Many, many thanks to everyone who volunteered for The Chord Committee. Numerous excellent solutions have been proposed. In order to avoid discord, I have combined all of your suggestions into one beautiful, majestic chord. In hopes you will find the solution acceptable, the chart and recording are presented here for your approval. (Click on “continue reading” to view the complete chart.)
Category: Jazz for Youth
Andy and i were playing this lick the other day.
Andy asked with which chord this lick could be used. I had no answer. Do you?
Although i am just a lowly jazz saxophonist, it is important for all of us musicians to have a working knowledge of piano. So i found an excellent teacher, Dawn Martin, who is really excellent at helping undo my bad habits which cause muscle strain. Two areas that particularly stymie me are:
- Skips of an octave or a major seventh
- Quickly returning the five fingers into the new position after a large skip
The 60 Hanon exercises are awesome, as is working through the 12 major scales, two hands, three octaves. I wrote the exercise below to help with the problems described above. For lack of a better name, i call it “Hanon 61.” Maybe it will help you as well. (Press “CONTINUE READING” below to see the chart.)
You can learn how to improvise like a professional jazz musician! Watch this video to see how you can begin the exciting journey towards becoming a jazz improviser.
Mastering arpeggios gives you yet another tool to use (in moderation) in your improv solos.
Have you ever tried playing Fats Waller’s great tune “The Jitterbug Waltz”? Find it on Rahsaan Roland Kirk’s “Bright Moments” album. Mastering arpeggios will make that tune much easier to play.
Here’s a challenging and interesting way to master arpeggios. The idea for this exercise was suggested to me by a warm-up my talented friend Al Thompson often uses.
Click on “continue reading” for a complete chart.
Brazilian bossa nova’s introduction to the U.S. thanks to composers Luiz Bonfá (Samba de Orfeu and Manhã de Carnaval), Antônio Carlos Jobim (Desafinado, Girl from Ipanema, Corcovado, etc.), and instrumentalists João Gilberto and Stan Getz literally transformed the jazz landscape overnight.
For the past 50 years, casual straight-ahead jazz gigs have invariably featured at least one bossa per set.
Familiarity with the following exercise will greatly enhance your facility with the melodic and harmonic nuances found in these wonderful compositions. Here is the basic lick:
Here is a recording of the lick played in all 12 keys:
Develop your ear to flawlessly play passages such as this one in all 12 keys by downloading and working through “New Ears Resolution.”
You’ll ace this one, if you’ve played through “New Ears Resolution.” If not, it may be tricky.
Below is a recording of the pattern in all 12 keys. Submit a “comment” at the bottom of this post, if you need a chart to play along with the recording.
Note that this phrase traverses the first five chords of the standard “Someday My Prince Will Come,” a long-time staple of Miles Davis’s book. That “harmonic quote” was not intentional. When you start creating patterns in a “stream of consciousness” manner, elements of your repertoire tend to crop up in various guises.
Multi-instrumentalist Kevin McCartney recently taught me about the ebb and flow of tension and release created by Cuban clave patterns. In this exercise, the many accidentals create a bit of harmonic tension, which is then released through resolution to adjacent diatonic notes. Note in particular the tension created by Si, Di, and Le.
Upon further reflection today (during surgical anesthesia!), it occurred to me that this phrase uses all 17 notes in the scale: the 7 diatonic pitches, the 5 sharps, and the 5 flats. For a horn player, G# and Ab are identical. However, a symphonic violinist thinks of them quite differently.
What you hear in this recording is actually 5 clarinets. Took me about 20 takes to get 5 usable ones.
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”
Do you want your improvised solos to soar and delight your audiences? The first and most important step to achieve this is to develop the link between your ears and your fingers. In fact, ultimately we need to be able to transfer any musical idea we imagine to our fingers. I call this “Hand-ear coordination”.
It is a thrilling moment when a musician first experiences the freedom of playing without reliance on the printed score. To be able to play a melody by ear or to spontaneously create an improvised solo never before heard provides joy not to be missed by the player committed to musical excellence.
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.)
Craig wrote this article for the February, 2016 issue of Saxophone Life Magazine. It appears here courtesy of SLM.
It’s definitely impressive to hear jazz musicians improvise at incredibly fast tempos. What is, however, far more inspiring is hearing how the great masters are able to create beautifully crafted, swinging melodic lines, regardless of tempo. Continue reading “RIPPING RIFFS OR MEMORABLE MELODIES?”
How does a musician learn to perform thousands of songs in any key without looking at music sheets? How can you improvise over a set of “changes” you’ve never heard or seen before in a live performance? “New Ears Resolution” has made this a daily reality for me during a 40-year career of recording dates and live performances. But I cannot claim to have created this revolutionary approach to ear training. I learned it during high school while studying with Alvin L. “Al” Learned, founder and president of Hollywood’s legendary Westlake College of Music “one of the most important educational institutions for the study of jazz in the post-World War II era.” Continue reading “Learning to Play by Ear: A 1958 Perspective”
Some saxophone & clarinet students have difficulty with jazz articulation, because they have not learned to tongue properly. They begin each note with a constriction in the throat, which sounds as if the student were humming into the mouthpiece. The beginning of the note is fuzzy and indistinct. Continue reading “Jazz Articulation, Accents, and Proper Tonguing”
Is there a more effective, efficient method for learning and retaining a large repertoire of jazz standards? Continue reading “How to Learn Songs”
Even many accomplished musicians never learn the fine art of playing by ear. A strong ear is a “must” for those of us musicians with visual disabilities. I owe my ear to a uniquely inspired teacher. The story begins in 1963. Continue reading “HOW I LEARNED TO PLAY BY EAR”
How often do we teachers hear students complain about having to practice long tones and scales? Every teacher knows that long tones greatly enhance tonal quality and intonation and that scales are the raw material from which improvised solos are crafted. The problem is that any musician who practices being bored will bore the audience. What you practice is what you perform. Practice joy, imagination, and freshness, and your show will be fresh. Practice dry technique, and your gig will be a desert.
