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The sound of jazz. How do we get our lines to have that sound? What are the things that can help us to recognize, internalize and utilize a vocabulary so creating improvisational compositions on the fly is a natural process?
About 6 months ago there was a group of us that took a look at Rhythm Changes as a harmonic framework and coupled with a Greg Fishman etude, began to assemble a jazz lexicon for ourselves through a study of melodic line, embellishment, rhythmic consideration and recognizing movement to target notes through phrases that led the ear.
Learning improvisational language through practice, phrase and etudes. Study Group?
Now I thought it'd be a good time to take another Fishman etude, Irving Park Road, based on the Ellington Strayhorn changes of Take The A Train.
The purpose of this thread is not to learn the etude as a piece, though it'd be handy to have in the warm up routine anytime, but to identify the construction, intent and context of the jazz devices that make the jazz language.
I'd suggest that one might keep a mental or physical notebook and keep track of each phrase, understand how the embellishments relate to target notes within the scale and then create at least three other ways to play a passage based on your own improvisational language. In other words, this is not a transcription exercise in of itself, but a real time applied catalogue for you to build with.
While it's really helpful to be able to read notation, a lot of this can and must be done by ear, so I guess you could do this as a playing exercise if you have a good command of chord tones, diatonic passing notes and chromatics.
The tune is in C. The etude, played in C concert, is written out for a horn player in the key of A. I will make a transposed Concert C if I have the time, but for now the analysis will be in Roman Numeral and coloured graphics using the A key chart I have. Anybody so inclined to provide a C concert chart is more than welcome.
The rhythm section part for you to play with
These are the changes in C and the A Train lead sheet
These are the Fishman etude pages in A.
So I'll throw these up here. If anybody wants to do this, please weigh in and give me your thoughts and comments, suggestions and presence. If there's any interest, I'll start with an analysis of the first phrase and we'll take a look at what's going on, the underlying melody, what and how the improvisation is constructed and how and where you can make your own phrases.
David
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01-02-2018 12:06 PM
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I'm interested. I liked some of the runs I heard in the recording.
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I'm in.
By the way. I'm overwhelmed with all the catching up I have to do. I think first I'll start with this etude and work my way back to "A Train" and then pick up some of the others from there. (sorry, referring to the other thread).
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Pretty crazy for me too but this sounds interesting... There is a guitar version of the book, so i got that. I promise to tape over the TAB...
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That's handy but I intentionally didn't use that. First, that's in G, so it doesn't help with the transposition. Secondly, these phrases can, and should be learned all over the fingerboard, because each "region" of the fingerboard has access to aspects of register, bass line, linear phrases that fall naturally to each position, and connexion with the phrases before and after, not to neglect the option of taking a phrase up the string which no well planned fingering would offer as a first choice but, in reality tends to lend a lyrical line of thinking and embellishment that just doesn't come from playing in one position.
Originally Posted by guido5
I'll try to explore these things, just because it's sometimes convenience, habit and the ease of speed that lets us evolve into players that can't embrace the unexpected.
Yeah, I'll give you guys a run for the money, but lets's take this at a pace that really lets us chew on an idea and really explore the creative ways to use the instrument and the language.
The "other thread" we'll get the relentless tune a week. Here we'll take a phrase and the time we need to think in a musical way.
So no worries about the pace. This is about the thought behind the sound, and that takes time to assimilate; then you can play it fast and effortlesssly.
David
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ok the guitar version cancelled and the sax edition ordered...
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These etudes, in two volumes now, have been a really great source of rigourous study for me. It's a real delight to be sharing them. The sax doesn't have to deal with where to play a note. It also tends to be really daunting for guitarists to know the fingerboard in a way that utilizes its potential fully. That's why the guitar version is so useful, and it's played really well too!, but that's great for learning "a piece" of music. Anyway, I'd be really amazed if everyone found their own way to play this piece and they all wound up different. That'd be pretty cool. Originally Posted by guido5
As I said though, they're written in one key, and the recording is performance on tenor and alto, each in a different register from concert. We've got our work cut out for us. I'll start an analysis of the first phrase tonight.
Welcome aboard everyone!
David
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I'm in as well. I really dug the last etude thread.
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The break, or the first phrase at the A section? Originally Posted by TruthHertz
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I started the etude this morning. String skipping. you have to love it. worked out the fingering and the swing feel for the first 2 phrases (break and first phrase) and pushing them for moderate tempo and feel. then spent a little time noodling with these phrases in different contexts - helps put the phrase in my ear. I love these studies. and it's a good companion to "A Train" which I'm trying to do at the same time.
