

D?(6)

?4e

eregc.

Ge(6)

O o,,

\tr

D.S. al Codo

ff

o t,T

v4f

tBACKWOODS BLUES

4 Slow Motor Medium Hard Mallets

F7

C-7

F7

F7

G7

@rel7 L.H.

EbG

G.7

Ab

-

G7

A-7b5

C7

sbt

FA?D7

F-? sbt

ebz

F-z

G7

D.7

ebt

G7

1-3J

I

rJr

F?

FT

-

C-7

EJ G

t-3- --'

G.7

F7

-il

G7

*t

F-z

sbz

sbt

F-?

sbt

E

f

F7

t-J.l _,

C7

arsfio or$e cre cz*fg FT(6) rrsfio

G7

6

Medium Soft Mallets

TREVOR'S WALTZ

I

)=l4O-152 c(2)

GmajT

A-7

-T-

T

D

q4

A-7

D

D

A-7

T_

r

GmajT

-rD'-

If;J

A-7

DI I

B

rr

rF------------r 869 B

Ff.?

hH.

c(?) D

J)

tr B

A-7

D

A-7

>

D

DJ,

7

?

A-' D;1.

/a

MAX

nb-el

sbtl'.ryl

nbg

)1

nbzsus4

,

J' x J*J ^b-7

619-------J

nbz**a

oh

JJ *8

eg------J 6g-------J

.-------------------J

fr

4-----J sb rs

fr1

------J

E-7

r3,--

qe

D69

E-7

A

G

*e-------------J

6g---------J

cfii+fis

GmajT

c13

J

rf-z

st*bs

BTbs A 13be

cefr"r

--------J

3,----r

r- { -r 7c

*r--------J

E--------------J

p#-7

GmajT

D69

E-7

Bb 1s

g--------J

46-------J

.g-----J

cf ?+fie

J J J-u-r

4------J

{r----J 6g-----J

J

E 13

E-7

A

X

66-----J *------J

€&-------------J

B-11

s?bg

c13

rF---------------J

itF----J caF.1

C6

t

66s------J

;te-----J

{F-------------J

frrr'*.{!

J

eb

3. -.:.,

J..->,

69------J

61s------J

rs

,-3

16------J 46------J

As

G

--r

'g-------J

Dmaj9 (add 6)

E-7

-r

c13

B-',7

B-7

E-7

BbmajT

A

-----------J

I 2

f J

=|,,.l,,

dbttrl

Pb6 Dbmaisqb-lnhog

Eb

m €

c,beg

ob

b-r

Dbmaj7 obo obmajg F,-zDb6c

Eh

4 > cbog Db

sbfug nb-t

Eb-?sus4

ebrsbo$rr

r,6g

nb

Dh

Dbmaje nh-r ob6s

>

c,beg

DF.

cbg

nb-t

nbgbs

J

Suggested rhythm patterns

a

,

E

M

to be played

pbrnai,o

S

!r,

as backgrounds:

tb-1

majzog

abz*1$ey

F69

ob

DANNY BOY

24 Medium Soft Mallets I

J

*n

FteeTenp

slowly

#,1 ) J

*lvs t E-9

A

&? A

I

*B'-

E-7

A

c6h1

, ft

azbo$rr

25

nz*$e

2l

A7(6)

D9

d

a

.J-

t=

l-J

69-----------J

P#*

sbt

B-

oto

D

A

X t,X g.-P 46'----J

rF---------------J

BE7

D

A

E

E7

A

a-

7 ?

A13

c

f-

1",'

-

*L-----r

r

C'rnajg (6)

D.S.

D

A

CODA

-il---;-GfG l-

Ll

B.

otbg

B-11 E7b9

-FF

f

P

.g-----J .g------J Gf,

D. trf,

-G- g A7sus4 A7

faster

{B-----------------------

J

E-7

A

I J.,

a.

D.

qlMn

>

rit. tr

rF-:-------- --J *-------J

A

BJ F

F

F:LT 49--------J

rit.

.316---------J

*rmil \} o\ *-----------------

- -1'N=78

R '2rL ----------J

HAUNTED BALTROOM

26 Medium Mallets

abrs$rr

nbra$rr

Srafirt

o'-f;t

c{(6)

g3-----------J

c-7 cfug

fi-/;t

67*fS r-O

4E-------J F-7

abrsft.r

Ebmaj? &-zbs

Backgound (play softer )

{h-------------J Ebrnaj?

27

G7

^7bs

E-7+5

28

FINATE IN FIVE

Medium Hard Mallets I

J =140-16l D-7

E

r

D-7

D-7

CmajT

CmajT

z*\iue

r ll9---:V-l

,?=

--------J

A7 sus 4

----i------J

-------J

c-9

--i-------J

Dbmai?

a

T'.

F-7

G

Bt Bt-

)

ri

E

29 Htdlufdeling

o-tbs

C69

G

Cmaj9

Cmaj?

Cmaj?

D-T

Cmaj9

D-7 (2)D-7

--------J A7

sus4

Cmaj9

(2)

D-7

Cmaj7

D-7

D-7

CmajT

CmajT

Cmaj7

Cmajg

T:T

61E-------J

Ei! A7

A

DmajT

g--------J

*E---------J

elE---------J ;p---------J

€13---------J

Ebmaj?

F-7

Et-

-J 46----------J

46---------J

F-7

_J:

EF

Ebmai?

€&,---------------J F-7

------1------J

Ebmaj7

crbsbg

CmajT

a 4-----a

----------J

r--------,

slightly slower

---------J

GWYN PUBLICATIONS AND RECORDINGS: HOW TO PLAY THE ELECTRIC BASS bv Carol Kaye PRACTICE RECORD SET FOR ABOVB ELECTRIC BASS LINES NO. I bv Carol Kaye

'

(2LPs) ' (2LPs) PRACTICE RECORD SET FOR ABOVE ELECTRIC BASS LINES NO. 2by Carol Kaye ' PERSONALLY YOURS (StringBassPlayers Guide)'

''

$3'50 ' 4'50 ' 2'00 ' 4'50 ' 2'50 ' 2'50

CAROL KAYE EI,ECTRIC BASS CASSETTE COURSE

books, l-15 lesson book, 3-50 minute cassettes, I rhythm background' Credit allowed on

(Above

4

books previouslY

Purchased

ELECTRIC BASS LINES NO' 3 by Carol Kaye JOE PASS GUITAR STYLE (50 min) JOE PASS PRACTICE CASSETTE IAZZSOLO GUITAR by loe Pass

'

CHORDS Humphrey min)

JOE PASS GUITAR NO. f SOUL DRUNIS by Paul SOUL DRUNIS PRACTICE CASSETTE (50

"

' ''

29'50 ' 3'75 " 5'9s ' ' 7'50 ' ' 3'50 ' ' 3'00 ' 3'50 ' 7'50

ALLALoNEBYTHEVIBRAPHONEByVictorFeldman......3.95 vicron FELDMAN vIBE solo cASSETTE ' ' ' ' '7 '5o

r*il

m1

GWYN PUBLISHING COMPANY P. O. Box 5900 Sherntan Oaks, California 91413