April 9th, 2012
If there is one thing about playing jazz that’s shrouded in mystery, it is improvisation.
Improvisation exists in other types of music, even in musical traditions from the far reaches of the globe, but in jazz it goes much deeper. It is somehow vitally tied to the spirit of the music, and it’s not just musicians who recognize the power of the improvised solo. This essence has been captured in everything from literature to movies to pop culture.
There is something alluring about the idea of the jazz musician; a creative soul channeling the intangible through their instrument, essentially creating something out of nothing.
However, despite all of the attention, we still can’t seem to define this creative endeavor. You can get a degree in jazz studies, you can study the philosophy behind improvisation and creativity, and you can even scan the brains of improvising musicians to discover the secret pathways of the mind in its most creative state, but there still seem to be more questions than answers.
Alas, improvising continues to remain an elusive mystery.
As musicians hard at work developing this skill in the practice room, we often get lost in the music. It can be all too easy to lose the ability to look at the music objectively from an outside perspective and after some time, we’re no longer able to hear music with a naive untrained ear.
We become part of the music and suddenly we see the world in a different way. It’s … Read More
March 20th, 2012
One of the questions we’ve been getting a lot lately is where to start learning jazz improvisation. There’s so much information out there, that knowing where to start is a complete nightmare.
If I could start again today, I’d ignore nearly all the information out there in terms of method books and do my best to learn this music the same way that the greats learned. They didn’t have books filled with transcriptions of their favorite players. They didn’t have real-books or fake-books packed with sheet music of tunes. And they certainly didn’t have play-along records that they could pop in and jam with.
They learned from the recordings of their heroes, coupled with playing with others.
Now don’t get me wrong. It’s up to you whether you use any of these materials and even play-alongs can be used effectively, however, why fix it if it’s not broken?
In other words, people were learning how to play jazz long before any of this material existed and they certainly sounded just fine Sure, the convenience of playing with a play-along record when you have no one to jam with can be fun and beneficial, but in my experience, as well as observing countless other musicians’ experiences, nearly all these resources distract you from the pathway that will get you where you want to go.
Where to start
Here’s a checklist to get you started learning jazz improvisation. If you simply go through the checklist, you’ll be well on your way … Read More
March 13th, 2012
As an improviser, you can transcribe solos. You can improve your technique. You can listen to your favorite recordings for hours each day. You can practically live in your practice room.
But, no matter what you do or how much time you spend, at the end of the day you still have to deal with tunes. Despite all your hard work and preparation, there are still those tunes you don’t know. Lot’s of them. Hundreds of tunes. How exactly are you going to learn all these tunes?
The truth is that you aren’t going to know every tune ever written. Try as they might, no one does, not even the greatest players out there. However what you can do is slowly but steadily add tunes to your repertoire, one by one.
Each day you can make a little headway. This is the mark of a great player. Aim to know more tunes this week than you did last week. Work tirelessly on your ears and playing what you hear, so you can figure out the tunes you don’t know. Strive to learn something new everyday.
Expanding your repertoire is something that every improviser must deal with, it’s a process that never ends. However, this process of learning tunes doesn’t have to be a recurring nightmare that’s constantly holding you back and preventing you from going out and playing. It can be simple, even fun.
Here are three things that you can do in your daily practice to make the process … Read More
March 5th, 2012
Just learn a few ii V licks in all keys, learn how to use them, and that’s jazz, right? Unfortunately not.
ii Vs make up the bulk of chord progressions found in all western music from classical to pop music, hence, ii Vs are necessary to master. However, a common result from working on ii Vs a lot is something that sounds like a combination of noodling around and plugging in ii V licks. We never want to sound like were noodling around, and we’d much prefer to sound spontaneous and interesting than uninspired and predictable.
When we finally decide to start devoting time to studying ii Vs, our ears open a ton and we get excited, as if we’ve found the key to unlock everything. Studying ii Vs does unlock a ton of mystery and will greatly help you improve as an improviser, but know that that this study is only part of the picture.
Getting stuck in ii V land
We all practice ii Vs. We practice lines over them, we practice freely improvising over them, and we try to figure out how to use any concept we’re working on over them, but to what end?
Somewhere in this mess of working on ii Vs, we lose track of the real goal: to sound musical. That’s right. To actually say something with what we’re playing. But when all you have is a hammer, everything looks like a nail.
What happens when we get enthralled with ii Vs … Read More
March 2nd, 2012
Transcription can be a real struggle sometimes. Some days it feels like you can spend an hour trying to learn a few measures, and after a dozen frustrating attempts, you end up in exactly the same place you started.
If this feeling rings a bell with you, you are definitely not alone. Many of the questions that we get every week have to do with this exact problem. How exactly do you make the transcription process easier?
In a perfect world transcription would be a breeze. You would hear a solo that grabs your attention, bring it into the practice room, and figure it out in a matter of minutes. The entire process would be seamless and easy: hear it, sing it, and play it; translating those harmonies and melodies right to your instrument and on to your solos.
Sounds too good to be true, right? Well, this is actually closer to reality than you might be willing to believe. You can get to this point in your playing, however, the path there is not what you may be expecting.
Getting simple with it
With any complex technique, advanced skill, or in-depth harmonic knowledge that you wish to acquire as a musician, the process has to begin with a very simple concept. A small exercise or idea that you expand, explore, and expound upon. You take this simple idea and master it; building it up step by step, until you are playing at an entirely new level and using skills … Read More
February 22nd, 2012
When we practice jazz improvisation, we zoom in on one area of study so much that we often lose sight of the whole. How do we practice in this truly focused way, while simultaneously train ourselves to perform in a way that expresses all of what we know?
