 The Clarinet BBoard
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Author: SVClarinet09
Date: 2006-09-21 00:03
I recently started the Jazz Band class in school. I really like it but it's hard for me to grasp the improv concept. I figured you either do it really well or you don't. My director isn't good at explaining it, so I was wondering how all you jazz clarinetists improvise. Isn't there like a special sound a jazz clarinet has? special reeds or something? all information would be appreciated
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Author: Gandalfe
Date: 2006-09-21 00:10
Buy or borrow, Jamey Abersold's "How to Play Jazz. Make sure the CD is there. If you want to start playing some songs with what you are learning, most of my friends and I started on Jamey's "Maiden Voyage".
From page seven of the former, "You're born with a spark... to search for the truth, for the best you can be. Practice. Discipline. Preparation. Try and try again. Then one day you're on top and they say you're an 'overnight success,' a 'natural.' You smile, you know.' - Anonymous
Enjoy,
Jim and Suzy
Pacifica Big Band
Seattle, Washington
Post Edited (2006-09-21 00:19)
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Author: jmberch
Date: 2006-09-21 02:19
= p, jazz improve is my absolute favorite thing to do! I would suggest that you learn all of your appegios, and learn your scale degrees (dorian, ionian, ect....). Listen to what other people are doing around you, and when it's your turn, try playing the same rythms with different notes, or different rythms with the same notes. After awhile, it'll get easier, and you'll love it, i swear. another good thing to do is go out and buy a jazz cd with a clarinet improving....i have one with eddie daniels, of course i can't play it...but i listen and hear what he does...for example..on one song, he plays the melody. then he plays the melody, but adds things on to it, and keeps adding....its hard for my to explain without actually being able to play and show you. i hope this will help, it helped me a lot. have fun improving
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Author: allencole
Date: 2006-09-21 05:30
There are lots of things mentioned, and you'll find a number of threads here on the subject. Major scales & arpeggios, pentatonic scales, etc. are all handy.
But what you really need to do is to hear some jazz clarinet in action, and try to imitate what you hear and like. I personally enjoy Benny Goodman's style.
Allen Cole
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Author: Roger Aldridge
Date: 2006-09-21 11:06
I agree with Gandalfe's advice. Along with that, it's essential that you LISTEN to as many of the best jazz clarinet guys as you can. This is how you begin to get a feeling for style, phrasing, and overall playing. Then, if you find a particular player who really speaks to you spend the time & effort to get deeper into his playing.
There is not what I'd describe as a single kind of "jazz clarinet sound". Many contemporary jazz clarinet players have a beautiful sound. Whereas, in the earlier styles the tone might be on the rough side. I, personally, like a dark and fat clarinet sound. Simply put, I'd suggest that you continue to use your current equipment & sound and don't think about changing anything at this point. After you've spent a period of time in the jazz band you might see if you need to tweak anything in your set up.
Finally, I'd suggest that you spend some time on the SOTW Forum. There is a clarinet section there. Those of us who love the jazz clarinet and/or double hang out there and often have some good conversations. You might pick up some helpful tips.
Good luck!
Roger
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Author: Arnoldstang
Date: 2006-09-21 13:02
I would suggest starting improv with dixieland. Chord changes are easy to hear and it's happy music for the most part. Find someone in your area who plays in this style and study with them.
Freelance woodwind performer
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Author: Carol Dutcher
Date: 2006-09-21 15:43
I play Dixieland and improvise with the bands. I learned the way to do it with Jamey Aeberson CDs for starters. Once you get the hang of it,it is really fun, and you can improvise differently every time you play the song.
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Author: Ed
Date: 2006-09-21 16:26
As to equipment, it is more about approach and inflection. There are many jazz players who use a set up that would be perfectly at home in a classical setting. Eddie Daniels uses the same for either. I agree with the idea to keep the set up you are comfortable with.
