jazz advice Archives - Page 2 of 9 - Jason Klobnak Music

Tag Archives for " jazz advice "

Improv for Beginners part 2

 

Welcome to part 2 of starting beginner’s on their improvisation journey. Last week we started off with what I believe is a great foundation to getting a beginner going. There are a number of different opinions, theories and options. However, this is how I like to introduce those just starting. I have seen it work and believe it builds a strong foundation for their playing. I would encourage you go back to PART 1 and read through that if you are just joining us.

The next step is introducing MELODY. Where do we get melodies from? First, we get them from the music we play. What songs are the students learning? If they are really young students are they learning those early nursery rhyme type songs? All of these are melodies. Reading music is important, but have the students learn to play the melody without looking at the music. Internalize it. Once we learn the melody we can use it later. The melody can be embellished with a variety of tools, but they mean nothing without the foundation of the melody. As an exercise, have a student take Happy Birthday and improvise on it. If they have been working on rhythm and listening, you would be surprised at what they can probably already create with it.

Still not sure if you think it is a good exercise? Check out this video made by Wynton Marsalis in France a few years back:

Where else can we get melodies from? One of the scale types used in virtually every culture is the pentatonic scale. There is something melodic about that particular scale that has been creating melodies around the world for generations. If a student still needs to work on their major scales they need to be learning those in addition to the major pentatonic scale (minor scales are important too, but get the major one’s down first). While I do not believe running up and down scales themselves is how you should learn to improvise, they are important to know because they give us a color palette to choose from when improvising and the pentatonic scale is a melodic gold mine.

Combining the two elements of the melody of the song the student is learning with the pentatonic scale in the home key is a great place to get them thinking creatively. The pentatonic scale in the home key can be used to target key notes (landing areas) in the melody. For more information about how you or your student can use a pentatonic scale to creatively target notes you can check out my book Targeting: Improvisation With Purpose. 

Remember these are just beginning students. Give them achievable goals to start with before adding more complex ideas. I find a higher success rate with beginners that are given a few details to work with and then adding more pieces when ready rather than dumping everything at once. In my teaching studio, rhythm (time, feel, etc) and listening are the foundation. Melody is the next layer. Check back next week for the next layer 🙂

Thank you for taking the time to read this blog/post. As a thank you I wanted to give you a FREE MP3 from the JKQ. Simply click the button below and fill out the short form and you’ll have it in just a few short moments!

mp3

SaveSave

SaveSave

SaveSave

Improv for Beginners

Improv for Beginners

A lot of the tips that get posted on this site vary from intermediate to advanced concepts found in improvisation. While there are a few focused on beginners, I thought it would be good to post a few more to help those that are just starting out. If you are one of those that beginning improvisation is where you are at now, I would encourage you to go check out the category (For Beginners) to see some of the other posts in addition to the one below.

One of the big concerns I have heard from beginning improv students (and teachers of those students) is where do I begin? There is so much information out there it can be hard to find a good starting point. Do we start with scales? Theory? Transcribing? Let me give you my suggestion for where a beginner should start:

  1. Rhythm/Time
  2. Listening

Everything else you can work on, in my opinion, supplements those first two items. Here’s why: To have the proper sound, feel and phrasing you must have good rhythm/time. To have good rhythm/time you have to understand what is considered good by listening. #2 is something everyone should be doing already. Listen to your favorite players (old and new) and get their sound, phrasing, rhythm/time, articulation, use of space and ideas in your ear. Close your eyes and picture yourself there with them. How much should you listen? A lot. As a beginner what you listen to can help shape who you are as a musician and WILL eventually come out. Who you become as a musician is a combination of all the influences you have stored in your head.

#1 is something that can develop over time by listening AND playing rhythmic exercises. The exercise below is one that I like to use with beginners. This is also mentioned in my book Breaking the Monotony. Unless the beginner already has a pretty good sense of rhythm/time, they need to be exposed to good Jazz rhythms. This exercise takes a rhythmic example that the student plays while using any combination of the three notes listed.

Rhythm to be used:

Note choices:

Example of what this would look like over a simple Bb blues:

You can get into the theory later, but I find it is best when talking about notes to limit a beginner to 3 or 4 to start. Let them find out the different variations of what you can do with those notes on their own. Eventually they will become bored with those and will naturally want to expand their palette (although I have heard plenty of Jazz Giants do more with 3 or 4 notes then some do with all 12).

In my opinion, this is the best way to start beginners. This gets them started playing something and using their ears and rhythm to come up with ideas. As I mentioned at the top of this post, be sure to check out some of the other posts in the For Beginners category. In addition to those posts are my books you can find in my Digital Store as well as the Skype lessons/coaching I offer for all levels of players.

