Niels Rosendahl
BMus(Hons) GCertMgmt ANU, MM UNT
[Link]
Jazz Improvisation and Practice
Techniques
Big Band Blast 2015
Todays Clinic
Showing you today, some of the things that I
practice, and how transcription can be used as a
means to develop your jazz vocabulary, and as a
result, influence your own artistic voice.
Main Theme: Building Jazz Vocabulary
Quick General Overview Of Things
To Practice And Consider:
Long tones.
Scales/arpeggios.
Transcriptions.
Learning tunes.
Everything in 12 keys.
Rhythmic, harmonic, and melodic concepts.
Jamming with each other.
Playing with people better than you when
possible.
Jazz Improvisation Approaches For
Todays Focus:
1. Jazz alphabet/grammar:
chord/scale theory.
building technical facility.
2. The Jazz Language (Steinel 1995, 3) (todays main
focus):
improvisation in terms of Jazz Vocabulary (Steinel 1995).
telling a story (Harker 2011, 39).
coherence.
These are only some of many approaches these are what
Im discussing today.
Other Areas Of Improvisation To Consider
(though, not specifically discussed today):
Ensemble improvisatory interaction.
e.g. Miles Davis 2nd famous quintet; Keith Jarrett Trio.
Rhythmic/time/pulse concepts.
Melodic/motific concepts.
Harmonic concepts.
Dynamics/articulation/accents.
Leaving space.
Phrasing and emotional content.
Taking risks.
the list goes on!!!
All of these are highly important in good jazz improvisation and performance.
However, todays clinic is focusing on transcription as a means to cultivate
your aural skills and develop your jazz vocabulary. You should include the
above topics in your further study and exploration.
Some Scales
(these are what I practice every day, as a basic scale repository for jazz improvisation)
Major Modes:
(min7b5).
Pentatonic Scales:
Ionian (Maj7).
5th Mode Harm. Min: Major Pentatonic (Maj7).
Dorian (Min7).
Mixolydian b9, b13 Minor Pentatonic (Min7).
Lydian (Maj7#11).
(Dom7b9b13).
Blues Scales:
Mixolydian (Dom7).
Harmonic Major Modes:
Major Blues (Maj7).
Aeolian (Min7b6).
Harmonic Major (Maj7).
Minor Blues (Min7).
Lochrian (Min7b5).
3rd Mode Harm. Maj. Other Scales:
(Dom7b9#9).
Melodic Minor Modes:
Whole Tone (Dom7#5).
5th Mode Harm. Maj.
Jazz Melodic Minor (Dom7b9).
Spanish Phrygian.
(Min-Maj7).
(Dom7b9b13).
Diminished Modes:
Sus b9 (Min7b9).
Double Diminished.
Diminished (Dim7).
Lydian Augmented Messian Mode 3.
(Maj7#5).
Half-Whole Diminished
Augmented (Maj7#5).
(Dom7b9).
Lydian Dominant Chromatic.
Bebop Scales:
(Dom7#11).
Mixolydian b13.
Major Bebop (Maj7).
Melodic Minor Bebop Sources:
Lochrian #2 (Min7b5).
Haerle 1980, 10-1, 21-2, 27-8,
(Min7/Min-Maj7).
Altered (Dom7#9#5).
34-5, 42-4, 51-2;
Dorian Bebop (Min7).
Harmonic Minor Modes:
Harris 2007;
Dominant Bebop (Dom7).
Harmonic Minor Leali 2013;
(Min-Maj7).
Dominant 7 Diminished
Bebop (Dom7).
Mackey 2000; and
Dom 7 b5 Diminished Smith 2006.
2nd Mode Harm. Min
Bebop (Dom7).
Practicing Scales
(my daily warm-up)
Choose two keys per day.
Practice all scales in chosen two keys, full
range.
WITH A METRONOME!!!
Practicing Scales & Arpeggios
Practice the Chord Tones/Arpeggios.