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Author: Ken Mills
Date: 2006-09-25 21:52
My method is in the key of C, so it takes a lot of practice to learn all the keys. Clusters of chords do not stay diatonic to one key for very long in a tune. If you want my method that uses only one kind of primary scale then I can email it to you: kenmillsusa@netscape.net
If you call the C major scale the A natural minor instead and use it interchangeably with the A harmonic minor, then you have the primary (compound) scale that identifies the tonality you are in and it is known as the key's scale. The secondary harmony coming from the melodic minor and diminished scales becomes a lot easier to apply to only one primary scale at a time. See my other posts on this.
Try using a Selmer CP100 mpc with a Vandoren 1 1/2 reed to get a big fat clarion register, blow as hard as you want and it will not close up, I guarantee it, Oh, but see how high you can go, hmmm, an R13 might help.
PS, You do not have to feel creative all the time, just listen to yourself, as a member of an audience would, in the musical natural artistic procedures.
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Author: ned
Date: 2006-09-26 07:07
''Try using a Selmer CP100 mpc with a Vandoren 1 1/2 reed to get a big fat clarion register, blow as hard as you want and it will not close up''
Ken - this seems to be a remarkably light reed for jazz - is the mouthpiece a wide lay then?
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Author: seafaris
Date: 2006-09-26 13:37
I am 58 and have been playing for a little over 2 years, and I am just starting to get into improv. I agree with all the great advice above.
There is also an excellent book and cd for clarinet and another for sax by John Neil on jazz (The Jazz method). I have just started getting into it. I also have the Jamie Abersold books and cd's, and Essential Elements and cd for Jazz Ensemble. I think John Neils book is a great way to ease into playing. I also use Band in a Box to play with which is just great. Just use the bass, piano and drums to get a realistic sound. You can practice all you want with your own group! I have been adding to the melodies more and more and learning techniques to make my playing more interesting. I am at the stage of keep it simple and try to do it well.
I love Eddie Daniels, but I think you might learn more by listening to a combination of Buddy DeFranco and Pete Foutain, both excellent and quite different. I never listen to any clarinet music before I practice (I don't want to get to depressed :-)) I like to listen to Miles Davis, Stan Getz, John Coltrane and Charlie Parker. I actually have learned the most from the style of Miles Davis (less is sometimes best). Whenever I am driving or have free time is when I listen to all the jazz clarinet that I can, but usually after I have practiced.
....Jim
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Author: Ed
Date: 2006-09-26 15:30
One of my favorite jazz clarinetists is Frank Glover. He is an amazing player out of Indianapolis. He played at the clarinetfest in New Orleans. He has a great modern approach to jazz unlike most any other player I have heard. You can get his stuff on CD Baby or on iTunes.
http://cdbaby.com/cd/frankglover
http://cdbaby.com/cd/frankglover2
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Author: Carol Dutcher
Date: 2006-09-26 17:25
I forgot to say what equipment I'm using. I use a 2-1/2 reed, I have a Buffet R13 and have never changed the barrel, but I recently tried an "Imperial" mouthpiece that was my dad's favorite. What a great difference that made. I think they run maybe $15.00! It has a #4 etched on it.
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Author: Ken Mills
Date: 2006-09-27 02:37
The Selmer CP100 has only a 1.22mm facing as their standard model and 1.18 or 1.25 too, sort of medium and gradual. Take two mouthpieces of the same facing and they will take different strengths of reed depending on the depth or shallowness of the baffle (the chamber wall opposite the window). Rapid tonguing is therefore another great benefit that this mpc provides with the soft reed, but the altissimo will not go as high. Isn't that an expected trade-off? Try an R13 to see any help with that. I also want a note to start without a twist or flux but real cleanly. That is what you get with the deep baffle of the CP100. I can also use a Rico #2 reed on it.
Above, I was using the Acm scale (compound minor), and restricting myself to minor key harmony for its simplicity to choose the secondary harmony. I should list some examples of Acm scales used as "bookends" enclosing the takeoff and return scales in between: the melodic minors, diminished, and other cm scales. That is all of my harmony, if you are in a major key then just end on a major triad.
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