SaveSave

SaveSave

SaveSave

Using Drop 2 in Improv Part 2

 

Welcome to part 2 of Using Drop 2 in Improv. In this post we are going to talk about another we can use the Drop 2 concept to help your improvisations. This tip is one that you would use in your practice room. If you go back and check out the series called Map It Out you can get the initial concept of “planning your route” on a tune you are working on. While mapping out a plan mark the changes with (where appropriate) a 4-part rootless voicing. Then apply the Drop 2 to those voicings (see below).

Much like planning out a guide-tone map we can use these rootless voicings as a map too. However, the Drop 2 voicings add more flavor to the line because of its change in interval. The example below takes a arpeggiated line based off of part of the rootless voicing. Notice what happens to the same line when the Drop 2 is applied. Be sure to play them on your instrument or piano to hear the difference:

Let’s do another example. This time instead of an arpeggio we will use a simple line and apply the concept. The first example uses the 4-part rootless voicing as a guide. The second example uses the Drop 2 version as the guide which made it easier to apply a pentatonic targeting technique (more information on that can be found in my book Targeting: Improvisation With Purpose).

Try it out this week. Take a tune you are learning and map out a “Drop 2 route.” See what new sounds and intervals you can creatively use in your improvisations. If you need help with the what/how to play over the Drop 2 voicings then I suggest you check out Targeting: Improvisation With Purpose and Breaking the Monotony.

 

 

SaveSave

SaveSave

SaveSave

Using Drop 2 In Improv Part 1

 

Usually when people talk about using “Drop 2” they are typically referring to voicings (on piano or guitar) or an arranging technique. However, in today’s post I wanted to look at a creative way we can use the concept to spur ideas for your improvisations. Before we dive in to the idea I think it would be good to explain what a Drop 2 is for those that may not be familiar with that terminology.

The simplest way to explain what a “Drop 2” is to show you. If you take the 2nd voice from the top of a chord and lower it an octave you have a Drop 2 voicing. Below is a root position C7 chord. Beside it is the same C7 chord, but with the Drop 2 voicing applied.

There are a few concepts in arranging where using the Drop 2 voicing gives you a great sound (I especially like using it in the trombone section of a big band). However, I want to look at how using the Drop 2 idea can spur new creative ideas for your improvisations. We have all probably worked out arpeggios on our instruments (or at least should have/should be), but few seem to work on them outside of root position. Before you shut down thinking, “Oh, this is just an arpeggio rant” stick with me for a moment.

Those that have followed this site know how important I view the concept of targeting (aiming at a goal note with purpose). In this first part we are going to apply chromatic targeting principles (more info found in my book Targeting: Improvisation With Purpose) to the root position C7 chord and then again with the Drop 2 version. Play through these with your instrument and listen to the difference in line movement.

In this example the Drop 2 version is more angular then the root position version. While I might change the rhythm of the line up, I personally like the movement from the Drop 2 version with the overt tritone sound upfront. It does not sound like someone playing around with an arpeggio. Let’s use another example, but this time we wont start with a root position voicing. Below is a Bbmaj9 in a block chord voicing (which means all of the voices are within an octave) and then the same voicing applying Drop 2.

And a line utilizing chromatic targeting principles:

While the last two examples above used chromatic targeting on the “D,” you could use chromatic targeting on any of the notes found in the voicing. Next week we will expand the Drop 2 idea and look at some other ways we can use it for to enhance your improvisations. I hope you have enjoyed this tip and that it adds some value/benefit to you and your playing!

SaveSave

SaveSave

SaveSave

Thankful

 

In the United States this week many people celebrate the holiday of Thanksgiving. Without getting into the holiday’s history I wanted to take a look at the theme of being thankful and how it helps us as musicians. A lot can be said about our attitudes and how we act around others and react to situations. I have found that as a music community at large we take for granted the opportunities we have available to us. We can gripe and complain about pay and the amount of work that is out there, but when it comes down to it we should be thankful for the opportunities we do have.

I try hard each time I am given an opportunity to perform for a paying audience or client that I am grateful for that opportunity. We all have those gigs where it can be tempting to look at our watch (or in today’s times our cell phones) and continuously glance at the door thinking, “oh man…I can’t wait to get out of here.” But, I believe if we foster an attitude of thanksgiving and gratitude that it shows in our body language, our words and ultimately through our performance. You never know where your next gig or client is going to come from. If people (including musicians) see your positive attitude you become a more likely candidate for getting call-backs and future work.

What about you? Ask yourself if you are thankful to be a working musician. You could be doing a number of other things, but you were given a gift of music that not everyone has the honor of cultivating. I am asking myself this question this week as well. My answer is a resounding YES. I LOVE BEING A MUSICIAN.

For those that celebrate it: Happy Thanksgiving!

SaveSave

SaveSave

Unexpected

 

You have probably heard the saying that “when life gives you lemons-make lemonade.” I know it is a cliché, but it is one that has some value to those that improvise. I wrote a post a few weeks back called Fight Through that talked about regardless of what circumstances life has given you; we still have to fight through and make music. In this post I wanted to talk about something similar and make the correlation between the unexpected things in life and how we can use that in our improvisations.

