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.”
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.
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.
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?”→