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C7 b9 (or #9)
C7 b13 (or +)
C-7(b5)
Up a half step Maj (C# Maj) or up a minor 3rd melodic minor (Eb melodic
minor) or down a whole step harmonic minor or up a 4th harmonic minor (F harmonic minor)
C sus7 (b9)
C maj7 #5
Down a minor 3rd melodic minor or down a minor 3rd harmonic minor
BecomesG7 Cmaj/
/ C-7
F7/
The C7 is still resolving down a fifth (by way of the C-7) and can be altered by the improviser.
Remember that if you add alterations to a Dominant 7th chord, start less altered and add alterations.
For example- If you are playing over two bars of G7 going to C you may play a straight Mixolydian
in the first bar and then play a G7#11 (D melodic-) for the first two beats of bar two and an G7
altered dominant (Ab melodic-) in the last two beats of the second bar. You would not want to start
with the G7 altered dominant and THEN play a straight Mixolydian before resolving in bar three.
This is OK:
G7 G7#11/G7b13 G7alt/ Cmaj7 /
This is not:
G7alt G7b13/ G7#11 G7/Cmaj7 /
The first example has forward harmonic motion; the second has backwards harmonic motion.
Here is an easy way to help you analyze chord changes. This is the way Berklee teaches chord
analysis. It helps you see the ii-V7s and the V7 resolutions, so you can easily determine when
you are free to make chord-scale substitutions.
Use brackets to mark ii- V7s and dotted brackets to mark ii-7 subV7s (example: D-7 C#7)
In modern western music we use a system of tuning that divides each octave into twelve equal
semi-tones. Using this system we find that there are only a certain number of possible ways to create
symmetrical scales. The ear hears these scales differently than other scales because they are
expressions of pure relationships of whole number intervals. We pick them out immediately and can
easily predict the next note. The system that I outline here is found in Nicholas Slonimsky's classic
book 'The Thesaurus of Scales and Melodic Patterns. This book has influenced generations of
classical composers and Jazz improvisers alike. The pure definition of a symmetrical scale is a scale
that covers one or more octaves with equal intervallic scales between each note.
The first symmetrical scale happens when you divide one octave equally into two parts (or the 1:2
scale). This is a scale that consists of just two different notes, in the key of C -C & F#. The next one
is the 1:3 scale, or the augmented triad- C, E, Ab. Next is the 1:4 scale or the diminished 7th chordC, Eb, Gb, A. {Again, remember that scales can have any number of notes}. If we divide one octave
equally into six parts we get the whole-tone scale or 1:6 scale.
The two symmetrical scales that we use in Jazz improvisation are the whole tone scale and the
diminished scale. The diminished scale is really just two 1:4 scales (augmented chords) a whole step
apart. Let's deal with these two in more detail since they are used the most in Jazz improvisation. A
diminished scale fits over a dominant seventh b9 and/or #9 chord. So over a C7b9 you would play
the diminished scale a half-step up: C# diminished. There are many common diminished licks that
every young Jazzer thinks are great when they first discover them. These are really cool until you
realize that just about every jazz player on the planet over-uses them at the beginning of their
careers. They are as clich as you can possibly get. As a matter of fact, it is hard not to sound clich
when using this scale. Because they are symmetrical you must play them UNSYMETRICALLY in
order to sound interesting. The Slonimsky book is a great place to find interesting non-clich
diminished and whole tone patterns.
Some ideas for hipper diminished (and WT: #1-3) patterns:
1. Play patterns with intervals that contain wider intervals
2. Add leading tones/approach notes that are outside the scale
3. Instead of using 4 note repeating patterns (like usual clich patterns) use 5 or 7 note patterns, so
they shift around in the bar.
4. Think of the diminished scale as two diminished chords, alternate between the two chords.
5. Alternate between diminished scale and the diminished scale a half step up. Remember to keep in
mind that diminished scales resolve down in half steps. Diminished scales moving down in half steps
are like Dominant seventh flat ninth chords moving around the circle of fifths. If you're playing over
a dominant seventh flat-ninth chord you can play the diminished scale up a whole step from the root,
then the diminished scale a half step below that (up a half-step from the root of the dominant chord).
This implies a V7b9 of V7 to V7b9.
/G7b9
/Cmaj7
/Bb7b9
/Cmaj7
/Db7b9
/Cmaj7
/E7b9
/Cmaj7
OR:
/Ab-7
OR:
/B-7
Or even hipper:
/D-7
Bob Mover reminded me that when you're adding substitutions you can use the related ii-7s
rather than the V7s. Bob says that Phil Woods often does this. This seems fairly obvious yet
most players don't do this very often.
One more symmetrical type scale is called the 'Symmetrical Major' scale. This exotic
sounding scale is made up of three major triads major thirds apart.
C Eb E G Ab B C
This is nice over a Cmaj7, Emaj7, and Abmaj7 chords since it has leading tones to each note of the
major triad.
There are other symmetrical scales in Slonomisky's book just waiting to be applied to Jazz
improvisation!
Here is a very common type of ii-7 V7 substitution. To do this one you simply turn the ii-7 into a
secondary dominant of the V7 or V7 of V7. This is an easy sub to make because all you are doing is
changing the quality of the ii-7 from minor to dominant, with or without alterations. Here are just a
few of the many ways to do that:
Over:
D-7 / G7 / Cmaj7 /
Play:
D7 /G7 /Cmaj7 /
Or:
D7b9 /G7b9 / Cmaj7 /
Or:
D7alt /G7alt /Cmaj7 /
Or:
D+7 /G+7 /Cmaj7 /
Or you could turn the ii- into a subV of V, like so:
Ab7#11/G7 /Cmaj7 /
Here is a really great and easy to make substitution that I often use. It's a straightforward way of
substituting a V7 of V7 in place of the ii-7 in a ii-/V7/I. This is one of Bob Mover's favorite devices
and you can really see why once you give it a try.
First remember that you may substitute any related ii-7 in place of a V7, or vice versa.
All you have to do is to play a minor a half step up over the ii-7 and then play a regular V7 (or
possibly an altered V7).
So over:
D-7 / G7 /Cmaj7
You would playEb-7 /G7 /C maj7
This implies the related V7 of the Eb-7, which is Ab7.
Ab7 is the sub V7 of V, or the tri-tone sub of the secondary dominant of V7.
