Tag: Music education

Stan Getz Solo From “O Grande Amor”

The_Stockholm_ConcertLooking for a refreshingly novel approach to playing over a minor   ii-V-i ?   Here’s an idea by Stan Getz.  It’s from bars 15 & 16 in the first chorus of his solo over “O Grande Amor” from “The Stockholm Concert.”

B flat instruments start at line 1.  Concert key instruments start at line 3, and E flat instruments start at line 12.  (Double back to the beginning when you reach the end of the chart.)

STAN GETZ LICK FROM O GRANDE AMOR

STAN GETZ LICK FROM O GRANDE AMOR 2

 

 

 

The Chord Committee

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.)

Continue reading “The Chord Committee”

Hanon 61 For Piano

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.)

Continue reading “Hanon 61 For Piano”

Fats Waller & Arpeggios

FATS WALLERMastering 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.ROLAND KIRK

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.

Continue reading “Fats Waller & Arpeggios”

Bonfa, Jobim, and Bossa Nova

GETZ GILBERTOBrazilian 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:

BONFA AND JOBIM

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.”

Continue reading “Bonfa, Jobim, and Bossa Nova”

Dig Jimmy Heath!

heath-frontJimmy 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!”

Jazz Articulation, Accents, and Proper Tonguing

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”

Noted Guitarist Praises “New Ears Resolution”

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.

  1. 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.
  2. 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.
  3. 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.
  4. Audio files.  Listening to and playing along with the audio files is a huge advantage.
  5. 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.

Sincerely,
Trevor Hanson
www.TrevorHanson.com