> =
> In terms of jazz improvisation theory, you need to do your own
> transcriptions, study these books and answer these questions for yourse=
lf.
> =
> I'd rather limit my specifics to discussing specific solos rather
> doing critiques on other peoples books.
> =
> For example, if you are interested in how I see jazz improvisiation,
> then we should look at some specific transcriptions.
> =
> For example, I posted a part of a chet baker solo a while back for the
> tune "But Not For Me".
> =
> How would you see that solo in terms of what Chet is playing? In other
> words, apply some theory to explain his note choices, etc.
> =
This is a point where I need some guidance. I've been noodling along
slowly, but surely, doing some transcriptions. While I've got a long way
to go, I do see that I can do this, it's not voodoo or magic, just
patience and work that bears very good fruit. My playing is improving,
which is good for all parties involved.
What I'm not sure about now is how exactly to go about analyzing. I'd
love to participate in a discussion of, say, Chet Baker's solo, since
I've done it too, but what sorts of things does one do?
Here's what I tried. First, using the basic chord changes, I tried to
identify chord tones, extensions, altered tones, etc. as a little test
of the "chords and scales" approach, to see to what extent the solo
"runs the changes." I also thought it would be fun to test the theory
found in many of the Aebersold books that chord tones should fall on
beats 1 and 3 (found in his Vol. 1, p. 27).
Is this the kind of thing you're talking about? I'm thinking next about
testing the longer phrases of thes solo in terms of implied key centers,
but haven't gotten back to it yet.
Now that I'm at least started on transcribing, I do need some advice
about what is meant, in rea-life playing, by "analysis."
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"You know, a long time ago, being crazy meant something. Nowadays,
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