December 26th, 2011
A recurring theme on this site seems to be language – acquiring, practicing, and applying the jazz language.There is a reason behind all the repetition, however. Language is a very powerful concept when it comes to improvisation and it’s an idea that can drastically change your mentality about the music.
But, even before you get to the idea of acquiring, applying, and transforming pieces of language, there is a much more basic issue at hand here: Why should you even learn language in the first place?
When you get down to it, no one is requiring you to learn lines from the records or to imitate the style of a famous musician. There is no mandatory rule that you have to improvise in a certain way and you can easily create solos with the “right notes” using memorized scales. So why bother spending that extra time to learn someone else’s solos and language?
It all boils down to musicality. What is it that defines the musicality in your playing? Where do you learn musicality without imitation or listening? Musicality is the reason you play music in the first place. Without emotion, style, and shape those chords and scales would be, well, just chords and scales.
If I had to name the one thing that improved my playing more than anything else, the thing that made me finally “get it” when it came to improvising, it would have to be language. Before I began to transcribe solos and study … Read More
December 15th, 2011
What if you could approach something in a completely new way than you’ve ever done before? What would happen? Perhaps an entire world of possibility exists from this new angle, but how do you get there?
Trying completely outlandish, almost silly techniques can spawn immense creativity and improvement in one’s ability. In all art-forms, it’s those who were willing to try something new and go against the grain that defined a new level, pushing the art-form to new heights. Not only in art, but also in sports, entertainment, and even in science this holds true.
The only way to make these new discoveries is to take on a new perspective. Implementing techniques that seem slightly bizarre is one way to remove your current filters, and give a 180 to your entire concept.
Being influenced by objects
I remember one afternoon in a combo rehearsal, Cecil Bridgewater suddenly stopped the entire group, starkly looked at me and said, “Forrest. Play your shirt.” I gazed back in confusion. Play my shirt? What the heck does that mean? Seriously, what does he want me to play??!!
I looked down at my shirt. It displayed two silhouetted figures in the night. A dark yet vibrant magenta light emanated from the edge of each outline.
I looked back up at Cecil and the band, counted them off, and began to play. I didn’t think about chords, although I knew perfectly where I was in the form. I didn’t focus on any sort of harmonic concept. … Read More
December 14th, 2011
Oftentimes, we get pushed down a very narrow, prescribed path when it comes to learning and performing jazz. Without question, we get complacent with the established rules of others whether it’s the guidelines of an educational program, the expectations of the people around us, or the limits of a label for the music.
We get sucked into a mindset that is not particularly true and one that’s not our own. After years of this, it can be eye opening just to remember that you can determine what it is that you want to get out of this music.
“What are my goals with improvisation?” Do you want to sound good at the local jam session, to play like Charlie Parker, to express yourself creatively, to develop your own voice in this music, to simply play music with others?
The possibilities are endless and we all have our reasons and goals when it comes to learning improvisation. Some of us have very high ambitions and work diligently everyday to improve, while some of us pursue improvisation as a hobby, simply for the fun of it.
If you look very closely, however, the true reason that we’re all drawn to this form of expression is not merely an external one. From the professional to the layman, there is an inherent satisfaction in creating in the moment; creating your own sound, expressing your personal view, and playing the sound of your time.
The music that is created in the moment. This is … Read More
December 11th, 2011
Many times when we’re soloing we get boxed in so to speak. We think that when we’re on a particular chord, we must play that chord and that chord only. We have tunnel vision and there exists little possibility.
One technique that dramatically relieves this boxed in sound and mindset is harmonic anticipation.
Anticipating a chord is quite easy: you simply anticipate the chord that you’re moving to by playing it before you arrive at it:
Anticipation is such a powerful technique because it achieves so much with so little. Just by playing the chord that you’re going to a little earlier, you’ll create a sense of forward motion, over the bar-line phrasing, and a feeling of excitement in your lines
How anticipation can help you
Like I was saying, we often feel boxed in by the chord changes. For example, here’s a sample of how someone playing over a Bird Blues may solo.
Pretty boring, huh? It sounds unnatural and boxy. Now, let’s take that same example and throw in some anticipation:
This is the same example except for the slightly modified resolution at the end of the line from G7 to C major. Now it’s a bit extreme to anticipate every chord, but you should hear and understand right away how much more exciting this line became from simply anticipating each chord by a beat.
Utilizing anticipation within your lines yields a more natural feel that can be heard and felt right away. And it’s easy to start … Read More
December 9th, 2011
In talking, practicing, and performing with many musicians over the years, it seems that a number of players are having trouble getting started with improvisation. Even more have a hard time moving forward, but can’t seem to figure out why.
Time is spent in the practice room day after day, yet no results.
There seems to be a hidden trap that many musicians unconsciously enter each day they step into the practice room. It’s something that we’re all susceptible to and a trap that we enter willingly time after time.
We can’t see it because it’s disguised as ambition. It develops as a result of our attempts to uphold an image as a serious improviser and even though we know better, we fall victim to the lure of this pitfall again and again.
Start simple, stay simple
So what is this trap? Why, it’s so simple that it doesn’t even seem like that big of a deal: skipping over the basics.
The main reason that so many players have trouble learning or progressing with improvisation year after year is that they continue to skip over the fundamentals. It’s as simple as that. It doesn’t have anything to do with talent or a willingness to get into the practice room, the problem lies with the actual content the practice session itself.
Go to any practice room in any music school and you’ll hear players trying to play as fast as they can on the hardest tunes that they can find. … Read More
December 2nd, 2011
Learning improvisation can be a curious process. Every now and then as we endeavor to educate ourselves musically, we hear bits of advice and pick up words of wisdom from master classes, videos, books, and conversations. Yet, we don’t really listen to these directions or take them to heart.