So the substitution is implying this:
D7 alt /G7 /C maj7
* The beauty of this substitution is that it is so easily calculated on the fly; it sounds very outside
yet soon resolves perfectly and completely to the V7. The tension of playing a half step away from
the minor is total, yet the resolution is so strong that it makes perfect sense to the ear.
It's simple, yet elegant and easily to put into practice.
Bob Mover's ii- V7 subs
You can blow over these subs while the rhythm section is plays a standard ii-7 V7 Imaj7.
Over:
/G-7
/ C7
/F Maj7
/ Db melodic-
/F Maj7
Play:
/Ab melodic/G-7
Ab7#11 / Db Maj7
/Ab-7
/G-7
Ab-7
/B dim
/ G mel-
Db mel- /F Maj7
/ GbMaj7
Db mel- /F Maj7
/ Bb dim
/G-7
Bb-7
/ Db-7
/Ab-7
Db7
/ Db-7
/Ab-7
Db7
/ Bb-7
/Ab-7
Db7
/ Bb-7
/Ab mel-
Db mel- /F Maj7
/F Maj7
/F Maj7
Gb7
/ F Maj7
Db-7
/ Bb mel-
/ F Maj7
/F Maj7
/F
The harmonic minor scale is considered by some to be the homely sister of the elegant and useful
melodic minor. Yes, it's kind of clunky. Yes, it makes you want to do the snake charmer dance. Just
like the melodic minor the harmonic minor scale generates some modes that are very useful for
improvisation. Here they are:
Over a minor ii/V7 you would play harmonic minor from the root
For example:
D-7b5 would take a C harmonic minor scale starting on D (down a whole step):
D Eb F G Ab B C (root, b9, b3,11 b5, 13, b7)
Note: A more modern sound for a half-diminished chord would be to play a melodic minor from the
b3rd)
On a G7b9 chord you would play a C harmonic minor scale starting on G (up a fourth):
G Ab B C D Eb F
This is a classic Bebop approach to V7b9 chords; some call this an Augmented-Phrygian scale.
Bird used this scale on minor tunes all the time and it is distinctly pre-Trane bop. The altered
dominant (whole-half) scale for the most part supplanted this sound in the post-bop period.
Over a Maj 7th chord you can play a harmonic minor scale from the third.
So over a Gmaj7 chord you can play a B harmonic minor scale starting on G:
G Bb B C# D E F# (root, #9, 3, #11, 5, 13, 7)
This is called a Split Third Major Scale. Of course you wouldn't want to hang out on the #9. This
scale is very close to the Symmetrical Major Scale, which is made up of three major triads a major
third apart (C, Eb, E, G, Ab, B) or C triad+E triad+Ab triad.
Over a minor 9(b5) chord you can play a harmonic minor starting on the fifth.
Over a D-9(b5) you could play an A harmonic minor scale starting from D:
D E F G# A B C (root, 9, b3, #11, 5, 13,b7)
You could call this a Minor Lydian/Mixolydian scale.
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Over a Maj 9 (#5) chord you can play a harmonic minor scale down a minor third.
So over a D Maj7(#5) chord you can play a B harmonic minor scale starting on D:
D E F# G A# B C# (root. 9, 3, 11, #5, 7)
This is called a Major Augmented Scale. Notice the clunky natural 11, a melodic minor scale from
the same root would give you a #11 instead.
Over a diminished 7 (b9) chord you would play a harmonic minor scale up a half step.
So over an Adim7 (b9) chord you can play a Bb harmonic minor scale from A:
A Bb C Db Eb F Gb (root, b9, #9, 3,#11, b13, 13)
Now we are stretching things but you could think of this scale as an alternative to the Altered
Dominant scale.
Obviously some of these scales are more useful than others, and most are not quite as hip as their
melodic minor counterparts. These scales do offer some different flavors to add to your harmonic
pantry and are worth exploring.
Special Function Dominant Chords
Special function dominants are dominant seventh chords that do not resolve down a fifth or down a
half step. These dominants have reasonably strong resolutions to tonic Imaj7 chords and can be used
by the improviser or arranger as substitutes for V7 chords. Though these special function dominant
chords do not have as strong resolutions as V7s or subV7s, they are strong enough to be used as subs
for these chords. SFD chords can be used to create a more desired bass line or to harmonize hard to
voice melody notes. Special Function Dominant Chords can be used by the improviser to create
interesting re-harmonized lines over existing chord changes. One thing to keep in mind when you are
creating re-harmonized lines or chord changes is that you may always precede these SFDs with their
related ii-7s.
Here are the Special Function Dominants:
* I7 this is used in blues progressions as a tonic dominant. It also sometimes resolves to the Imaj7
tonic.
* II7 this chord is closely related to the bVI7 and the #IV-7b5 (they all share the same tri-tones). It is
normally analyzed as V7/V (secondary dominant function), except when it resolves directly to I
when it acts as a SFD.
* IV7~ used in blues progressions, resolves to an I7. IV7 is diatonic to melodic minor, and has a
subdominant function in that context.
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/ G7
/Cmaj7
/ (original)
/F-7
/Bb7
/Cmaj7
/ (substitute)
/ (substitute)
* We can also use them as passing chords to break up a bland Imaj7 section in a tune:
/G7
/G7
/G7
/ Cmaj7
/Cmaj7
/ Cmaj6
/ Cmaj7 Ab7 /Cmaj7 D7
/Cmaj6
/Cmaj7 Eb-7 Ab7/Cmaj7 A-7 D7 /Cmaj6
/ (original)
/ (with SFDs)
/ (with added related ii-7s)
The best way to get used to the sound of the SFD chords is to sit down at a piano or with a guitar
and play through all of them. Try playing them one at a time and resolving to Imaj7 after each one.
For example:
Cmaj7 /C7
/Cmaj7
/B7 /Cmaj7 /
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/D7
/Cmaj7
/F7
/C7
/Ab7
/Cmaj7 /Bb7
/Cmaj7
Eb+/F Maj
Bdim/Cmaj
13
F Maj/G Maj
G Maj/Adim
Cmin/Dmin
Eb+/Fmaj
Fmaj/Gmaj
These are the chords that a C melodic minor scale can effectively be applied to:
Cmin(maj7) Dsus(b9) Eb Maj7(#5) F7(#11) G7(b13) A-7b5 B7alt
* One of the most basic triad pairs is Major triads a whole step apart. This one triad pair is
explored exhaustively in Walt Weiskopf's book Intervallic Improvisation (Abersold press). I f you
have ever heard Walt play you will hear him use this A LOT! It can be used over ANY Major chord
and any Dominant chord with a natural 9th and 13th. These two triad triads contain the following:
1st triad- root, 3rd, 5th
2nd triad- 9th, #11th, 13th
Other triad pairs covered are:
* Major Triads a half step apart
* Major Triads a Tri-tone apart (works well over dominant seventh b9 chords from the root)
* Minor triads a half step apart
* Minor Triads a Tri-tone apart
And on and on.........