24 different possibilities for every 4 note cell (Bergonzi 2000, 11;
Mackey, 2000).
b! b!
F - 7 (Aeolian)
! w bw
& w bw
1 3 5 7
From
the
1st
From
the
3rd
From
the
5th
From
the
7th
1
3
5
7
3
1
5
7
5
1
3
7
7
1
3
5
1
3
7
5
3
1
7
5
5
1
7
3
7
1
5
3
1
5
3
7
3
5
1
7
5
3
1
7
7
3
1
5
1
5
7
3
3
5
7
1
5
3
7
1
7
3
5
1
1
7
3
5
3
7
1
5
5
7
1
3
7
5
1
3
1
7
5
3
3
7
5
1
5
7
3
1
7
5
3
1
ii-V-I Chord Progression (most common chord
progression in jazz repertoire): Arpeggios.
ii-7 V7 IMaj7 IMaj7
D Dorian G Mixolydian C Ionian C Ionian
Dmin7 G7 CMaj7 CMaj7
4
&4
ii-V-I Chord Progression: Scale Choices.
ii-7 V7 IMaj7 IMaj7
D Dorian G Mixolydian C Ionian C Ionian
Dmin7 G7 CMaj7 CMaj7
4
&4
Pros of Chord/Scale Theory
We have to know our scales, arpeggios and chords our musical
alphabet.
A good and effective standardized way to conceptualize, catalogue
and compartmentalize jazz theory (Marsalis 2014, 84).
Highly practical way to learn and remember repertoire (Marsalis
2014, 84).
An easy way to begin the intimidating practice of improvising
(Marsalis 2014, 84).
All of this is good, and a necessary part of jazz
improvisation. However, if this used as an end in itself,
there can be limitations.
Limitations of Chord/Scale Theory
We can become in danger of sounding like were simply
were playing scales over tunes (Leali 2012).
We can become in danger approaching (and learning)
jazz in a visually-oriented way, without really listening
(Soph 2014).
Can potentially have very little reference to the overall
historical context of jazz and the great musicians that
have shaped this art form (Marsalis 2014).
Cultivating a Jazz Language
Jazz is an aural art form we need to switch
on our ears.
Approach jazz in terms of vocabulary.
Make our solos coherent:
Telling A Story (Harker 2011, 39).
Play identifiable music phrases, gestures and
motifs.
Learn historically significant jazz vocabulary (i.e.
solos from other great players).
Branford Marsalis DownBeat Article
On The Importance Of Listening
There are so many books and curricula to assist
in the study of jazzparticularly soloing it can be
mind-boggling. Yet, Im continually amazed that
with all of the development in jazz education in
the last 40 years, there is almost no discussion
regarding the value of listening to historical jazz
recordings (Marsalis 2014).
This entire article is well worth checking out:
[Link]
listening-and-importance-context-downbeat-master-class-branford-
marsalis.
Creating Our Own Voice
Imitate; Assimilate; Innovate Walter Bishop Jnr. (Berliner 1994,
273-5).
Transcribe by ear and learn different solos (vocabulary) of your
favorite players.
Play lines/licks from their solos, in your own this means that youre
internalizing their vocabulary which, in time, will be a part of
yours (Berliner 1994, 138).
Manipulate and experiment with these lines/licks and integrate
them in youre your own playing make them your own (Berliner
1994, 138).
The fusion of all of your influences, becomes your own voice
(Berliner 1994, 138)
this takes years be patient and enjoy the process
Cultivating Our Inner Ear
Sing it before you play it similar to knowing
what well say before we say it (which is still
improvisatory and interactive).
Inner ear (Liebman 1994, 6).
Aural imagination (Leibman 1994, 22).
Tone Imagination (Raschr 1983, 8).
Link our motor skills to our inner ear or tone
imagination (what we internally hear in our
minds) we want to have the same ease of
expression/execution on our instrument as we do
when we talk (Liebman 1994, 6, 8, 15-22).
