Re: Learning jazz

reed ( (no email) )
Tue, 20 May 1997 11:17:08 +0100

At 01:59 PM 5/20/97 -0400, you wrote:
>reed wrote:
>>=20
>>=20
>> In terms of jazz improvisation theory, you need to do your own
>> transcriptions, study these books and answer these questions for=
yourself.
>>=20
>> I'd rather limit my specifics to discussing specific solos rather
>> doing critiques on other peoples books.
>>=20
>> For example, if you are interested in how I see jazz improvisiation,
>> then we should look at some specific transcriptions.
>>=20
>> For example, I posted a part of a chet baker solo a while back for the
>> tune "But Not For Me".
>>=20
>> 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.
>>=20
>
>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."
>--=20

Well the first thing to notice is that there are scarcely any notes
in the whole solo that arent diatonic notes in the key of Db. This
situation exists despite the fact that the harmony is changing alot.

Then consider how you can embelish the key of Db, i.e. any note
can be approached by a note a half step below.

SImilarly when there is a whole tone between two key notes, you
can connect them with a half step (what I call double chromatic).

Now look at the solo and see how many notes can't be accounted for.

He's just playing in Db.=20

Melodies stay in one key for long strectches. Melodic soloing is
no different.

reed

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Reed Kotler
reed@justjazz.com
http://www.justjazz.com