Author: ken
Date: 2004-05-31 01:30
Here's an updated short list of tips I posted last year -- best of luck:
Don't practice mistakes; the "depth" of information absorbed must exceed time spent … quality versus quantity.
Do not PLAY when you practice and do not practice when you PLAY; practice when you practice! And, if you're one of those people who find yourself playing when people are within earshot, go somewhere else.
Create ideas, build and shape simple solos gradually increasing them in complexity and intensity to a musically sensible climax. "Make a cake". When you have 2 or 3 choruses build and stack them 1 chorus at a time by layer. Remember, you're given time and opportunity in which to make a meaningful statement..... say something, not just play something.
Think of playing modally and lyrically; the instrument is of course, an extension of the human voice.
Habitually record ALL your sessions, analyze and archive them. Record your lessons and archive those too.
As an intermediate-advanced improviser, force yourself to keep it simple with standard diatonic progressions using tight intervals--Major/minor 2nds, Major 3rds, 4ths, 6ths, 7ths, Dom7, and 9ths.
Don’t play wild, note-y licks all over the horn that on the surface sound impressive but is gibberish, instead play the melody or stay close to it such as quoting the a harmonic duplicate in the key. Also, use the melody as both a springboard and anchor.
Solidity, originality and honest "risk taking" are a sign of maturity not jamming every signature lick or riff you know in one bar.
To gain confidence, play entire solos staying in one octave.
Resist playing familiar “get out of jail” licks or riffs if you get lost in the changes or miss a turnaround. Calmly, return to the melody and start a fresh idea.
Always remain in control; take chances but don't "invent" to the degree you don't know or can't "think" what you're playing.
"Singing" tunes, pitches, articulation, note lengths, even faking in scat (including your exercises) is inexpensive and effective ear training. Purchase a twelve-tone pitch pipe. Keep it in your car or when you're singing with the radio or recorded music.
Pick one favorite tune to transpose, then everyday learn and play it up a half step ascending through the horn's practical range. I have found this a valuable discipline developing a more even 12-key facility and not just learning reflex by rote finger patterns.
Purchase two (2) New Real Books (keyed instrument and C version). Incorporate them daily as sight-reading and for repertoire building.
A good way to get started is begin listening to and purchase music by male/female jazz vocalists. Singers like (the gals): Dinah Washington, Ella Fitzgerald, Billie Holiday, Sarah Vaughn, Nancy Wilson, Carmen McRae, Shirley Horn, Janis Siegel and Diana Krall. And, (the guys): Louis Armstrong, Johnny Hartman, Earl Coleman, Joe Williams, Nat Cole, Frank Sinatra, Mel Torme, Bobby Mcferrin and Al Jarreau to name a few.
For more helps to supplement the Abersold and Coker methods, (Frank Mantooth and David Baker’s improvisation methods are also excellent) I recommend these programs. They're proven methods that produce fast and substantive results: 1) Jerry Bergonzi's, "Melodic Structures" Vol. I & II w/CD. The Bergonzi is a concise and pragmatic approach although relies heavily on permutations/numbering scale tones. 2) Jim Grantham's "Jazzmaster Cookbook" Series (1993 Complete Edition, Sections 1-3, 12 CDs/cassettes in all keys). The Grantham is a universal system that builds more on traditional theoretical concepts, and ear training with emphasis on repetitive pattern exercises. v/r Ken
|
|
The Clarinet BBoard
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