Here are is a triad pair idea for a /ii-7 /V7 /I Maj:
Over a:
/ D-7
/G7alt
/ C Maj
Play:
/ G triad F triad / Eb triad Db triad / C triad D triad /
Over a C7b9 chord you can play a C# diminished 7th chord, a D# diminished 7th chord, also A, F#,
Eb, and C major triads.
All these ideas will open your playing up and break you out of the linear rut that Jazz players often
fall into. If you start with some of these ideas and then start adding more outside triads to the mix
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Ddim
Eb+
F-
G Maj
Ab Maj
Bdim
These are the possible triad pairs from C harmonic minor scale are:
C- /Ddim
Ddim/Eb+
Ab Maj/Bdim
Eb+/F-
F-/G Maj
G Maj/Ab Maj
Bdim/C-
Each of these triad pairs works over every chord that a C harmonic minor scale fits over!
The chords that take a C harmonic minor scale would be:
C-maj7
scale)
D-7b5
Ebmaj7(#5)
G7(b9,b13)
(Please refer to the chapter 'Modes of the Harmonic Minor scale for Jazz' if these don't make sense to
you)
To apply these in an informed and meaningful way you should first try them at the piano. Play the
chord with your left hand while playing each the triad pairs as alternating arpeggios to hear which
ones work the best. Some triad pairs sound hipper than others so decide which ones you like and
write them down.
This is quite a lot chew on. When you're finished try the same thing for the modes of melodic minor.
This will open up new worlds of two-tonic-triadic possibilities for you!
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/F7
/Bbmaj7
/BbMaj7
/Ab7 (b9) /
Let's try playing the first chord of the bridge and then work our way out using strong resolutions,
then right before the Ab7 (b9) we'll play a few changes to get us back inside.
C-7
B7 /E7
/Ab7 (b9) /
By beat three we are starting to head outside, culminating in a six beat cosmic freak out in the third
bar and the first half of the fourth bar. Beats three and four steps us back inside where we land on
terra firma in bar five. Unscathed!
This example shows how we can gradually move outside using standard diatonic harmony, play
free for a few moments and then step back inside without anyone knowing what hit them. We weave
the psychedelic freak-out seamlessly into the tonal harmony. It doesn't come as so much of a shock
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Over:
C-7
/ C-7
/C-7
/ C-7
We played this:
D7alt Cmel- / F7alt Cmel- / Ab7alt Cmel- / B7alt Cmel- /
You can also think of it like this:
Ebmel- Cmel-/ F#mel- Cmel-/ Amel- Cmel- / Cmelodic- / (except the last one).
Randy showed me an interesting way of a resolving a dominant 7th (b9) chord. He thought it
sounded like something that Cedar Walton would play, someone who is definitely worth emulating!
Over a C7(b9) resolving to an F you would play:
A triad, Ab triad, F# triad, then resolve to F
This creates a descending triadic line that leads to the tonic.
This works for chordal as well as for single line instruments. Just be very clear as you play your
triads or triadic line. Major triads are always very strong and are able to supercede almost any
harmony they are played over. In this case the triads are drawn directly from the chord-scale and
descend in stepwise motion, very strong motion indeed.
Questions from Sammy Epstein
Hey David,
You've definitely got good stuff on your blog! Now, when you take a lesson from Randy, and he
talks about, say ii-V-Idim-Imaj7, how do you implement that on your horn? And how do you teach
single note players to implement on the horn? Do you have a set of licks that work for I dim to I
Maj, and work them in each key? I say one can't simply do scales over the patterns...no hip solos
come from merely scales (my opinion) and the other example, over Solar: C-7 /C-7 /C-7 / C-7 / We
played this: D7alt Cmel- / F7alt Cmel- / Ab7alt Cmel- / Cmel- C-7 / or you can think of it like this:
Ebmel- Cmel-/ F#mel- Cmel-/ Amel- Cmel- / Cmelodic- / something you spoke about months ago...
or Eb-7 /Ab-7 /Cmaj7 How do you implement these substitutions in your playing? Do you come up
with licks that "make" the changes, and then practice the licks in twelve keys? As I see it, gotta have
structure (i.e., licks, patterns, call it what you will) or scales sound just like scales, nothing more,
leading to naive solos that simply don't work. Your thoughts? From sunny Austin, Sammy
Sammy,
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David Baker has done a wonderful job cataloging these public domain licks in his 'How to Play
Bebop' books. These are licks are tried and true, good as gold and oldies but goodies. Everyone has
heard these expressions, but they still carry a strong meaning and are understood by everyone who
speaks the language. By learning public domain licks you learn how to construct logical and
meaningful lines, they can also act as fillers when you aren't feeling totally spontaneous.
If you were to speak using nothing but idiomatic expressions you'd sound ridiculous.
It would be like an albatross round your neck if you thought it was all the rage to jump on the
bandwagon with the rank and file who play nothing but licks, thinking they were real deal and
the creme de la crme. In all honesty these dime a dozen bean counters make me lose my
lunch!
Like idioms, licks are meaningful elements of a musical language, but they can and usually are
overused. I once heard Donny McCaslin say that you need to learn the entire common licks so that
you don't ever have to play them. Many professional players never get past the point of playing
nothing but licks, we would call these guys totally derivative or BOOOOOORING. True, some great
licks never get old, no matter how many time you hear them, but some dumb licks can make a great
player sound corny and hokey in an instant.
It also depends on location. You might get away with playing an old Bebop line in Idaho that would
evoke groans from an audience in the East Village. The less the listener knows about Jazz, the better
these corny-ass lines sound, because they haven't heard every beginning soloist play them already.
You can fool an uneducated audience into thinking that you're can really play by stringing a bunch of
stale licks together, it's a fast way to sound like you're playing Real Jazz.