Below is a 4-bar phrase containing a descending major scale (Ionian mode) and an ascending Mixolydian mode. I worked on this exercise until the rhythm and note sequence started to feel interesting to me.
Try playing along with the background track provided below and see if this approach adds a bit of zest to your practice time. Develop your own variations on this idea. Email me for a FREE copy of this exercise in all 12 keys, if you have trouble figuring it out. Better yet, download “New Ears Resolution” and learn how to play any melody in any key by ear.
Are your improvisations based more on the chord changes (Coleman Hawkins approach) or on the melody (Lester Young approach)? Many players look at the chord progressions and derive either arpeggios or scale patterns based on the indicated changes. Here is an exercise that will develop your ability to integrate larger leaps into your melodic flow.
To derive the maximum benefit, practice this pattern in all 12 keys around the circle of fifths using the background track provided below. If you have difficulty figuring out the pattern in the other keys, contact me for a FREE chart (no cost or obligation). Better yet, download “New Ears Resolution” to learn how to play any melody in any key BY EAR!
Here is an interesting phrase I’ve been practicing in all 12 keys. As always, follow Kenny Werner’s cue to “play effortlessly” in order to get a relaxed, flowing, swinging feel. Try playing along with the background track provided below. If you need a chart, it is also provided below. Better yet, download “New Ears Resolution” and learn how to play in all 12 keys by ear with ease.
This review of the Second Edition of “New Ears Resolution” was posted by the wonderful guitarist, singer, and educator Trevor Hanson http://trevorhanson.com/trevor/ . Trevor is highly respected for his work in both the jazz and classical fields and has a large following in Western Washington State.
- Basic concept: great. The basic concepts and the way you have organized their presentation are very useful. You have many good insights and analogies to help get students on board, even if they have had little formal training. There’s no question that moveable-do solfege is a tremendous learning aid, and you’ve done a good job at making it accessible and understandable. The early parts of your presentation assume that the reader has little or no background in music theory.
- Combining essential skills in small lessons. By combining ear training, scale/harmony theory, and repetition and presenting the material in small, easily manageable chunks, you’ve provided an excellent framework for learning that doesn’t overwhelm the student. Many theory books cover this material in just a few pages – making it difficult for students to achieve a working knowledge of (and quick memory for) these essential elements.
- Familiar tunes as examples. Linking little phrases to familiar tunes is very helpful. This is how most of us recognize intervals, patterns, and progressions. By providing examples, you save students time, since recognizing a short quote is often difficult.
- Audio files. Listening to and playing along with the audio files is a huge advantage.
- Scale/chord material. Your presentation of the scale modes is very good. I really like the clear examples showing how each mode can be derived from the Ionian, the examples showing how each modal color can be used, and the charts/audio exercises that contrast these elements. I found your discussion of Locrian m7(b5) and Phrigian sus(b9) even more useful. I ran out of time before getting a chance to look at Bill Green’s approach to the blues scale and V7#9#5 chord, and am looking forward to examining this section. These are all really important topics that most musicians just have to figure out by experimentation. You have provided a logical starting point for studying these elements.
There is a lot of talk in improvisation texts about the three minor scales (which start on LA), the Dorian mode (which starts on RE), and the blues scale (which can begin on either one). However, the reality is that master jazz improvisers glide freely between all five scales with additional nuances interspersed. Below is a lick to illustrate this principle. Listen to the mp3 recording while looking at the chart. Try practicing this lick in all 12 keys. If you have difficulty, try slowing it down or looping the hard section with the FREE DOWNLOAD Best Practice. Or contact me for a FREE chart of the lick in 12 keys by filling in your email below. Your address will NOT be used for any other purpose, and it will NOT be saved. Better yet, if you want to learn to play jazz by ear, download New Ears Resolution.
New Ears Resolution has helped hundreds of musicians learn to play by ear over the past 15 years. And now, the Second Edition offers scores of new innovations designed to make your learning experience more enjoyable, effective, and thorough.
i’ve taught this method for years and have used it in my own performances. i’ve researched extensively in order to improve its design and have thus developed a comprehensive approach to the art of playing by ear.
HOW IS “NEW EARS” DIFFERENT FROM OTHER METHODS?
Improvisation (or “improv”) is the art of creating a unique, new musical statement on the spur of the moment. This does not mean that your utterance is entirely without precedent. Jazz improvisation is a product of the individual’s history, temperament, technical facility, and mood, as well as the thrust of the composition which houses the performance, the history and legacy of jazz as a whole and ones chosen sub-genre in particular.
Here is a new resource for jazz fans. Check out http://jazzbreak2.blogspot.com:80/
From a quick viewing of YouTube video footage, it appears that Coltrane’s fingers may move further from the keys than do Bird’s. Do you agree?
You can now download MP3 copies of our 2 best-selling CDs from CD Baby for $9.00 per CD.
Is it possible for an older jazz musician to influence younger players in a constructive way? Continue reading “Jazz Musicians as Role Models”
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.