4-way play to practice a tune

[Drumbler]

A thorough way to practice a standard jazz song (do one right after the other in choruses):

1) Comp the chords

2) Play the melody

3) Play the chord melody

4) Improvise over the song

Once you can do this comfortably change the key and do it again. Repeat through all keys.

[TommyD]

Life is too short.

[derek]

Originally Posted by Drumbler

A thorough way to practice a standard jazz song (do one right after the other in choruses):

1) Comp the chords

2) Play the melody

3) Play the chord melody

4) Improvise over the song

Once you can do this comfortably change the key and do it again. Repeat through all keys.

Agreed. That is the approach I have been taught also. Once you can do all that, you can surely say you know a tune.

[Drumbler]

Originally Posted by derek

Agreed. That is the approach I have been taught also. Once you can do all that, you can surely say you know a tune.

A question is sometimes asked about playing chord melody in a performance setting:

"What do I do after I play the chord melody the first time through a chorus? Do I play it again and again?"

You could but it might get boring. If you practice a tune this way you have several options of things to do.

Yes, it is a challenge.

[mr. beaumont]

Originally Posted by Drumbler

A question is sometimes asked about playing chord melody in a performance setting:

"What do I do after I play the chord melody the first time through a chorus? Do I play it again and again?"
.

then it's time to get improvising.

I've been taking a "bill evans" approach lately to solo gigs, and I'm a lot happier with the way I'm playing (now I just need some more steady gigs!)

essentially, instead of thinking "play the arranged head, improvise a chorus or two, back to the head" I'm sort of slowly dissolving into the improv, bringing the melody back in here and there, and never playing it too straight in the first place. Keeps me interested, at least, and there's not as big a jump in feel from the arranged head to the improv-ed choruses.

[markf]

an

d never playing it too straight in the first place

Good idea here, I like this, but also ....

It's also nice for the customers, if you're playing a tune for them, one that they customers probably know, a beatles

tune or something like that, some kind of well known tune,

to play it once straight, so that they have a chance of recognizing it.

This makes it a little more interesting for them, maybe?

[mr. beaumont]

oh, absolutely--i'm not being clear enough-- i mean not having that strict of an arrangement to begin with---more of a "shell."

And while yes, I'll embellish the melody even the first time through, it's more like a vocalist would make a song their own as opposed to really going off...recognizable tunes = tips.

[Gramps]

OK, I have to ask. I understand why you want to be able to play any song in any key but since guitar uses fingering patterns that work the same when you move them up or down a number of frets, what's the big deal with playing in all keys.

Personally, since I see (hear, think) music as intervals relative to a starting point I don't understand why playing in any key would be a stretch for anyone who playes in "closed" positions.

Can someone give me any insight?

[bako]

Originally Posted by Gramps

OK, I have to ask. I understand why you want to be able to play any song in any key but since guitar uses fingering patterns that work the same when you move them up or down a number of frets, what's the big deal with playing in all keys.

Personally, since I see (hear, think) music as intervals relative to a starting point I don't understand why playing in any key would be a stretch for anyone who playes in "closed" positions.

Can someone give me any insight?

The real stretch in transposition is in playing all keys in a single position where the fingerings are changing and not simply moving the same shapes up and down a few frets. Mentally it is about instantly grasping the same intervals from different tonal centers.

What you are referring to by "closed positions"?

[Gramps]

Since I play out of all inversions of chord (scale) shapes I don't have a problem with changing keys. When I started doing this I did move the same position up and down the neck but have progressed past there now. Now I should be able to play the head, chords or solo from anywhere on the fingerboard but I understand the issue now.

"closed" positions can be moved anywhere on the fingerboard and "open" positions are all played at the nut and use open strings.

[franamico]

Nice list.
I would add:
Sing the melody of the tune!

[Drumbler]

Originally Posted by franamico

Nice list.
I would add:
Sing the melody of the tune!

Excellent. And sing your improvisation too.

[fivebells]

I'm with Tommy D: life's too short to learn every tune in every key.

Two keys are enough: one that suits the guitar as solo/lead voice, and one that's likely to be used playing in a combo.

[Reg]

Great approach to learning tunes... I would agree that all keys is a little over the top... but if you have the time, why not. I actually never spent much time memorizing any standards... I know most tunes and when I don't remember one, I can usually figure it out from the melody pretty quick. I always hear or see tunes by their form first, melody is usually next, and usually hear changes with the melody. I remember changes by function, which is why I've never worried about the all keys detail, I have no problem transposing and I guess you could say I know tunes in all keys. I really learned all the standards playing gigs. As I've said before I'm from school of improvisation rather than memorization... At most gigs its cool to have music, and if you read well, no one notices you may not know the tune. Most charts are just memory aids and after 1st time through you rarely need to check it out. This time of year there are lots of festival style gigs which are usually one longer set and is almost like a show... Usually original tunes and hipper arrangements of standards. I gig with some who have music written out and some who have charts but require a rehearsal to clean up details. I guess I'm trying to say you need to also practice playing tunes on the fly... not memorizing, but being able to quickly understand the form, rhythm and style or feel of tune. There are only so many forms and styles, most fall into a typical template. But you do need to practice this skill and you also obviously need to get your sight reading together. Part of playing jazz is being able to react... improvisation. Best Reg

[PaulD]

One way I've learned tunes in lots of keys is by picking a 'key of the week' and for that week I try to play tunes only (or at least mostly) in that particular key. I also practice reading primarily in that key. In 12 weeks, I cover all the keys and give each one enough attention to become more comfortable all over the neck. Over the year, you go through all 12 keys at least 4 times.

[ronjazz]

don't overlook the lyrics, either. Lester Young, among other great masters, was into knowing the words to the tune. This certainly helps the inexperienced when you're trying to find where everybody is after several choruses.

Exploring different keys is a good way to find arrangements that sound idiomatic on the instrument. It's also fun to perform tunes with modulations. On simpler tunes, like Blue Bossa, I like to go through a cycle of 4ths or 5ths, changing every two choruses, it breaks you out of your ruts.

[derek]

Originally Posted by PaulD

One way I've learned tunes in lots of keys is by picking a 'key of the week' and for that week I try to play tunes only (or at least mostly) in that particular key. I also practice reading primarily in that key. In 12 weeks, I cover all the keys and give each one enough attention to become more comfortable all over the neck. Over the year, you go through all 12 keys at least 4 times.

This is something Jody Fisher talks about often. I have done it for everything but tunes. Work all my licks, scales, arps, chords in one key for a week.

[peacebone]

Originally Posted by fivebells

I'm with Tommy D: life's too short to learn every tune in every key.

Two keys are enough: one that suits the guitar as solo/lead voice, and one that's likely to be used playing in a combo.

Agreed on this too.

Regardless, I think a general Blues form and Rhythm Changes have to be learned in all 12 keys

[mr. beaumont]

everything should be learned in every key, and not just tunes--licks, runs, whatever--It's how to internalize and make things work in various situations. Playing the bridge to "stella" in a new key might find you a new voicing for a chord in "blue bossa" you'd never have thought of...it's all interrelated. The time it takes is absolutely worth it.

plus, you never know when a singer's gonna show up. I knew a singer once whose wheelhouse was B major. Think of all those great jazz tunes written in B...yeah. Being able to play in other keys is a lot more than just moving my C major voicings down a fret--open strings become new extensions, the melody can sit in a different place....transposing can really open up new ideas on a tune...