Let’s face it, there are some things in life we thought would be a “sure thing.” Ask a child what they want to be when they grow up and you will get a number of different answers. Follow those children 20 years later and ask if they are doing what they wanted to do. For some…maybe. For most…probably not. Life gives us some unexpected twists and turns. Improvisation has a way of doing the same thing. We can plan and plot, but when we finally get in the moment unexpected things can happen. Someone in the rhythm section plays something unexpected and before you know it your improvisation goes in a new direction.

Most of the time when this happens it is fun and exciting. Hopefully you know the song and harmonic progression well enough that you can go to that unexpected place together. Much like life; your attitude towards the unexpected will help determine your level of enjoyment and success. Remember you are involved in the improvisation process just as much as those you are playing with. Your input helps determine the destination.

A while back there was a video of Stefon Harris doing a TED talk floating around social media sites. He and his group of musicians did an excellent job of talking about how reacting to the unexpected creates (or detracts) from the art of improvisation. Check out the video below:

I hope you have enjoyed this week’s tip and that it has added some value and benefit to your playing in some way. The holidays are fast approaching and if you are looking for gift ideas for some musicians please go to my Digital Store today and check out my books and recently CD. I am very thankful to all of you that have made a purchase or download!

SaveSave

SaveSave

Discovery-Brazil

 

This week’s Discovery location takes us to one of the most recognizable and largest countries in South America-Brazil! Brazil is the 5th largest country in the world with a booming economy. Most probably know that Brazil is the home of the Bossa Nova as well as other styles that are regularly incorporated into Jazz. Brazil has been home to some great jazz musicians born there as well as those who have made it their home. This wonderful country has not only embraced jazz in its various forms, but helped greatly influence the art form.

As with our past locations, the goal is to introduce you to 3 new musicians each week from different parts of the world. My hope is you will find some new discoveries, support them by buying their albums and by attending their concerts if you are in their area (or they in yours). Another benefit is for you to hear new musicians and how they approach their instrument and jazz. You never know where you might find your next favorite line!

Like a number of the other large cities that host live Jazz around the world, Brazil has live music venues too numerous to mention on this site. Someday, I would love to take my band (The JKQ) to the BMW Jazz Festival which is held in São Paulo and Rio de Janeiro. While I have not been, I have heard this is one of the most exciting Jazz Festivals on the planet. Take a look at their site to see who they had performing at this year’s festival.

Like mentioned with other great countries; Brazil has been the home to a number of jazz musicians known and unknown. Hopefully the musicians below are people you will start checking out (if you have not already).

Claudio Roditi– trumpet
Eliane Elias– piano
Nilson Matta– bass

These are just a few of literally hundreds of great jazz musicians you can find in and/or from Brazil. If you have checked out these musicians above, be sure to check out their websites and albums to support them. I would also highly encourage you to look up other great Brazilian musicians and see what this great country has to offer in terms of Jazz.

SaveSave

SaveSave

Discovery- Japan

 

In this week’s Discovery series we head over to Japan! Japan is made up of a series of islands (6,852 of them) in the Pacific Ocean just East of the continent of Asia. Like many of our other Discovery locations, Japan has been home to some great jazz musicians born there as well as those who have made it their home. This wonderful country has embraced jazz in its various forms and is home to a number of world-famous clubs, educational institutions and jazz festivals.

As with our past locations, the goal is to introduce you to 3 new musicians each week from different parts of the world. My hope is you will find some new discoveries, support them by buying their albums and by attending their concerts if you are in their area (or they in yours). Another benefit is for you to hear new musicians and how they approach their instrument and jazz. You never know where you might find your next favorite line!

Japan has a number of cities that offer live jazz whether you are in a large or small city. When I think of Jazz in Japan I immediately think of the Tokyo Jazz Festival. This is one of the world’s foremost Jazz festivals that bring talent from all corners of the globe. Check out their website to see who performed this last year and you will see a list of world-class musicians gracing the stages. It is possible that there are some Jazz festivals in the world that do this, but the Tokyo Jazz Festival is the only one that I have read about that offers child care for concert attendees. As a father of young children-that might just be a deal breaker!

Like mentioned with other great countries; Japan has been the home to a number of jazz musicians known and unknown. Hopefully the musicians below are people you will start checking out (if you have not already).

Takuya Kuroda– trumpet

Hiromi Uehara– piano

Erena Terakubo– sax

These are just a few of literally hundreds of great jazz musicians you can find in and/or from Japan. If you have checked out these musicians above, be sure to check out their websites and albums to support them. I would also highly encourage you to look up other great Japanese musicians and see what this great country has to offer in terms of Jazz.

SaveSave

SaveSave

>