Last week we looked at mapping out a plan of attack when looking at a new chart or chord progression. We’re going to take the same chart (Stand Firm which will be on my album Mountain, Move later this year) and go further into the progression mapping out a plan. Last week we looked at some different options on the first two chords of the vamp/intro. In today’s post we will take a look at the remainder of that section. Below is the part of the piano part:
We talked about how the first two chords of the intro/vamp are the same chord quality just a whole step a part. This continues until the 7th and 8 bar. It takes the same chord quality and moves up a half step then an additional whole step (Dmin11 to Ebmin11 to Fmin11). Similar to last week’s map we can take pentatonic pairs and move them up a half step and then another whole step as shown below:
From there you can develop a road map of where you might want to go. Below is the full intro/vamp:
You can use whatever tools you want. I’m using pentatonics for these examples because they’re simple and contain great melodic possibilities. I’ve listed two different option paths you could take through the vamp/intro section:
Obviously there are a number of different combination paths you could choose, but like I mentioned last week I think it’s best during your first run-through of a new chart to find the path that has a nice linear path.
Next week we will take a look at the “A” section of this chart and continue mapping out a plan. If you haven’t already done so, I’d like to invite you to check out my Digital Store where you can get more information on my books (Targeting: Improvisation with Purpose and Breaking the Monotony), Skype Lessons and information on how you can help be a part of the Mountain, Move recording project. Also, don’t forget to check back daily for the Lick of the Day that is in the upper right corner of the site!
Yesterday (Jan. 3rd, 2013) I added a new feature to my website called the Lick of the Day. Jazz improvisation has been compared to speech by many great jazz educators. Much like speaking; Jazz has words, phrases and sentences that we can put together to make a cohesive musical statement. To be a better communicator- you need to have more then just a few words in your vocabulary.
There’s a number of different ways you can add to your vocabulary:
My goal with the Lick of the Day is to provide you with some motivation to add to your vocabulary. If you like the lick you see on a particular day I encourage you to internalize it and learn it in all keys. Find creative ways to put it into other harmonic situations. If you don’t like the lick on a particular day…that’s fine too! Check back daily and you might find one that grabs your attention.
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!
Welcome everyone! In today’s post I want to talk about recording yourself. You may be wondering, “why would I want to do that?” Keep reading and I’ll show you some benefits that come along with recording yourself. I truly hope this post will add value and benefit to you and your student’s playing. If this is your first time visiting this site, welcome and please feel free to have a look around. I would also like to invite you to check out my books (Targeting: Improvisation With Purpose and Breaking the Monotony) at my Digital Store.
Do you ever have moments when you feel like things are going great in the practice room, yet when you get the bandstand things just are not working out? There could be a number of reasons that happens. However, unless you make a habit of recording yourself you might be attempting to fix the wrong issues.
When should you record yourself? The answer is anytime you’re playing! Record yourself practicing, rehearsing with the band and on the gig. Take note of everything that went well, what didn’t go well and what you need to fix. You don’t have to be hyper-critical over everything (let’s face it…NO ONE is or plays perfect), but take an honest assessment of where you were at in that moment in time. Recordings don’t lie and give you instant feedback. Anything that can make a recording will work. In today’s smart phone technology, most phones have a recording memo device that will suffice for most self-recording needs. There are options from very affordable to pretty expensive.
What are some things to listen for in a recording? Here’s a few below:
I know it can be tough to listen to yourself on a recording. It is a sobering experience. However, if you practice what needs to fixed you will progress faster as a musician. I suggest you start recording yourself if you haven’t already. What are your thoughts? Do you record yourself? If so, what are some insights you have learned from doing it? Finally, take the average of your recordings. You’re never as good as your best recording, but you’re never as bad as your worst.
Speaking of recording, I’m hoping to try out the new Zoom Q2HD which does high quality audio and HD video soon. If I get the chance to pick one up, I will do a review for those that might be interested.