Is this really creative? Some would argue that it is and that the goal is to sound good, and playing
lots of licks helps you sound good. Many, many players take this way of playing to the extreme and
play nothing but licks that they have memorized. They are happy to regurgitate dumb licks for their
entire career.
There are different approaches that teachers take with students with regards to learning licks. The
first approach is to have the student memorize a ton of licks in every key. The great disadvantage to
this approach is that the student ends up sounding redundant by repeating the exact same lick in
many different keys during a solo. Also if the student never breaks free of this mode of learning they
end up sounding totally generic. There is also no cohesion in the player's solos, just a bunch of
unrelated parts.
"That guy sounds like every other tenor player, but no one in particular"
I have my students work out of books like David Baker's How to Play Bebop in order to get them
hearing how lines are constructed and also to give them ideas about how to construct their own lines.
To me licks are like training wheels that you eventually take off once you've learned how to
improvise your own original lines.
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Even great players sometimes break out an old Bebop lick once and a while, maybe as a nod to a
favorite player or for some kind of effect. Sure, I use elements of the many different licks that I've
memorized over the years, but only small parts of these licks. Now I use licks as templates from
which to build my own lines. I do sound like a Bebop player when I play Bebop because I've
incorporated the vernacular of Bebop into my playing over the years. You can hear Bird, Cannonball
and many other players in there, but you'd probably be hard pressed to pick out exactly which line
came from which player.
When I was younger you probably could pick out many Bird phrases in my solos, but as I get older
I've created more of my own personal vernacular. The biggest reason players like Pops, Bird, Trane
and Woody Shaw were innovators was that they created their own personal language that was so
compelling that it influenced players for years to come. Their personal idioms became the public
domain licks that everyone else incorporated into their own playing.
How is the evolution of the language of Jazz much like the evolution of language? Once in a while
a particularly strong personality comes along, say like a Snoop Dog, and suddenly everyone is
putting 'izzle' on the end of words. Sometimes these fo'shizzles and mo'nizzles pass like fads, other
times they work their way into the language and end up in Webster's dictionary or maybe even
spoken on the lips of the queen of England. I dub you Sirshizzle Wynton Marshizzlis!
Yusef Lateef used to tell his students that it is never too early to start developing an original sound
and style. The idea that you must first learn all the idiomatic Jazz licks before you can really start
creating an original style is BULLSHIT.
You can be working on your own unique way of playing from the very beginning by learning to
make everything you absorb your own. Yes, practice the public domain licks and patterns, but as you
learn them put your own twist on them. Displace a note here and there, change a rhythm, leave a
note out, add an accidental, just do something to it. Take different pieces of patterns and combine
them in unusual ways. I have my students look at David Baker's ii-V7 licks (the ones that are all in
the same key and stacked one above the other) and play the ii-7 bar from one lick and a V7 bar from
another lick. I have them try all different V7 resolutions with the same ii-7 bar. Then I might have
them play the same ii-7 bar and play an improvised V7 using a diminished scale, then a whole-tone,
then and an altered dominant, ECT. Then I have them play different ii-7 bars while keeping the same
V7 resolution the same.
You don't have to wait until you've mastered the Jazz language to start creating your own personal
idioms. On the other hand if you create a personal language that has no relationship at all to the
languages that everyone else is speaks then no one will be able to converse with or understand you.
Remember Steve Martin's routine when he talks about wanting to have a kid and teach him to speak
random gibberish for laughs?
It all comes down to balance. A good balance between original and idiomatic material is essential in
order to sound fresh and still sound like you're grounded in the Jazz tradition. You don't want to
alienate the other musicians or your audience by playing the music of the spheres all night. You also
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Motific Development
1. Repetition
2. Transposition
3. Mode Change
4. Addition (start, middle, end)
5. Sequence
6. Embellishment or Ornament
7. Augmentation (pitch, rhythmic)
8. Diminution (pitch, rhythmic)
9. Inversion (upside down)
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10.Retrograde (backwards)
11.Retrograde inversion (upside down & backwards)
12.Displacement (pitch, rhythmic)
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Remember that if the dominant chord is moving down a half step in root motion you only should
play a Lydian dominant (even if the #11 isn't notated) because it is functioning as a tri-tone!
Berklee teaches that certain tensions are available for each of the secondary dominant chords:
V7/II b9, 9,#9, b13
V7/III b9,#9, b13
V7/IV 9, 13
V7/V b9, 9,#9, 13
V7/VI b9, #9, b13
The most important thing is to watch for root motion! Where do the dominants move to? Don't
worry about resolving individual tensions, this will drive you nuts and slow you down. Some people
would argue with me, remember I consider myself a post-bop player, which to me is like an abstract
expressionist painter. The rules are a bit more relaxed and I'm looking to use a more 'painterly
technique', I don't want photo-realism in my playing. So what if a few lines bleed over or if some
canvas shows? You could follow stricter rules than I do as far as finding scales for chords, but mine
keep you out of trouble and you can always break them if they get too constraining.
Promoting your gigs
To be a working Jazz musician requires one to constantly be booking and promoting gigs. It's
getting less and less common to have steady gigs anymore. The player is usually responsible for
doing much of the promotion that the club owner used to do. The club may have an ad in a weekly
paper or a listing in the entertainment section, but many times this isn't enough to ensure a decent
crowd.
When I was younger I didn't take promoting my gigs very seriously. I just cared about making the
music good and pinning down the next gig. If you don't draw many listeners to your gig it doesn't
really matter how good you play. You probably won't get many more gigs there in the future.
Besides, how much fun is it to play to an empty house?
I've found that posters are not always the best way to advertise your gigs. Postering is expensive
and time consuming. If it's a big show that needs promotion, consider having a professional
postering company put up 100 or 150 posters. These companies usually charge around 50-60 cents
per poster. They have well-established routes and know where all the high traffic spots are. They
blanket the city in a way that is impossible for an individual to do. If you are going to take the
trouble to do this, make sure you have a great eye-catching poster. You should be able to find an
inexpensive struggling professional graphic artist at a reasonable price (try Craig's list) if you aren't
artistically inclined.
Mass media is the musician's best friend. Make sure you send out your press releases for your gigs
about two weeks before they happen. Don't send out promo for a few days before your gig and
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George Russell has had a major impact on the course of Jazz evolution with this concept. Miles
said that George was," the motherfucker who taught me how to write." Miles' classic 'Kind of Blue'
album was a result of his contact with George Russell. Dolphy was also influenced by the 'concept',
along with many other important figures in Jazz.
