Have you ever ridden on a roller coaster blindfolded? That’s how it feels to improvise without understanding internal modulation. It’s like driving through a thick London fog. Progress is halting, movements are uncertain and tense.
By contrast, the player who understands how to navigate key changes improvises smoothly and confidently.
This month, we learn to recognize an internal modulation and craft an effective response. Continue reading “Mastering Modulation”
Last month, we looked at the major scale, which has been foundational to Western music for 400 years. Each of the 7 notes in that major scale can function as the root of a diatonic chord. A basic understanding of those 7 chords will greatly improve your ear and your improvisatory skill, so let’s focus on them this month. Continue reading “Diatonic Chords”
A question just came in from a user of New Ears Resolution as to how he could use movable DO to transpose Charlie Parker’s “Confirmation.” (His letter is posted below.)
Continue reading “Transposing Charlie Parker’s “Confirmation” Using New Ears”
Dexter Gordon is universally revered by saxophonists for his muscular sound. He is equally effective on ballads, blues, and fast tempos.
His Blue Note LP One Flight Up includes a fine reading of the Jimmy Van Heusen ballad “Darn That Dream” on which he dexterously employs a device favored by Charlie Parker. This maneuver involves momentarily raising the key a half-step and inferring a ii-V progression in that key.
Here are two instances in which Dexter deftly employs that ploy. As anyone who has ever tried to transcribe his solos knows, one of the hallmarks of Dexter’s style is his unique approach to rhythm. While his languid phrasing is pure joy to hear, it’s a nightmare to transcribe. I have greatly simplified the rhythm in these two examples, focusing instead on the pitches Dexter chose for the brief modulation. Continue reading “Darn That Dexter!”