Welcome to my site where in today’s post I want to talk about a free jazz exercise that will help unlock your creativity. I truly hope this post will add value and benefit to you and your student’s playing. If this is your first time visiting this site, welcome and please feel free to have a look around. I would also like to invite you to check out my books (Targeting: Improvisation With Purpose and Breaking the Monotony) at my Digital Store.
In Part 3 of my Duets mini-series I mentioned a type of call and response duet (Free Jam) that is done with no pre-determined progression or key center. I wanted to expand that thought to personal practice and share an exercise that I’ve done over the years that has really helped unlock my creativity. It’s a very simple exercise to describe, but one that takes some time to get comfortable.
Like the call and response duet, there is no pre-determined progression or key center to reference. Here it is: Grab your instrument, decide a tempo and start playing a continuos string of random eighth notes (syncopation and occasional rests are fine).
The idea is to not play pre-conceived ideas or licks. You want to find new note relationships that you might not normally explore. This frees up your creative mind because you are not stifled by trying to make your line fit in a chord progression.
The next step is to listen to yourself. If you found something you liked…figure out what it was and transcribe it. You are allowing your creativity to make new connections. You never know what you may discover about yourself and your playing by doing this exercise. Personally, I try and do this exercise once a week for 10 to 15 minutes.
I hope you’ve enjoyed this tip and find it beneficial to your playing. Try taking some time out this week to play some free jazz!
If this is your first time visiting this site-welcome! I truly hope this post adds value and benefit to you and your students. Take a look around the tabs above, previous posts and my Digital Store where you can find more information on two books that I have released (Targeting: Improvisation With Purpose and Breaking the Monotony).
In this post we are going to start discussing Duets and how they can help your improvisations. Each part will look at different ways you can do duets and their benefits. The word duet means a performance by two people. Creativity is increased when you combine more then one source. When playing with another person-you bounce creative ideas off of each other.
All too often in today’s world of technology-students spend too much time practicing with pre-recorded or digital accompaniments. There’s nothing wrong with using them. However, too much practice with just those sources can cause you to interact selfishly when you do play with other human beings. I talk about this in Independence In Improvisation (a previous post on this site and in my book, Breaking the Monotony). We can use this same idea and apply it to playing duets.
Find a friend and pick a chord progression. Decide the tempo and start improvising without any accompaniment. Don’t use any reference (i.e. the changes written out in front of you). You will probably play over top of each other at first. Keep at it and strive to play ideas off of one another. Benefits of doing this exercise together:
This week get together with someone and play some duets. Try doing some without any accompaniment or rhythm section and have fun playing!
Last week’s post was on the importance of targeting the end of the phrase and it reminded me of a fun and challenging exercise I use to make sure I’ve got the end of the phrase at the front of my mind. I wanted to share that exercise with all of you in this week’s post. If this is your first time visiting the site-welcome! If you’re curious to know how I came up with the note choices in the examples below-check out my Digital Store where you can get more information on two improv books I’ve written that will help!
This is a very simple exercise to describe, but one that can be challenging as well. Remember that this is an exercise and not how you should improvise on the bandstand (although you can use it if you so choose).
Sounds simple, right? However, thinking about it and doing it are two different things. The further along the song’s progression the more difficult it becomes because it forces you to think ahead and not always start your phrases the same way (i.e. always starting on the 3rd of a chord). Let’s take a look at some examples. Below is our first phrase with the last note circled.
We know that the “G” is our last note of the phrase. Depending on what the chord progression would be next determines whether we start on the same note “G” or if we need to move a half-step or whole-step away. Let’s take a look at an example that shows the first phrase going into a second while keeping the “G.”
The final example shows the first phrase going into a second phrase where we altered the starting note by a half-step.
It’s a simple, challenging and fun exercise that will help you on multiple levels. When you learn a new song/progression I would suggest you do this exercise over the changes as well. I hope you’ve found this tip beneficial and that it adds value to you (and your students) playing!