Don’t Just Practice Dry Technique: Practice Full Engagement With Your Music!

June 11, 2012

Here is an enjoyable (though challenging) way to practice the harmonic minor scale.  Read the rest of this entry »


Charlie Parker: “An Oscar For Treadwell”

December 13, 2009

Page 43 of the Eb Charlie Parker Omnibook contains this cool phrase in lines 12 & 13.  Why does this particular lick sound so nice over a V7 chord?   One reason is that the 3rd of the chord (TI), the 7th of the chord (FA), and the 13th of the chord (MI) are prominently featured on the strong beats 1, 3, & 1 respectively.  These are the most interesting notes in the chord.   FA & TI form an attractive tritone, while MI is a major 7th above FA.  The line also has an interesting contour.

Although Bird’s solo on “An Oscar For Treadwell” is in the key of A major (on alto sax), you will notice that the lick shown below - which occurs in the first 2 measures of the bridge – is in the key of F#.  For the benefit of New Ears Resolution students, i have written in the solfége syllables below the notes.  (The syllable “SE” – pronounced “say” - is between SO and FA.)    As always, you will derive the maximum benefit from playing this phrase in all 12 keys.  If you cannot figure out the notes in the other keys, email me for a FREE pdf of the complete chart and an mp3 recording you can practice along with.

The more you study the work of the masters such as Charlie Parker, the richer your own musical vocabulary will become.  Playing the licks in all 12 keys develops your “hand / ear co-ordination” and prevents you from falling into “finger familiarity” ruts.


Lick from Bird’s Solo on “Cosmic Rays”

August 22, 2009

This phrase from Charlie Parker’s solo on his composition “Cosmic Rays” is 1 more example of his stunning melodic gift.   Study a whole encyclopedia of great Bird creations in “The Charlie Parker Omnibook.”  Click on the arrow below to hear the audio file, which was created from the original recording slowed down & transposed into all 12 keys.


BIRD COSMIC RAYS


CELERITY: Bird transposes up a half step

July 29, 2009

This wonderful phrase illustrates how Charlie Parker (“YARDBIRD” or “BIRD”) could take a simple chord progression (such as III minor / bIII minor / II minor) and transform it into an opportunity to modulate.   In this case, he raises the key by a half-step, a favorite be-bop modulation.  (Thus, the bIII minor becomes a II minor in the key a half-step up from the original key.)   To solo properly over this progression, you need to use the Ab major scale for beats 3 & 4 of measure 1, the G major scale for the rest of bars 1 & 2.  Try it!   As always, try to master the exercise without resorting to the printed page.      Click here to hear the audio
BIRD CELERITY no key sigs


ANTHROPOLOGY (Charlie Parker)

July 2, 2009

There are so many great phrases in this classic solo.   This one deserves attention because of its rhythmic & melodic vitality and its effortless harmonic insinuation.   Click below to see the phrase in all 12 keys.  However, it is better to practice your ear training by figuring out the lick through  melodic extrapolation.   Click here to purchase the Charlie Parker Omnibook with its 142 pages of heads & transcribed solos by Bird.  Click here to hear a play-along version.    (To slow it down or change the key, download the free program “Best Practice.”)ANTHROPOLOGY by CHARLIE PARKER (BIRD) line 14

 

 

 

 

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Jazz Musicians as Role Models

October 2, 2007

Is it possible for an older jazz musician to influence younger players in a constructive way?  Read the rest of this entry »


Charlie Parker Teaches Focus

September 29, 2007

Have you tried reading the charts in the Charlie Parker Omnibook?  I find that some of them require a level of focused attention that is quite difficult to maintain over a 3-hour practice session.

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Cool uses for the Charlie Parker Omni Book

September 23, 2007

There are so many wonderful phrases that Bird created. When one phrase in particular captures my imagination, i try learning it in all 12 keys. Read the rest of this entry »


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