The truth is that we can’t accept these words of wisdom. Well, at least not until we discover their validity for ourselves. We need to be hit in the gut emotionally and we need to see the light with our own two eyes.
This is the funny thing about human nature. People can tell you repeatedly how to do things, whether it’s how to eat right, how to exercise, or how to play jazz, until they are blue in the face. But, until you change your diet, hit the gym, and start transcribing solos, experiencing these tangible results for yourself, this information has no impact on you.
You have to have that light bulb moment where you realize “Oh yeah, this stuff actually does work…” You need to realize that you’re not some exception to the rules that everyone else is following, these words apply to you and they can help you. You simply need to listen.
For me, this moment came after I moved to New York. All of a sudden I was in a musical environment where the level was extremely high. From seeing my heroes play nightly in clubs to seeing unknown players tearing it up at jam … Read More
November 29th, 2011
“Jazz is about being in the moment”Herbie Hancock
If jazz is all about being in the moment, but all our practice time is dedicated to figuring out what we want to play when we perform, then how are we supposed to be in the moment when we perform?
There’s this strange dichotomy…
On one side, jazz improvisation is very rehearsed. And on the other, it’s very spontaneous. In between these two sides is a ginormous gray area. It’s this gray area in the middle where people get lost.
Trust the process
Jazz is about being in the moment. Like Herbie says, it’s not about playing what you’ve practiced, it’s about here. Now. This moment. That’s what jazz is.
But, why are our efforts in the practice room so thought out, so calculated, so uninspired, when we’re trying to achieve something on stage that sounds as though it were created in the moment?
It seems counter-intuitive: rehearse concepts and language over and over with the goal of improvising in the moment when you perform. Because this sounds so counter-intuitive, most people do not practice this way. They assume that because they are trying to conjure up a purely improvised performance, they should practice this way as well.
This could not be further from the truth. The process of achieving successful results in jazz improvisation is thought-out, repetitive, and slow. As you will read later, there are infinite ways to instill plenty of creativity and spontaneity into this seemingly dry process, … Read More
November 28th, 2011
Imagine that you’re strolling through an art museum on a lazy afternoon. Leisurely, you walk past magnificent paintings, weave between rows of sculpture, and meander through various galleries, each showcasing a bygone era of human artistic accomplishment. By chance, a particular painting catches your eye from across the room.
You’re immediately struck by the realistic landscape, the beckoning expression on the subject’s face, and the story depicted on that weathered canvas. The work triggers emotion, forgotten memories, and a peculiar sense of nostalgia. On some unconscious level you feel a mysterious connection to this work. This is your first impression, that visceral experience of the entire work as a whole felt from the first contact.
For some reason, you are compelled to take a few steps forward to get closer to the painting. As you inch toward the canvas, a subtle shift suddenly occurs. Your eyes open to another plane of visual awareness and a completely different side of the painting becomes the focus. Brush strokes become visible, an expressive palette of natural, earthy colors reveals itself, and curiously, imperfections become readily apparent.
At this level, the ideas and emotions portrayed in the work can not be separated from the artistic technique required to produce it – an actual person painstakingly created this! You can see the specific techniques that were used to create those intriguing visual effects that you experienced from afar. Questions begin to surface in your mind about the technical aspects of the painting: “How did the … Read More
November 20th, 2011
While we typically focus on ways to improve, this article is all about how to be mediocre. Now, chances are you don’t want to be mediocre, so while many of these listed points are tongue-in-cheek, they will provide you with insight into what not to do, if you wish to be better than mediocre.
Mediocre tip #1: Avoid transcribing at all costs
Convince yourself that great players never transcribed and choose to believe that they invented everything they played, straight from their own mind. When teachers or friends suggest that you transcribe, act like you’re above it and reply, “I’m looking to do my own thing.”
Perhaps if you’re in music school though, you’re required to transcribe for an assignment. Make sure you don’t transcribe in the manner we refer to here, but rather just try to write the notes down on paper as quickly as possible. That way you’ll avoid learning any of the language or concepts in the solo, while still being able to talk about what the soloist is doing.
If you really feel the urge to know what someone is playing, search frantically for a transcription of the solo. If you can’t find it online, you could always purchase a book of transcriptions. These are great tools to help you avoid transcribing all together, ensuring you never rise above mediocre.
Mediocre tip #2: Always learn tunes from fake books
Act like it’s impossible to learn tunes off records. Argue that you must learn the authoritative … Read More
November 18th, 2011
Time and again, we’ve stressed on this site that scales are not the secret to jazz improvisation.
However, scales can be beneficial if you practice and apply them in the right way. Once you aurally understand and ingrain the vital aspects of the jazz language (i.e. phrasing, melodic construction, expression, harmonic application, time, articulation, etc.) the scales and theory that you study in the practice room can substantially improve your technique.
Not only that, scales coupled with a deep harmonic knowledge can infinitely expand your options for musical expression.
Whoa, wait a second! So scales are horrible and to be avoided at all costs, but they’re also invaluable for musical expression? I know it’s sounds contradictory, but consider how music is presented in most educational settings. The crux of this matter lies in the way that the majority of musicians view scales.
Most beginning players, amateur improvisers, and even some accomplished musicians see scales as 8 notes that either ascend and descend. That’s it. Not related to musicality or harmonic application, just another exercise to be practiced in all 12 keys because someone told them to. What’s worse, many frustrated improvisers use this limited view of scales as the basis for creating solos over chord progressions.
One of the major problems that people have in learning to improvise is that they turn of their ears and only think of scales in order to come up with a solo. This simply doesn’t work. Scales are for the practice room and should … Read More