At 05:38 PM 2/10/97 -0100, you wrote:
>I agree with Reed when he says that practicing 12 keys is not the point, but
>I feel myself very stupid when I panic looking for a voicing for F#7b5 while
>the 2 beat where I should play it are near to end.
>So I thing that I have to find some form of exercise.
>
>I'm trying two ways:
>- an 'intelligent' progression
>- a set of tunes
>
>
<<snip>>
You are certainly free to put together tunes lists of progressions
with others on the list but here is my 2 cents on this subject.
why not just practice playing turarounds or ii/V I progressions
in the various keys?
Dm7 G7 | C |
Dm7 G7 | Em7 A7 |
Cm Am7b5 | Dm7b5 G7 |
..
FWIW, I think that most artificial methods for making yourself
play in different keys don't work very well.
I've tried them myself and find they are just a dilution of my
practice time.
It's something each person has to experiment with but this is
my experience.
Most people get good in playing in different keys because it's
something they do alot. For example, playing for singers. Also,
people studying classical music will get more proficient in
the sharp keys.
It's interesting to try and play a tune in 12 keys, but once again if it's
used like a "spice" once in a while, I think it can be helpful. As any
part of a practice regiement I think it just becomes tedious.
Learning tunes is helpful but once again that's fairly organic.
Pick the tunes you want to play, not ones you think will be good
for you.
reed
Reed Kotler
reed@justjazz.com
http://www.justjazz.com