Comment or in Vol. Many feel that people who improvise or play jazz are special. If they are special, it is because they have spent their time wisely learning the tools of the trade. A few of the tools are: scales, chords, patterns, licks, songs standards and originals , training the ear, listening to records of jazz greats and any other thing which they feel will contribute to the growth of a well-rounded musician. I feel it is good to establish a practice routine, especially for those of you who are new to learning the language of jazz. To play jazz requires discipline, and discipline is good for all of us.
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Comment or in Vol. Many feel that people who improvise or play jazz are special. If they are special, it is because they have spent their time wisely learning the tools of the trade. A few of the tools are: scales, chords, patterns, licks, songs standards and originals , training the ear, listening to records of jazz greats and any other thing which they feel will contribute to the growth of a well-rounded musician. I feel it is good to establish a practice routine, especially for those of you who are new to learning the language of jazz.
To play jazz requires discipline, and discipline is good for all of us. The language of jazz or the jazz idiom is in a constant state of flux. In order to be a part of the jazz movement one must accept change. Jazz has changed greatly over the past 85 years and is presently in transition. Each generation of jazz musicians contribute their own unique ideas, feelings, and sound to the music and this is what creates the change. If you equip yourself well, you may be one of those people who influence others and set new trends in jazz.
If you want to get it all together, I suggest reading each of the pages in this booklet very carefully. Mark with pen or pencil points that you feel are important so when you flip through the pages In the future your eye will catch them. Listen, listen, listen carefully to anyone playing jazz or improvising. You can learn much from live performances as well as records. Start a record collection and listen to what has been recorded over the past 70 years.
You are in for a treat! Spend your practice time wisely. This is great for the ego but does little to advance your musical progress. Be patient with yourself. They say that things come to us when we are ready to accept them. A healthy mental state is also responsible for progress when practicing. Gradually train your ears to really HEAR music and all of the components that make the final product. Read the pages on Ear Training carefully and institute a daily routine to improve your perception.
There are also other pages that help spell out an excellent practice routine. Since most of us do not have a good rhythm section at our disposal, I recommend practicing and soloing with the play-a-long records. Each volume contains a book and one or two recordings. During the past ten years, many private teachers as well as high school and college teachers have made the recordings part of their daily or weekly teaching assignments. It is good to begin playing with a rhythm section as soon as possible and the better they are the more you can benefit from the experience.
Playing jazz teaches self-esteem and independence. Some of the finest performers and teachers of jazz appear at these weeklong workshops. Write care of Summer Jazz Workshops, P. Last but not least, play on the best instrument that you can afford and study with the finest teachers available. May your journey in music, and jazz in particular, be as enjoyable as it has been for me in putting this booklet together for you. The jazz musician is an instant composer!
The melodies which come from their instruments are conceived in their mind just before they play them. The difference between the improviser and the traditional composer is this: that the "jazzer" has no eraser to instantly correct mistakes.
They practice long and hard trying to make their physical body and their mental frame of mind an appropriate vehicle to execute the ideas formulated in their mind. The GOAL of every jazz musician is to play on their instrument or vocally sing what is heard in their mind. Practicing scales, chords arpeggios , exercises in all keys will help gain facility which will help unlock the ideas that are now being held prisoner in your mind.
As soon as possible, try playing what you HEAR mentally in your head! In other words, sing a short melody mentally, or sing with your mouth, and then play those exact pitches and rhythms on your instrument. This is the same procedure the jazz player uses when improvising. To play requires discipline. It is good to establish a practice routine. Improvisation should be a part of your daily practice.
Play whatever you hear in your head. It could be something from TV, radio, or just some melodies that you hum to yourself. You are training your inner ear to direct your fingers to the notes it hears, instantly. Listen carefully to anyone playing jazz or improvising. You can learn much from live performances as well as records and tapes. Box , Floyds Knobs, IN The mind is the originator of ALL musical thoughts. The mouth singing usually can approximate the pitches, rhythms, and nuances of what the mind hears better than actual instruments sax, trumpet, etc.
Since the instrument we have chosen is a learned device, it is the least able to reproduce the musical thoughts of our mind. It stands to reason that the person who is better equipped technically will come closer to playing on their instrument the thoughts of their mind. One of the reasons the jazz greats sound different than you is the fact they have so many sounds scales, chords, patterns, ideas at their disposal. Practicing, using the exercises found in this booklet or in Vol.
Too often we refuse to take advantage of an opportunity which will allow us a measure of growth and freedom in our musical expression. Listening to jazz greats is inspirational and rewarding. Keep this in mind: practicing exercises, patterns, licks, scales, and chords should lead to more expressive creativity, not boredom.
Many people begin by playing by ear letting their inner musical ear guide their choice of notes and rhythms. This is a hit-or-miss process that most jazz players before had to use to learn their trade. Everyone should spend time each day playing by ear. By using your ear, and knowledge of the needed scales and chords, you will feel much more comfortable with beginning improvisation. Avoid becoming a person who plays great exercises, but delays using their creative energy until tomorrow.
Even if you only use a few notes of the scale, begin right there. The longest journey begins with a single step. Today is the first day of the rest of your life. The longest musical phrase begins with a single note. Not only is it fun to listen to, but you can absorb many musical ideas and incorporate them into your own solos.
Recorded music contains most answers you seek. Having "good ears" means having the ability to hear the roots to the various chords or scales that are being played; having the ability to hear the quality of the chord or scale--major, minor what kind of minor?
There are many levels of hearing. Some people hear. Other people can really HEAR! And some can seem to hear and identify almost anything that is being played. They can seem to sing or play back portions of solos right after the performer has played.
They have worked hard at identifying all the various sounds they hear daily. Since they want to improvise, they take the time to apply on their instrument the things they are hearing. They also use their mind and their free time to figure out things harmonically, melodically, and rhythmically. You can carry it with you and train your ear "on the go.
Wind players -- support your sound. Make phrases flow naturally; even when playing scales and exercises. Mentally sing the exercises, scales, patterns as you play them. If an exercise is hard, slow it down. Then gradually increase the tempo. Listen to every note you play.
Be patient. Improvise some every day. Play what you hear in your head. Make a habit of practicing in all twelve keys. Volumes 21 and 24 are excellent. Memorize everything you can. Know what it is you are trying to play. If we all waited until we were perfect musicians before we played an instrument, there would be no music in the world. Play on the best instrument you can afford and study with the finest teachers available who will give you guidance in jazz and traditional music.
Use your imagination. Experiment- take chances!
Aebersold The Jazz Handbook
This resource is great for jazz fans and students of all levels. Note that in the interest of quicker downloads, some of the graphics-heavy pages will not be quite as sharp and clean as an actual hard copy of the handbook. Choose the articles you want to download below - the approximate size of the file to download is listed for each one. They all are in Adobe Acrobat. Jamey Aebersold Jazz, Inc.
Jazz handbook - Jamey Aebersold
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