Jamey Aebersold Tips (part 2)


Point To Remember

Taken from his “Anyone Can Improvise!” Seminars

  1. There are only twelve keys, we play mostly in six of them ( C, Bb, Eb, Ab, F and G) not so often in (B, E, F#, C#, E and A) but jazz tunes modulate like crazy – we end up in all keys at one point or another.
  2. A key signature is for the melody (notational convenience); it can have very little to do with the harmony (key).
  3. Look at the last chord in a tune, (or the next to the last measure) if it is major and lasts for a full bar, that is probably the key the tune is in. Especially if the first chord is similar.
  4. This is my college education – my pitch pipe!
  5. A chromatic pitch pipe gives you independence – you can learn the musical universe on your own.
  6. Use a pitch pipe to learn all the intervals within an octave – don’t use practice room time for ear training – do it on the fly ( hustle while you wait).
  7. Point to the “paper keyboard” and sing the notes as you point to different keys – after a few bars, check your accuracy with a pitch pipe.
  8. Grab a tune and just sing the roots.
  9. Don’t just sing a scale, visualize the keyboard or your instrument, keep checking yourself with the pitch pipe. Next change key and do it again.
  10. Write a tune!
  11. It’s not hard to write a tune, Steve Allen wrote 450 tunes with lyrics in just one sitting, one day.
  12. Written music is a crutch! Memorize, instead.
  13. Transposed parts are a crutch! In the old days there were no fake books, we transcribed everything from
  14. records and learned to transpose in the process. We used our ears and memory.
  15. POINTS TO REMEMBER — cont.d
  16. A good musician has a large repertoire in his head – he doesn’t rely heavily on books.
  17. Music doesn’t care who plays it.
  18. “Play what is there, we don’t need to hear you lying” – Art Blakey
  19. When you finally play what is in your head, you will meet yourself for the first time.
  20. “It takes a long time to play like yourself’ – Miles
  21. You can answer all your questions about jazz by listening: LISTEN! LISTEN! LISTEN!
  22. When you solo, use repetition and sequence, don’t ramble. This allows the listener to anticipate what you are doing. This is known as thematic improvisation. Sonny Rollins’ solos are a great example of this.
  23. The interval from B flat to E contains three tones (Bflat =>C=>D==>E ) hence the name tritone.
  24. Very few adults take the time required to learn to play jazz (or even simply to listen to it!)
  25. If you want to keep the harmony outlined, play chord tones on beats one and three.
  26. The root third, fifth and seventh outline the harmony.
  27. A characteristic of Bebop solos is that they outline harmony very explicitly.
  28. Do you have a dozen tunes memorized? Know the melody and the form, be able to write out the chord progressions (Jamey has 1000 tunes memorized!)
  29. Learn some tunes, and listen to music throughout the day to keep them in your head.
  30. Put your tune repertoire in a notebook so you can review it.
  31. As an exercise in getting your solos to sound like what you hear in your head, put a play-a-long CD on and play four bars, then sing four bars, then play four bars … then sing, etc.
  32. To execute your objective: Think it – Say it – Do it!
  33. The average person has to learn to play in time – it does not come naturally. You can use a metronome.
  34. In jazz, time is very important – use a metronome for practice. When you practice scales and chords always practice in time and use proper articulation.
  35. Start to improvise early in your musical education.
  36. I’m interested in seeing people play music throughout their entire life.
  37. If you don’t improvise every day what is the point of practicing scales and chords?
  38. Music is supposed to be fun – have fun when you practice.
  39. When I asked some musicians how much of the day they spend thinking music they responded 24 hours per day!
  40. When you solo, look for common tones between changes, anticipate, think ahead. Think about the subsequent chord scale while you are improvising on the current one. It is not that hard, do it soon to prove this to yourself. This is called “playing across the bar lines.”
  41. The melody to a song is called the head.
  42. Obstacles are opportunities. Turn stumbling blocks into stepping stones.
  43. Don’t approach your practice as if you have to learn a great deal of information and acquire a great deal of skill so you then can play – instead start playing NOW! ! !
  44. If you play straight 8th notes you can play the bebop scale for a measure and end on the degree of the scale that you started on (most of our scales have seven notes and don’t work out this way.) The Bebop scale gives you 8 notes per measure instead of seven when played in 8th notes.
  45. The effective use of the Bebop scale often separates those who can play from those who are trying to play.
  46. Don’t forget that a chord symbol implies a scale (horizontal) and a chord (vertical).
  47. You can’t listen to records enough – it is so very important!
  48. If you don’t have a good sound who is going to care about what you have to say – even if you have great ideas.
  49. To find a lowered 7th just go down a whole step from the root.
  50. To find a sharp 9 go up a minor third from the root.
  51. The 3rd and 7th are the most important notes in outlining chord quality. The root is always assumed.
  52. Tape yourself and listen back objectively. Don’t be afraid to hear yourself as others hear you.
  53. In 4/4 time, if you want to give harmonic stability, play chord tones (1,3,5, and 7) on beats one and three.
  54. Dave Brubeck’s “Take Five” (in 5/4) is really bars of 3/4 followed by bars of 2/4. 12 3 12, 1 2 3 1 2, 1 2 3 1 2
  55. Lydian is a favorite substitute for major (especially in tune endings).
  56. Chuck Sher’s New Real Books are accurate.
  57. The tunes that jazz players like and that are challenging often have pretty chord tones in the original melody. Pretty notes can be the major 7th, 9th or #4 in MAJOR; b7, 9 and 4 in MINOR.
  58. Strive to solo on a tune, without playing the melody and without a rhythm section, in such a way that a listener could name the tune (this means you are doing a good job of outlining the harmony).
  59. The music is between your ears…

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

Artikel yang berhubungan :
Jamey Aebersold Tips (part 1)

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