Jazz gigs seldom turn out exactly as we expect them to. Since jazz is, by definition, an improvised art, this should come as no surprise. It’s a maze which often thrills, sometimes shatters, and continually amazes us.
Let’s say, for example, that you arrive at the gig late, stressed, un-showered, and unready to perform. It’s at this point that a fan drops a hundred dollar bill in the tip jar, Herbie Hancock asks to sit in, and your first solo provokes a standing ovation. In your dreams, right?
When a novice improviser strays too far from the beat, the band often quips, “Where’s One?”, meaning “Are you lost?”
As improvisers, we seek fresh, innovative approaches which still retain the coherence needed to keep listeners’ interest. Sonny Rollins famously used “motivic development” to simultaneously add unity and variety to his improvisations.
Here is a melodic phrase which is then repeated verbatim. What makes the second statement of this phrase sound different from the first?
Notice the “rhythmic offset”: the initial statement of the theme begins on beat 3 (we’re in 12/8), while the second statement begins on beat 12. Jazz players call this “playing on the other side of the beat.” If your band mates are sufficiently skilled to avoid getting lost, playing on the other side can be used to stunning effect.
Note also that the second statement of our melodic phrase – while melodically identical to the first – is accompanied by chords from a different key. We might refer to this as a “transposed harmonic setting.” The new harmonies give the melody a distinctly different sound, as if stage lighting on an actor had been changed from red to blue.
How has the quarantine impacted your chops? This no-gigs lock down has been absolutely disastrous for many working musicians financially. But our chops don’t have to take the same hit our wallets are taking, if we’ll explore innovative approaches to practicing.
My practice strategy is similar to what Sonny Rollins described when asked how he practices. Sonny said:
“I start out playing things I know to get the blood flowing. Those things are often described as ‘clichés.’ You begin with the cliché so you can get the process in motion. Once the process is in motion, ‘thinking’ gives way to ‘playing.’ At that point, you get out of the way and let the music play.”
Over the past decade, I’ve written down over a thousand licks I keep in a notebook, each of which I woodshed in all 12 keys. Some of these ideas come from transcribed solos of the masters, but most simply emerge as I’m connecting with the horn. Practicing joy. I encourage you to try this technique, as it supercharges your chops, strengthens your improvisatory muscle, and turns you into a composer.
Here’s a lick you can play with, in order to get started down that path. The tonal center of this phrase baffled my friends and me at first. Eventually, I settled on a basic ii-V-I progression, which perfectly fit the melodic contour. If you want more background, leave a comment at the bottom of this post.
To see a chart, click on “CONTINUE READING” below.
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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.