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?”→
The road to dynamic, expressive improvisation is paved with practice and listening. Hank Mobley’s near perfect solo on Irving Berlin’s “Remember” from his classic LP “Soul Station” is filled with profound lessons on phrasing, rhythm, tone, melody, pacing, and development. Here is just one of the great ideas you will encounter when studying this wonderful recording.
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”→
Have you ever had difficulty playing a tune, even though it presented no obvious technical hurdles? Perhaps the problem lies in a hidden harmonic riddle, which, when solved, will unlock your understanding of the song and make it easier to play and to remember.
At a recent gig, pianist Mark Schecter called off Dizzy Gillespie’s “Groovin’ High.” Although Storyville used to play the song, it still made me stumble. However, after deciphering its harmonic implications, playing it became simple.
Do your solos brim with vitality, gliding across a colorful landscape, as you explore ever deeper into the ocean of sound? Or do you flounder among waves of notes, swimming through a maze of chord changes?
Thematic development will transform your playing, as you weave your exciting, personal story.
The following clips illustrate three powerful tools to stimulate your creative potential and enthuse your audience.
1. RHYTHMIC SHIFT– Example 1 presents a 7-beat phrase that starts on the “and” of beat 3. The phrase is then repeated, but this time, it begins on the “and” of beat 2. Repeating the phrase gives your thought unity, while the rhythmic offset offers variety and surprise. Try playing along with this recording in all 12 keys.
2. DIMINUTION– In example 2, the 7-beat phrase is the same, but a triplet compresses the second statement of the theme. Your motif is still easily recognized, but you have added variety.
3. TONAL SHIFT– In Example 3, the second statement of the theme modulates up a minor third. Tonal shift was a favorite device of John Coltrane. The listener still recognizes your theme, but her ear delights in this fresh new element you have added to the mix.
As you become more comfortable with creating and developing thematic material, your unique personality defines your individual style. You improvise dynamically and coherently.
To master these 3 techniques, play along with the 3 audio files offered here. Contact me, if you need a chart. Or, if you want to learn to play by ear in all 12 keys (as I did while recording these clips), download “New Ears Resolution” and liberate your musical imagination!
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.
Jeff Rzepiela is a talented reed player and arranger. His web site contains many transcriptions of solos by the masters of jazz. Check out his latest newsletter Scooby-sax_Newsletter_Oct_2014(1) which features an insightful analysis of an improvised solo by Arnie Krakowsky over the tune “I’ve Never Been in Love Before.” Jeff skillfully singles out several key phrases in the solo, shows how they relate to each other, and makes them available for those of us who benefit from “wood-shedding” over great “licks.”
A recent biography of jazz tenor sax giant John Coltrane verified that he had indeed studied the wonderful Bach Cello Suites. The suites, though quite challenging, are a joy to play, and they provide numerous opportunities to build your tone, technique, and conception. As it turns out, they also contain some amazing phrases which can be adapted as jazz improv “licks.” What do you think of this one? It’s from Bach Cello Suite Number 2, “Allemande,” bar 21. Play it through in all 12 keys (see chart below) and let us know whether Bach gives you ideas for your jazz improvisation.
Cannonball Adderley’s solo on “The Way You Look Tonight” is an amazing tourdeforce! He blazes through an entire chorus in 53 seconds. But, if you play this solo** at half speed, it is as melodic as a Johnny Hodges invention. Played in concert F, it is written for alto sax in D major. In this key, the bridge modulates to F major. However, the wonderful phrase shown below actually begins in G minor and ends in F major. Try playing this lick in all 12 keys. It works well over a II-V change. If you cannot figure it out on your own, email me for a free chart of the lick in all 12 keys.