Playing by ear in 12 keys
Practical Demonstration
Sing a tune that you already know, and play it
in different random keys. Sing it in the new key
first, then play it (Morrison 2014).
Why do you already know that tune?
Because its already internalized in your memory.
Applying This To Transcribing
Practical Demonstration
Transcribe by ear, to the point that you can sing the transcription this is
internalizing the vocabulary.
Take one line from that solo, and sing it starting on another note.
Play by ear (slowly and patiently), that line from the solo in different keys
(random keys learn lines in each key, without a reference point from a
previous key).
Play these lines in your own solos over the same or similar tunes.
This is meant to be challenging and frustrating
Extended info on this topic: Thinking In Jazz (chapter 4) Paul F. Berliner
Striking The Balance
Both chord/scale theory and transcription/
vocabulary are essential components to
approaching jazz improvisation.
Theory explains and defines music, but not
necessarily always dictates it (Palma, 2012).
Learn theory (musical alphabet) to help you
learn and understand the music language/
vocabulary.
Practice Attitude
(how I try to approach practicing)
Keep a practice journal/log.
Always go to the practice room with a set plan and goals avoid wasting time.
Be mentally present in what youre doing, relax, and take regular breaks.
Practice more of less; dont practice too many things at once there will always be
something that you still need to practice, so keep notes to revisit other concepts later.
Set short, medium, and long term goals.
Practice to improve your weaknesses embrace mistakes and learn from them.
Record yourself.
Break up your practice sessions for example (and this is a bare minimum):
Long Tones: 30 mins
Scales: 30 mins
Tunes/Repertoire: 30 mins
Transcribe: 30 mins
Reward yourself for hard work to stay motivated
Stay hungry! (i.e. keep yourself inspired to continue working hard).
Sources/Influences: Mackey 2000; Smith 2006; Leali 2012; Liebman 1994, 41-3.
References
Berliner, Paul F. Thinking In Jazz: The Infinite Art of Improvisation. Chicago: University of Chicago Press.
Bergonzi, Jerry. 2000. Inside Improvisation Series Vol. 5: Thesaurus Of Intervallic Melodies. Rotternburg/N: Advance Music.
Branford Marsalis DownBeat Magazine Article, May 2014: Melodic Study, Deep Listening and the Importance of Context. Online article, accessed 26
May, 2015.
[Link]
marsalis.
Harker, Brian. 2011. Louis Armstrongs Hot Five and Hot Seven Recordings. New York: Oxford University Press, Inc.
Harris, Barry. 2007. Content from public clinic by Barry Harris on jazz improvisation, London, UK.
Hearle, Dan. 1980. The Jazz Language A Theory Text for Jazz Composition and Improvisation. Van Nuys: Alfred Publishing Co., Inc.
Leali, Brad. Private jazz saxophone tuition at the University of North Texas Division of Jazz Studies, 2012-14.
Liebman, David. 1994. Developing A Personal Saxophone Sound. Medfield: Dorn Publications, Inc.
Mackey, John. 2000. Private jazz saxophone tuition at the Australian National University School of Music, A.C.T., 2000-05.
Morrison, John. 2014. Conversations about jazz education in Newport, NSW.
Palma, Michael. MUJS 3360 Jazz Improvisation III, Fall 2012 class content, University of North Texas, Division of Jazz Studies.
Raschr, Sigurd M. 1983. Top-Tones For The Saxophone (3rd edition). New York: Carl Fischer Inc.
Smith, Tommy. 2006. Content from private study with Tommy Smith in Scotland, UK.
Soph, Ed. 2014. MUCM 5550 Jazz Chamber Music, Fall 2014 class content, University of North Texas, Division of Jazz Studies.
Steinel, Mike. 1995. Building A Jazz Vocabulary A Resource for Learning Jazz Improvisation. Milwaukee: Hal Leonard.
Waters, Keith. 2011. The Studio Recordings of the Miles Davis Quintet 1965-68. New York: Oxford University Press, Inc.