Here is another way to think of key centers (if you must) using this concept over a ii-7/ V7/ Imaj/
progression.
Over a:
D-7
/ G7
Think:
D melodic- /
/Cmaj7 /
/Gmaj
George teaches how to with navigate outside conventional harmony. He talks about playing
'outward' and inward'. This means moving outside or inside in degrees, not just in or out.
For example- Over a C major chord, outward bound playing would be to start playing a C Lydian,
then a go to C Mixolydian, then C Phrygian, then C diminished, then D major, then F# Dorian. The
general idea is to slowly move to scales that have fewer and fewer notes in common with the chord
you are playing over.
It's all about what George calls 'Tonal Gravity'. Every note or scale has it's own particular tonal
gravity when played over any particular chord. Conventional Jazz harmony doesn't deal with; say
how a G minor pentatonic sounds and where it wants to go to when played over an Eb sus4 b9
chord. This is unmapped territory as of yet.
You really can't go wrong with Lydian. George Russell even goes so far as calling the chromatic
scale a 'Lydian Chromatic Scale'. George's book is very difficult to make sense of. Fuze even told me
that the concept is hard to figure out even if you have George there to explain it to you.
If you have ever heard George's compositions for his big band you would know that he is on to
something really big.
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* Try to read though solo transcriptions without your horn. Take the Omnibook with you on the
subway. You don't even need to sing out loud, just try to hear the lines in your imagination. This is
great for sight-reading and ear training (or pitch visualization).
* Of course the next step here is scatting. You can do this to music or unaccompanied. If you can
clearly hear and sing something then you will be less likely to let your fingers do the walking. Play
what you really hear, don't play what you can't hear or sing.
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The first one is a bluesy Bb: Finger Eb with the octave key and without your G key. Relax
and tighten your embouchure slowly as you blow, actually it's more of a dropping of the jaw.
You'll notice that you'll hear a Bb alternating with the G below it. Rapidly and drastically
tightening and loosening your chops can create a minor third shake. Start very slow at first
and then faster as you get the hang of it. Phil Woods uses this one a lot, it has a very
distinctive bluesy sound. You can use just the top note (Bb) without the shake also; this gives
an extra low pitch that woofs. It's great for a Blue seventh or third (the extra flatted 7th really
comes from the 7th overtone).
The second one is a bluesy G: This one is the same idea as the last one but on a different note.
Finger a low C plus the octave key and without the F key (index finger of the right hand). Try
the same thing with your chops as above. You can also get a nice multi-phonic with this
fingering in the lower octave. Take off the octave key and just relax and blow, a full three
note multi-phonic should come out.
The way to master these techniques is by practicing overtones. Here are the overtone exercises that
Joe Viola gave me. These aren't as extreme as the Sigard Rascher 'Top Tones' exercises and much
more practical with a normal saxophone setup. Rascher's school used large bore Buscher horns with
very specific mouthpieces and reeds. Joe V told me that those guys all had raunchy sounds anyway.
Once you can pop out the various overtones for use to as alternate fingerings, to drastically change
timbre. Sit. Lie down. Stay. Speak!
Innovation or Emulation?
If you learn all the 'rules' and study what you're told to study, you will most likely end up sounding
like someone else. The thing to do is start developing a personal way of playing from the start. This
is true innovation. You don't need to develop a new system of re-harmonizing two-fives or break out
free of time signatures to be an innovator.
When I was younger, my dream was to become the next major innovator. I wanted my
contributions to reorganize the world of Jazz. My name would be spoken along with Bird, Trane, and
Ornette. I wanted to be recognized by musicians hundreds of years from now as a pivotal figure. It's
amusing for me to look back on that young aspiring Jazz musician. I still do want to innovate, but
that has a different meaning to me now.
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What innovation means to me now is playing music in a unique way, having your own individual
voice. You can incorporate elements from other musicians and still be innovative. I think you're on
your way to being an innovator when listeners can tell it's you after hearing just a few notes.
There are many young players today coming out of music institutions with high levels of
musicianship and technique. They rarely come out as unique stylists. They usually sound like several
of the Jazz greats. Sometimes their major influences can even be counted on one hand. Sometimes a
style can even be traced to a single record by one musician (I heard a tenor player once who had
based his entire style on Brecker's 'Cityscapes' album). One of the reasons this happens is that
students are over encouraged to transcribe and learn licks. This is positively reinforced when they
are praised for sounding like Trane, Benson, or Brecker. Audiences usually respond well to this type
of playing because it's already familiar to them. Some people say that lick playing is just crowd
pleasing and some think that it's respecting our rich Jazz heritage.
American audiences, in general, are more focused on the final result rather than the creative
process. To me, the creative process is much more important. I would rather listen to sloppy
exploration that contains a few gems than to a clean, but derivative, performance. I can accept a fair
amount scuffling and kacking if I think the player is trying to go somewhere new. Unfortunately the
masses aren't really conditioned to accept this type of musician.
The new crop of younger Jazz players is clean to a fault. They don't usually push for the
impossible, choosing instead to be content with the possible.
When I was younger I often played out of Joe Pass's Guitar Styles book. Joe's lines were woven
through the changes like a fine oriental silk rug. This book got me thinking about longer lines, but I
didn't want to play the exact same lines as Joe. My solution was to take a pencil and write crazy
alterations right in the book. The original lines were straight-ahead vanilla bop lines. By the time I
was done with them no one would have ever suspected that they came from Joe Pass. This same
thing can be done with any book.
Don't be afraid to learn from musicians who play different instruments than you. This will broaden
your style and your sources will be harder to trace. Always keep your influences broad. Don't focus
too much on any one player.
One of the topics I have written about in this blog is chord/scale theory. This is about finding the
correct scale to fit any given chord. If you take this theory as fact you will find yourself limited to a
linear and 'un-chunky' way of playing. You will end up sounding clean, but not very personal. One of
the 'theories' that we accept in school is that scales can all be defined in one octave and that each
octave is the same as every other octave. Music theory is taught this way because it's convenient and
less confusing. In actuality, scales don't have to be limited to one octave at all. They may have a
range of five octaves or just a tri-tone. A flat nine sounds very different when played in another
octave and an A=440 is not really an A=880 at all. It's just the note that sounds the most similar out
of all the other notes. It has a completely different personality and resonant quality.
