Jimmy Heath is another master with whom I hope to become more familiar.
Driving into a glorious autumn dawn on the way to church Sunday, I was listening to “Picture of Heath” and was particularly struck by the third chorus of Jimmy’s soprano solo on “All Members.”
I don’t usually go to the trouble of formally transcribing solos, since there are so many fine transcriptions available on-line. But Jimmy’s third chorus really knocked me out, and i felt compelled to examine the strategy, structure, and logic of this amazing 12-bar chorus. Continue reading “Dig Jimmy Heath!”
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”
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.
Is it possible for an older jazz musician to influence younger players in a constructive way? Continue reading “Jazz Musicians as Role Models”