I'm glad that some teachers as yourself are making sure people understand
how this chromaticism works. I have a whole series of manusripts on
practice techniques for developing this chromaticism in ones playing
that I guess I will post soon.
WHen I listen to the radio, I hear very little understanding of
how chroamticism works in the younger players. By younger I mean
mostly 45 and younger. Instead what people try and do sometimes is solo
over very elaborate chord changes and get the chromaticism from
the extra chords or else they ignore it altogether. For me,
if there is no chromaticism I just can't listen to it.
In fact If I hear a really good example and don't recognize the record,
it always turns out to be a new re-issue of a long out of print
album.
I believe this is because people are learning improvisiation from
books or school and not taking the time to transcribe.
40 years ago there were no books so everybody transcribed but now
people don't see why they have to.
There are so many method books and even transcription books you can
buy.
>I have found very little random chromaticism in great solos.
>
I have also found very little random chromaticism in great solos.
In fact one of the things I've learned from transcribing is how
well thought out every note and phrase is, even if they are playing
very fast.
reed