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Once you are comfortable with a high degree of randomness in your playing (of course we can
never truly be totally random) you will be able to start introducing small amounts into your soloing.
As you practice playing lines over changes slip a bar or two of totally random notes in, then jump
right back to following the chord changes. Now try just a few beats of randomness. As you practice
playing 'random' notes be aware of trying to use different and wider intervals and direction.
Direction is an important element of free/outside playing. Experiment with lines while focusing on
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All of these intervallic structures share the characteristic of the Maj 7th interval, which becomes a
min 2nd interval. Players like Bill Evans and writers like Oliver Nelson and Gil Evans owe their
style in no small way to voicings that lots of tension in them often achieved by selecting chords that
have min 2nds on the inside voices and or maj7 intervals somewhere in the chord. Just imagine how
any one of those maj7-type chords would function with a different note in the bass.
CHECK IT OUT:
Cmaj7/Db: sort of Dbdim-ish but not a commonly used sound
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Cmaj7/D: D13sus4
Cmaj7/Eb: sort of Eb7#5(b9,13)-ish
Cmaj7/E: just an inversion of Cmaj7
Cmaj7/F: Fmaj7(9,#11)(no3rd)
Cmaj7/F#: D7(11,13)
Cmaj7/G: just an inversion of Cmaj7
Cmaj7/Ab: Abmaj7#5#9
Cmaj7/A: Am9
Cmaj7/Bb: Bb9(b9,13)-ish
Cmaj7/B: just an inversion of Cmaj7 or B7sus4(b9,b13)
Cm(maj7)/Db:
Cm(maj7)/D: D13sus4b9
Cm(maj7)/E: Cmaj7#9/E
Here are some interesting Triad-Pairs
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Over C7 use C Maj triad - C, E, G- and Bb Aug triad -Bb, D, F#- for a sound that is wholetonish...
Over C7 use F# Maj triad -F#, Bb, C#- and E Aug triad -E, G#, C- for an altered/tri-tone
sound.
Over C7, (normal dominant or altered), use Db- triad and D Aug triad
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/Cmaj
/F-
/Bb7
Cmaj
/Cmaj
/Bb-
/Eb7
AbMaj
/AbMaj
/A-
/D7
D-
/G7
It's 16-bars, and it easily divides into fairly symmetric 4-bar sections. One could probably get in
some arguments about how to think about the form, but the main thing is to own your particular
method. I personally think about it as AA'BC. Each section being only 4 bars long instead of the
normal 8, but you could think about it as AB in 2 8-bar phrases, or a couple of other ways. A guidetone line starting on the third would go
E/E/Eb/D
E/E/Ab/G
G/G/G/F#
F/F/EEb/CC
Because of the turnaround, a smoother line results from using the tonic of the EbMaj chord towards
the end. In any event this can be repeated starting on B, the 7th of the C chord
B/B/A/Ab, etc. etc.
9. There are probably an infinite number of ways to "play through" the changes, which will force
you to hear them. It's also important to hear how they relate to the melody of a tune, and another
approach is to play a phrase of the melody, and then respond with the next couple of chord changes,
articulated in a melodic fashion. Really, the important thing is to figure out what works for YOU,
which will probably change over time. The Sonny Rollins/Sonny Simmons approach can be heard on
"Sonny Rollins and the Contemporary Leaders," on an alternate take of "How High The Moon"
when someone left the tape rolling during a run-through.
10. Think about the changes visually in your head or recite them while trying to hear them in your
head. I use "Ladybird" as an example, as you have a number of harmonic moments that happen in
any number of other tunes. The first change goes up a fourth (or down a fifth,) to a minor chord.
Listen to the sound. We now have a II-V in Eb, but go back to the CMaj. You then go down a Maj.
2nd to a II-V in Ab. The AbMaj moves up a 1/2 step to an A minor, which becomes a II-V. Now the
V chord changes quality to a minor chord, with the D7 becoming a D- which makes a II-V with the
G7 giving us a full cadence to the CMaj, which begins a turnaround (up a minor third, up a 4th, up a
4th.) The final DbMaj drops down chromatically to the CMaj. These are all very distinctive and easy
to hear changes.
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11. In a more diatonically oriented tune, for me personally, I find chord charts harder to memorize.
For approaching these types of tunes, just using some basic harmonic ideas can be very helpful. Any
seventh chord that does not contain the (4) or the (7) of the parent key, is a tonic chord. In G Maj,
you have (1-3-5-7) (G-B-D-F#), GMaj7, the I chord, (3-5-7-2)(B-D-F#-A), B-7, the iii chord, and (68-3-5) (E-G-B-D), E-7, the vi chord. Any chord containing the (4) is a subdominant chord. So in
GMaj, you have (2-4-6-8), (A-C-E-G), A-7, the ii chord, and (4-6-8-3), CMaj7, the IV chord. The
dominant chords contain the (4) and the (7), which produce the tension of the unique tri-tone present
in said major key creating a dominant tonality. So in GMaj, you have (5-7-2-4)(D-F#-A-C), D7, the
V chord and (7-2-4-6) (F#-A-C-E,) F#-7b5, the vii chord. If you work your way through a diatonic
tune such as "There Will Never Be Another You," (not my favorite tune, but it will have to do until
the real thing comes along) playing the chords from the tonal center, that is focusing on playing them
from the (1) or the (7) in the tune, you can pretty quickly train your ear to hear how the harmony of
these types of tunes deviates from the tonal center of the song. I suggest that with many of these
types of tunes, you can train your ear to work through the tune much faster than you should waste
the time of memorizing the changes.
12. In the final analysis, one wants to eventually try and just "know" the tune without even thinking
about the changes. You might try learning guitar or another chordal instrument, as for myself
personally, despite years of struggling with the piano, I've always been able to find my way around a
guitar a lot easier, even though most music educators seem to like the piano because of its visual
aspect. I prefer the guitar because it's easier to forget the notes and simply focus on the sound. But
finally you just have to use a large multiplicity of approaches and choose whichever one(s) work for
you "in the moment." Sometimes the bright moments will only happen when you feel like you're
falling through some harmonic elevator shaft.