In other words, how can we shift our perspective from a one-pointed zoomed in view to a wide angle lens where we’re capable of drawing from many concepts, lines and techniques?
The answer: practice mixing.
Mixing is just that. You practice mixing multiple techniques during a chorus or several choruses of improvisation. By doing this, you learn how to widen your gaze and not get hung up on playing the same thing every time around.
The more you learn to mix everything you practice, the more it will be available in live performance as it will be natural for you to move from one idea to another, or to sprinkle in some new concept you’ve been working on at just the right moment.
What to mix
What can you “mix”? Well, when you think about it, in general, anything you play is either a piece of language, or a concept. Really, even a piece of jazz language is an example of concepts in action, so essentially everything is a concept, but for sake of clarity, I prefer to think of language and concepts as two complimentary entities.
So, you can mix:
- language with language
- language with concepts
- concepts with concepts
These are … Read More
February 20th, 2012
Great solos don’t come from nowhere.
The ability to apply innovative harmonic concepts, flawless instrumental technique, and appropriate musical language doesn’t just materialize out of thin air. These prized aspects of excellent musicianship have to start somewhere. However when it comes to pondering our musical idols, for some reason we can’t help thinking in this illogical and romanticized way.
From Charlie Parker to Miles to Michael Brecker we see the staggering end result of their work and can’t imagine it being any other way. They never had to work hard, those amazing solos just came out naturally, right?? The reality though, is that each great player and more specifically, each great solo has an exact origin and a traceable path from idea to implementation.
Now this idea is nothing new to musicians, but an area of contention among many is what exactly it is that goes into creating a great solo. There are many theories out there as to what it takes to become a great improviser. Just take a look at all the different concepts and methods you can study in books and the DVD’s put out by dozens of big names.
Even between great players, there are discrepancies as to what works and what doesn’t work.
Despite all of these personal methods, there is one consistent truth that can’t be ignored. When you improvise a solo, you can only draw upon what you’ve practiced and ingrained in the practice room. It’s as simple as that – if you … Read More
February 17th, 2012
I practice a lot. Some days more than others, but I try to get in a couple hours everyday no matter how busy I am. In many jobs I’ve had, I’ve even been known to take my horn to work and sneak away in a spare room once everyone leaves.
I bet your life is just as busy as mine. Between work, family, and personal obligations, our musical endeavors fall to the wayside and end up in a chaotic mess; you scramble to find an hour to practice and when you finally do, you’re not sure where you spent your time yesterday, where you should spend it today, and what you should spend it on tomorrow.
Relax. It’s time to get organized.
Documenting what you know
The first and main step in getting organized is documenting what you know. This is an easy step to pass by. Believe me, I still have much of what I know undocumented. Why is this bad?
It’s not necessarily bad that not everything you know isn’t documented and it’s probably impossible to document literally everything you know, however, conversely, the more you can document what you know, the more you will understand where your greatest strengths and weaknesses lie. Think of your documentation as a visual representation of your arsenal.
Document language you learn
Every week you should be further ingraining the language you know, and introducing new language into the mix. With all this language coming in and out the door, it’s easy … Read More
February 14th, 2012
Recently I’ve been checking out a book called “You are Your Own Gym: The Bible of Bodyweight Execises.” The author, Mark Lauren, is a former instructor and trainer for elite special forces soldiers.
The central premise of his book, geared toward your everyday civilian, is that you don’t need all those fancy high-tech weight machines or even an expensive membership to your local gym to get in shape. According to the Mark Lauren, what most people don’t realize is that you already have all the equipment you need to completely transform your body.
You are indeed your own gym.
At first glance, it seems like a concept that’s too simple and too obvious to work let alone create elite soldiers. However after a few weeks of sticking to his program, the results speak for themselves. More important and far reaching than his workout program though, is the concept of intrinsic improvement.
This idea of self-engendered personal growth may not be a revolutionary concept in the realm of physical fitness, but in the world of music it is surprisingly rare.
Fitting the mold of the musician
In music, we constantly define ourselves and our musicianship by external factors: the instruments we play, the style of music we perform, the records we listen to, and the groups we play with. Classical musicians are supposed to play a certain way, jazz musicians have to play another way, string players play a certain way, drummers should focus exclusively on rhythm, horn players … Read More
February 9th, 2012
It’s as easy as getting from point A to point B, right? Of course it is. But what they fail to mention is that the distance between the two points is not a straight line!
In terms of large goals, like learning how to improvise, the path is not linear. In terms of small goals like learning a single line or concept, you can create a direct approach to practicing that particular thing and work it into your playing in a systematic way. However, today we’re not talking about little goals. We’re talking about big goals. Large ideas. Multiple levels of improvement.
We’re talking about learning jazz improvisation as a whole. The larger the goal and the more general it is, getting from point A to point B becomes less linear, so you can bet that this is a good candidate.
Understanding the reality of non-linear paths
What is a non-linear path and why does it even matter? Saying a path is not linear means that it’s not as clear-cut and dry as people think. When we first start to learn how to improvise we’re scrambling for what to practice and we easily get overwhelmed when we realize there’s so much to learn.
With all this to learn, in what progression do we tackle the material?
We recently received a question from a reader asking if they should start transcribing, or working on ear training, or learning language…and the answer is: yes.
It’s simply yes because these are all necessary … Read More