Re: tips and tricks

Bert Ligon ( BLigon@mozart.music.sc.edu )
Wed, 5 Mar 1997 14:46:05 -0500

>rodseth@wco.com wrote:
>>
>> I've been assuming that I was the novice among experts! I get quite
>> discouraged at times. I've picked up some theory (and find it
>> fascinating), but I'm really a beginning improvisor when it comes to
>> playing. I can do quite nice non-realtime arrangements from fake books,
>> but then I launch into a solo, and I freeze up or get stuck in the
>> middle. But I notice small improvements, and when I can trace them to a
>> particular thing that "clicked", I like to share that.
>>
>> I was hoping to encourage all of us, no matter what level, to contribute
>> insights about things which help us learn, so we can all learn better. I
>> know there's no quick fix, but this stuff can be overwhelming, and I
>> sometimes think jazz educators could do a better job of devising
>> "optimal" practice regimens, for those of us with limited time.
>
>First, I want to apologize to Richard for sending off a response to his
>posting when I was frustrated with all jazz teachers. While obviously
>well-intentioned, Richard filled his message with the music theory
>expressions that are now beginning to sound like jabberwocky to me. I'm
>sorry if my message seemed snotty.
>
>I've been lurking on this list for months now. It's been my last ride on
>the train to confusion. Maybe it will help other beginners and teachers
>on this list if I share some of my experience.
>
>I've always wanted to play jazz. Four years ago, I took up the clarinet.
>Since then, I switched to alto sax, because I found it easier to express
>myself with this horn. I've been practicing about 15 hours a week during
>this time and I'm happy with my progress executing melodies.
>
>Started with a jazz teacher about six months ago. Prior to that, I read
>a lot of Coker, did the Aebersold tapes, learned patterns, played
>Haerle's scales, bought solo transcriptions, etc. I've been a regular
>jazz-education consumer.
>
>I've been listening to--and loving--jazz since I was a kid at my
>father's Victrola 50 years ago. So I know what it's supposed to sound
>like. But I couldn't make those sounds come out of my horn.
>
>Then, recently, I came to an important conclusion...for me. I realized
>that there are thousands and thousands of hours of jazz in my head and
>my heart. And the best way to get the music out is to stop bottling it
>up with too much music theory.
>
>So, what I started doing is this. I take a tune and spell out the chords
>on the sheet music. Then I take four-bar segments. First I play the
>melody. And then I play the chords. Over and over again until I get a
>reasonable idea of what the story line is. (I'm a writer by profession,
>so the development in a tune is like a plot to me.) I do this for the
>entire song.
>
>Then I "rewrite" the song until it sounds like a lovely jazz tune
>similar to the original. In doing this, I follow the advice of Paul
>Desmond. Desmond was once asked if his improvisations were vertical or
>horizontal. He said he tried to create "diagonally".
>
>And, you know what? I'm finally starting to come up with some decent
>stuff. Eventually, I'll get some of these "rewrites" memorized and play
>them with a new riff here and there so people will think I made them up
>on the spot. In time, I'll have a repertoire of memorized improvs, play
>in front of great audiences...
>
>Then, when a struggling young improvisor comes up to me, I can tell him
>about how I couldn't have done it without transmogrifying Phyrigian
>tritones into augmented 13ths.
>
>
>fred cicetti

Music theory, if it is taught well, should not be a hinderance nor should
it stifle inspiration. Music theory should help us to understand what it is
that we are hearing that sounds good and attracted us to the music in the
first place.

There are really only two rules:
1. Does it sound good?
2. Does it sound good?

Music theory resides between those two rules. What makes it sound good
begins a search for principles or methods for achieving some music that
sounds good.

There can be many levels and tangents to music theory discussions, but if
it still is answering the question of what makes the music sound good, then
it is good theory. Some terms may sound to complicated to fit that
description for you right now, but later, those complicated terms may be
just the answer you need for some musical question.

Your method is also a "music theory" designed to answer your own questions.
Not all theory is a discussion of the "super-amalgamated heptonic scale
derived from the 8th mode of the transmutated neopolitan #6 scale" type of
stuff.

Good luck.

_______________________________________
Bert Ligon
Director of Jazz Studies
_______________________________________
School of Music
University of South Carolina
Columbia, SC 29208
Voice: (803) 777-6565
Fax: (803) 777-2151
http://www.music.sc.edu/Departments/Jazz/
bligon@mozart.sc.edu
_______________________________________