Jamey Aebersold Tips (part 1)


Point To Remember
Taken from his “Anyone Can Improvise!” Seminars


  1. Two factors that stop people from improvising are fear of getting lost and fear of playing a wrong note.

  2. Tape your own playing and listen to yourself. Don’t be critical. Just Listen.

  3. Humor is an important part of creativity.

  4. TV kills imagination.

  5. Ignorance kills. So does smoking.

  6. Can you practice for one hour without interruption?

  7. If you don’t think before you play a phrase, it is not improvisation – just an exercise.

  8. Sing! Sing! Sing!

  9. It is easier to sing what you hear in your head than it is to play it on your instrument – your objective is to be able to play what you hear in your head.

  10. Think each note before you play it.

  11. Did anyone ever die from thinking too much?

  12. :musik::musik::musik:

  13. The Blues is most commonly played in the keys of F and B flat by Jazz musicians.

  14. Don’t practice the same thing forever – break new ground.

  15. Scales are REALLY IMPORTANT!

  16. Most music is grouped in 2, 4 and 8 bar phrases.

  17. Most drummers sing the melody to themselves to keep their place but they can learn to hear in phrases.

  18. The chromatic scale is your musical alphabet, know it from the lowest playable note on your instrument to the highest.

  19. There are only two whole-tone scales and only three diminished scales.

  20. Jazz players usually play eighth notes – play scales and exercises this way.

  21. Use Jazz articulation when playing chords and scales, not tonguing every note or slurring every note but something in between. Articulation is a key ingredient of your musical personality.

  22. Practice articulation – in 4 to 6 weeks you can transform your musical personality. Listen to the pros. When doing articulation exercises, play in a comfortable range where it is easy to finger. In this way you can concentrate on the articulation.

  23. One of the reasons you don’t sound like the guys on record is because you haven’t practice articulation.

  24. :musik::musik::musik:

  25. Play a solo along with a record in order to practice articulation – imitate the Jazz greats.

  26. Inspire – refers to the spirit within you – in spirit.

  27. Listen and lift ideas off records.

  28. LISTEN! -over and over and over! All the answers to your questions are on the records.

  29. Listen to Jazz every day.

  30. If you are well equipped technically you can take chances.

  31. Don’t just use the play-a-long CD’s to keep time, use them to learn to hear the TONALITY of each key that is played.

  32. In live Jazz there is an interaction between players.

  33. The best things in life are free and the free jazz handbook is one of them.

  34. It is great to play with people who are a little or a lot better than you – they will push you to improve.

  35. No one is a born player. Good instruments and teachers are important but the player makes himself.

  36. You can’t imagine how much time and energy and thought Jazz musicians put into their craft.

  37. Conjure up your own harmony. Sit at a keyboard and explore.

  38. Play an arpeggio and keep it going in your head (mentally) while you sing a melody based on that chord.

  39. Sing a 12-bar blues (it’s not that hard) just think and sing while driving or waiting for a bus.

  40. Move a blues up a half step and back down, just think of exercises – it will make it easier when you get to the practice room.

  41. Don’t spend practice time on ear training, chord spelling and other exercises that you can do while commuting or in the shower. In this way you will get the most musical training out of your day.

  42. Charlie Parker practiced 11 to 15 hours per day for three years to four years.

  43. Ear Training – once you can hear what you are trying to play, things get a lot easier.

  44. Learn the distance between notes – intervals.

  45. :musik::musik::musik:

  46. Scales are based on the intervals of half and whole steps, chords are based on minor thirds (3 half steps) and major thirds (4 half steps). Learn to hear these intervals without batting an eye.

  47. When you sing, visualize the keyboard. If you don’t know what key you are in, just think in C. Do these important things away from the practice room – don’t waste practice time.

  48. Whenever you see a chord symbol be aware that it implies a horizontal scale (1, 2, 3, 4, 5, 6, 7, 8) and a vertical chord (1, 3, 5, 7, 9,11,13, 1) most chords are built from every other note of the scale – but not all!

  49. A keyboard is very important for learning harmony and for hearing chord qualities. On a keyboard everything is laid out simply for you. You can get an electric keyboard for under $100. They are very visual.

  50. Play “Mary Had A Little Lamb,” “Happy Birthday” and “Twinkle, Twinkle” in twelve keys to get the music from your mind to your instrument.

  51. If you start or end a phrase on a chord tone (root, 3rd, or 5th) you can’t go wrong.

  52. Practice a scale for two minutes solid, fast 8th notes, until it becomes automatic. Close your eyes, too.

  53. I have the notion that people learn instruments as an exercise in patience – to get to know themselves.

  54. Moving downward by half steps is easy to do with your voice but more difficult on your instrument.

  55. I, Jamey, know a lot and I can do a lot but I can’t do it for you!

  56. If you THINK a lot about what you are doing, you will remember a lot.

  57. To learn a tune, memorize the changes one measure at a time. Play the scale for each chord then arpeggiate each chord; next, improvise. Memorize, memorize, memorize!

  58. If you have a doubt about anything in music, find a piano and play it. Does it sound like what you hear on record?

  59. If you want to put a 4th in a major chord you must raise it (F#/C) Lydian, or play the regular 4th as a passing tone.

  60. Perhaps the major scale should have been constructed this way: CDEF#GABC Lydian. Think sharp 4 not flat 5.

  61. On Piano: Learn two note voicings with the right hand (3rd and 7th can tell you everything that is going on).

  62. If you are a non-keyboard player just play the roots with your left hand – memorize the roots to songs.

  63. III VI II V I (Turnaround) Turnarounds get you back to the top of the tune.

  64. A piano player (when playing for rhythm section) should play in the register from an octave below middle C to an octave and a half above middle C, so as not to crowd the horn players in the upper register.

  65. Jazz history has a protocol – don’t overplay.

  66. Watch how independent a piano player’s left hand is while they solo with the right hand.

  67. By using different voicings you can play chords without moving up and down the keyboard.

  68. Practice scales and exercises in time and without stopping – this is how we play music, after all.

  69. When you voice a chord on guitar or keyboard, you don’t have to play a lot of notes to sound good.

  70. B half diminished: BCDEFGAB. The C natural does not always sound so great so use it as a passing tone on an upbeat – You can play sharp 2 anytime (C#).

  71. SEQUENCE means to repeat a chord, a chord pattern or a melodic phrase in a different key.

  72. Spend 15 or 30 minutes per day with a keyboard even if you are a horn player.

  73. Jazz uses a few things over and over, it is a great relief to realize this – things do not seem so vast.

  74. :musik::musik::musik:

Copyright © 2000 Jamey Aebersold Jazz, Inc. http://jazzbooks.com

Artikel yang berhubungan
Jamey Aebersold Tips (part 2)



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