Cheers, Billy
Varying the Melodic Rhythm- by Dan Gaynor
I've been practicing over here. I'm taking a melody (with no accompaniment) and playing it over
and over with phrasing variations, taking care not to repeat myself. I'll delay the melody and catch
up later or add passing tones and various things. After a certain point I found it convenient to try
rhythmic variations on the melody I was trying. I'd play the entire melody as triplets or sixteenths
and keep the form by starting in the right place (accounting for new rests). Then I tried playing the
whole thing an eighth note forward or backward from the original. Obviously this applies more to
tunes with a lot of rhythm, as opposed to, say, All the Things You Are. I'd imagine one would have a
lot of fun with Oleo, Moose the Mooche and Donna Lee, this way. In fact, on Lee Konitz and Warne
Marsh, when they play Donna Lee, Lee is a quarter note away from Warne, so I'm sure they
practiced this sort of thing. Regardless, finding personal ways to phrase melodies is practically
synonymous with being an artistic improviser, so anything you can do to stretch your mind around
how should be helpful.
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For a poly-chord with the upper chord a minor second below the lower triad:
F# triad over G triad
Play a melodic minor from the third of the bottom triad (B melodic minor)
Play a harmonic minor from the 3rd of the upper triad (C harmonic minor)
Play a Harmonic Minor scale from the fifth of the lower-triad (A Harmonic Minor)
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/G7
/Cmaj7
G7 /Cmaj7
A7 /D7
The extended dominant resolutions work because they each resolve down a fifth to the next change.
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F7
/C7
G7
/Cmaj7
The first set of changes resolve down in fifths and sounds very dissonant until they resolve to the
major chord. Once they resolve they, get this, RETROACTIVLEY make sense. This is a very
interesting phenomenon; the mind and ear work in mysterious ways indeed.
In the second set of changes the dominants sound very dissonant as they move around the circle of
fourths then they resolve to the tonic. When they resolve they do not suddenly make sense like the
first set of changes do. The only changes that have any real motion are the last V7 to Imaj7.
This is of course an extreme example of what I am talking about but it is exactly the same
concept. If you understand this idea then you will be able to create very interesting sets of subs over
very boring changes. A straight dominant to tonic resolution may sound more consonant than an
altered dominant to tonic resolution, but it does not have as dramatic a resolution. We ARE trying to
play jazz rather than New Age music here, I hope. Bird and all the other founders of Bop
revolutionized Jazz. They pushed the limits by using these upper extensions in the way I illustrated
above. Yes, it is dissonant but this is modern Jazz we are talking about here.
David Valdez said...
I want to add to my last comment: You should play exactly what sounds good to you. I didn't
mean to make it sound like no one ever does what you were talking about, many great players do.
Walking backwards is fine and cool as long as you are aware that your body was made to walk
forward. It's the general principal I wanted to stress. There are elements in harmony that are not just
matters of personal taste and once you understand what these are you'll be able to put together your
own personal style. You'll learn how to use these quirky and backward approaches to your
advantage. Again, always play the way you really want to even if it means going against the flow. I
was starting to sound like a true Be-Bop Nazi for a second there. Sorry about that.
Chicken little said...
Well, you've been a bebop nazi since you were a kid. Anyway, I would second David's comments
about resolving altered chords in the proper way. There are reasons that things are immutable laws of
nature. The circle of 5ths will always have a strong forward motion than 4ths.
On the other hand I can remember that when I was a kid (I won't bore you with the entire story) but
Buddy Rich told some kid to "Fuck rudiments, just play!" I think that this is the best advice you can
ever get.
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Hucbald said...
Well, I'll have to join the "I agree, but..." crowd. As someone who composes over 75% of what he
plays (A rarity for a solo classical guitarist) I am highly interested in audience reaction to my work.
When I get good applause for a piece I wrote that is in the middle of some Bach warhorses - for
example - it's quite satisfying. OTOH, I got into performing constantly to cure myself of
performance anxiety, so I agree that the goal is to be "in your own private Idaho" when you play.
With one caveat that is crucial to me: I can get into a higher level of concentration - "the zone" when performing for an audience than I can reach practicing at home: There is a certain something
extra that comes out of me when I have an audience that is absent when I'm alone. So, I think the
overall point is that the audience/performer relationship should ideally be a symbiotic one.
Mary-Sue said...
Well this is TOO funny. I was JUST sitting here writing some horn lines to "Boogie, Oogie,
Oogie" for the wedding band I play with, uh, that would be in addition to all the OTHER KINDS of
groups I play with: a straight ahead trio, my Avant-garde quartet, the three or four original jazz
quartets I'm a side person for and jeez, don't let me forget all the big bands and swing bands I play
lead for, oh! And there's my modern classical sax quartet too! Now. While taking a break before
delving into the complexities of "To Be Real" and listening to my iTunes library played on shuffle
(Last ten artists included, at random: Steve Grossman, Chet Baker, DAVE DOUGLAS - great track
by the by, Shostakovich, Ellery Eskelin, Buddy Rich Big Band, Stevie Wonder and Maria Schneider)
I checked out David's blog only to be dismayed at the sheer amount of generalizations, categorizing
and judging going on. I then hurriedly and happily went back to the comfort of my world where I
listen, love and play all kinds of music for all kinds of audiences and always try to do a good job no
matter what I play.
And by the by - for $200.00 a night I'll play Boogie Oogie all night long - I have a house to run
here! Baby needs new skate shoes! Mom and Dad aren't paying any of my bills!
Love, Mary-Sue
David Valdez said...
Jeesh guys,
I not saying 'fuck the audience', I'm saying fuck self-conscious thoughts about the audience not
digging what I'm playing. If they love it then there can be a real exchange of energy, if not then I'm
still fine with it.
In my case I'm never happy with my playing so I don't even expect that the audience should clap.
When people compliment me I have to pretend that I didn't think it sucked, so as not to be totally
rude. I've met quite a few other players who were the same way.
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Now about Boogie-oogie-oogie, I've played it too many times to count (also: Celebration, Jungle
Boogie, I Will Survive, ect) and I'd be more than happy to play it again, but for no less than two
hundred dollars!
I love playing classical, funk, Latin, groove. I'm no Jazz snob. I just don't want to be forced into
playing Disco just to get the crowd going. If I'm a sideman and I'm being paid well then I'll play
Yankee Doodle and Hava Nagila all night if the bandleader wants it. There's a difference between a
pay-the-bills-gig and an art gig. It's a different headspace, but I'd rather play disco than sit in a
cubicle. That's for damn sure. If I had to play that stuff all the time I'd be pulling my hair out and that
cubicle would start looking better and better.
It's all about balancing your artistic needs with your financial needs. At this point in my career I
have less tolerance for music that isn't artistically satisfying. OK, OK I'll just come out and say it!
I HATE PLAYING DISCO!!! There, I said it.
Darren said...
Well, seeing as I'm the person David wrote that note to, I should say that I was about to argue with
him about it, but opted not to, because we see it partially differently, and partially the same.
I had just said that it was an ok night; I got $7 in tips and 2 compliments. I wasn't making the
statement that I was playing for the compliments. The compliments are fine, but if they're not
coming from my heroes, they don't mean as much to me as if from the average listener, or a player at
my own level. If Dan Balmer said I sounded great, that would be cool. But if he doesn't, I work on it.
I'm not crushed by it, or dependent on it.
That said, I think of myself partially as an entertainer. I entertain myself, and that entertains the
audience. Partially. I also think of myself as a spiritualist. I'm sending vibes out, trying to connect
through the space to the space within the listener that is connected to the space within myself. Some
would say that this is the same space, and is ALL ONE. I play music for my own sanity, my own
therapy, and my own salvation. When it saves me, it saves a little piece of the collective human
consciousness.
In that respect, it could be said that it doesn't matter if the audience knows it or not, because I
know the jazz affected them, because it was good. And what is good is good for all of us.
The feedback just makes it nice to know that someone is feeling it and taking the time to make a
nice statement. I appreciate it. I'm playing music to connect, to tell a story, my story, and our story.
I'm playing music to save the human race. If they notice, that's good. If they don't, then I need to
listen more and notice more and be more aware and focus on the message.
If I have an attitude that I don't give a fuck about them, they don't understand, aren't smart enough,
etc., then that's all ego bullshit delusion anyways. Who the fuck am I kidding? It's just like any
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Jonas Tauber is a naturally gifted as well as a highly trained musician. He has a classical
background as a cellist but changed courses in life (as he often likes to do) and became an Avantgarde bassist. We played quite a bit together while he was living in Portland. I'd have to say that the
most rewarding experiences I've ever had playing free music were with him. This is an email he sent
me recently, in it he raises some interesting points.
Dearest David,
I have developed ideas on bass playing, not quite consciously, over the time I have spent here with
people who practice too much in the wrong direction as far as I'm concerned, and it seems like
there's a slightly more concrete idea peeking out of the woods of too many notes: once I take a chart
and learn the melody, the harmony, play the harmony on the bass, play as much of it all together as I
can, integrate the form of the piece, or the version of the form that makes sense to me (Speak No
Evil: good example where I took and destroyed the form on the chart in a session and turned it into
an AAABAC form) it seems at that point that I forget everything I have done and concentrate on the
one thing that makes jazz beautiful as an art form to me: interactivity. With other musicians.
Listening to what's happening within whatever form that is. I have fought with my own sense of
helplessness in playing with people to have set ideas of what they were doing, feeling inadequate at
every turn, and finally found my own personal solution of just listening, reacting, and stimulating
things into a direction that made sense to me at least. Some of the other concrete ideas were that I
don't even like doing substitutions and complicated things, my solos are becoming more and more
melodic, in the older sense, singing solos as well as bass lines on the instrument so that somehow the
melodic integrity of the bass line frees certain things up in the soloist, while spontaneously jiving
with the drummer or rhythm part of the composition and/or band, be it a chart or free playing
(becoming more and more similar to me by the way), and that way creating a sense of synergy
between the music that is happening and the muse herself that is simply the most stimulating thing I
can think of besides sex... Two cents for no real reason except each time I get an email from you and
read the blogs this pops up in my head.
Hope you are well!
Best, Jonas
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Similarly we all try out different stuff. Its in a multiplicity of approaches. Hafez Modirzadeh told
me that he ran away from NEC because a certain fairly renowned composer there told him that he
wasn't playing everything that he was hearing but his approach was based on training himself to hear
new things as he incorporated them into his playing.
I personally find it almost impossible to play "licks" that someone else played but I still will figure
out portions of tunes and play through solos and occasionally things will pop out by accident. There
are sections in Bird's solos where you can hear eight full bards of Stravinsky's Firebird Suite and
even a section that someone pointed out that came from Klose's daily exercises for saxophone, that I
used to think was like drinking down Castor Oil.
Some of the free players I know spend all day playing through classical etudes and some guys
transcribe like crazy. Others of us spend some periods of time on theory. I sometimes just think its
mental gymnastics but it all seems to help me slowly become a less mediocre, er, or shall I say, better
musician.
Jonas Tauber said...
Here's an answer to what you said furthermore. The concept I have when I practice is to try and
reach a point at every moment where what I hear comes out of the instrument. That's a point I make
when I teach. Play what you hear. Clich, I know, but taken the right way it really works wonders.
Then, a friend of mine who is a drummer here quoted Mover who quoted someone else, forget who,
who said it's only when you start playing shit you have not yet heard that you are making music. To
add a third point, music is a live art. Almost exclusively, in the traditional sense, except for dance,
and in modern situations many things have become live time-bound performance art. Never mind
that, the fact that music is intended for audience consumption, in any sense: the audience being
people who listen either to your CDs or concerts, and I wonder sometimes how much of the
technical stuff, no matter how natural it comes to feel to the musician, actually registers to an
audience member!? An audience member who, in very concrete terms, will probably not be a
musician (if he or she paid to hear you) or will have taken music lessons at some point but definitely
will have stopped at some point in their musical development way before that which you are doing!
Meaning that fine line between audience-pleaser and hungry purist seems to be turning shades of
grey more and more.
The killer punch line comes out of my last two concerts playing solo. Festivals, large-ish crowds,
my first couple times daring to have no concept of anything that I would do on stage before actually
being there -- whether structure nor composition nor forms/textures/whatever. Trying to reach "true
improvisation" as it were. The result was literally screaming crowds, people from all walks of life, in
response to free improv. Crazy. But I have a hunch (even though I don't think I will play more than
two of those a year ever) that it is due to a certain kind of listening--defined as listening to the
audience listening to you. The silence that results from taking three or four seconds of time between
getting on stage/tuning/whatever and actually beginning to play is the seed out of which everything
grows, I believe, in fact not even style-bound. I started experimenting with that silence when I was
playing a lot of classical cello recitals and concertos: literally changed the energy of the concert
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