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Thanks David... I'll use these charts for sight singing practice.
At a glance, lots of solid bebop lines in there. I might post a Barry Harris take on it in the unlikely event I have time.
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That would be really interesting if you could do that! Originally Posted by christianm77
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I'll try and do a few bars. A few things jumping out right away. Originally Posted by guido5
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Most cool! Thanks! Originally Posted by christianm77
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Let's begin with the solo break, and let's keep in mind that we're honing our attitudes, and our instincts of how to look at our relationships with the piece as we play.
The solo break is the introduction that establishes our starting point and launches us into the arena of the solo chorus.
The analysis here is strictly mine, it's the way I see the notes and your different interpretations of what these notes will be informed by your own vocabulary. Please, this is an open thread and contribute your own opinions too.
There’s a fundamental attitude and way of playing that you need to play with bebop phrasing, or embellished lines. Many students start constructing their lines in scales and arpeggios; it’s the a way of learning, but it can lead to the musical equivalent of running the luge (those little sleds that run down a narrow track at insane speeds) and it can lead to lines that sound predictable, not surprising. Our goal here is to give you the techniques and devices of a free style snow boarder. You look at the course in front of you and you choose where the high points are, what is important and how you’re going to approach these points, how you’re going to leave them and what the route to the next one is. This means you will be learning the importance of every note in a chord and not just running the chord tones to fill the space. HOW you use the space is the elegance of the line here. And there’s a challenge here, to use less notes, have a clearer idea and then embellish your idea.
Some musical thoughts to keep us from the predictable:
1) Any phrase, or line can begin strongly on the first beat with a chord tone. But consider too, you and also start a phrase with SPACE. With a rest, or simply an anticipatory breath.
2) Any beat can begin strongly with a chord tone. Or that CT can be approached by a CHROMATIC APPROACH TONE above or below. Think of the line of the snow boarder and the choice you are given.
3) Any two chord tones can be connected by SCALE STEPS as PASSING TONES and even combined with CHROMATIC PASSING TONES. Yeah, experiment a lot with this.
4) Any time you’ve got a root of a chord, the FIFTH BELOW is a nice way to approach it (Oh Christmas Tree).
5) If you want to delay the obvious, increase the drama and use the unexpected note, approach fro below AND above. Chromatic or diatonic notes are fine and have different effects. These are made of LOWER NEIGHBORS and or UPPER NEIGHBORS and combined, they are often seen as an ENCLOSURE.
6) A phrase can even begin before the first beat. PICKUP NOTEs are used to approach a chord tone that begins on the first beat of the phrase. This gives a feeling of anticipation and really makes bars flow from one change to another.
These are some of the tools that we’ll encounter in the first two measures alone.
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The first two measures at the first system of the page are where a II V would fit in. Now you can, of course just take the notes of the changes and arpeggiate them and you get an A in the class, but let's look at how to create movement.
That first measure on the chart is labeled B-7. YES, yes yes, I'm working on making a lead sheet in C. This is a pain in the butt but tonight, bear with me.
The first measure establishes the piece as really and unquestionably in the key of C. So that measure takes the chord tones of the 3rd and the 5th and frames them so you have dimension. A breath of rest begins the measure.
Then the 3rd degree of the scale, the E, is not stated right away, but approached from a half step below. CHROMATIC APPROACH TONE FROM BELOW. Then the 3rd degree.
Followed by the 5th of the chord, making its way to the 3rd by chromatic steps where the measure ends.
Play this figure but try this:
Pick a position where you can have access to the scale that goes from 1-5. Now pick yourself three chord tones, we'll begin with 3, 5 and 3. Now approach the 3 from a half step, then connect the 5 to the 3 using available notes.
Try starting your phrase with the 5 and build a phrase.
Now approach that 5 from a half step below and walk the scale up to another chord tone.
Approach that 5 from a half step below and change directions.
Are you coming up with some new sounds? Now we're playing with time and space!
Second measure. The V7 chord. This measure leads us in, it opens the curtain and announces the solo's start.
In concert pitch this is a G7 chord.
Hey, just for kicks, play the 5 of the chord, go down the chord tones to a 3, play a 5 below the tonic and then come to the root.
That's the skeletal structure of this second phrase. No straight arpeggios for us!
So we connect the 5 and run down the scale to the 4 and the 3. This is THE PASSING NOTE.
A root is often approached from the 5th below. Yeah, sing O Christmas tree. That's it. Now the root is preceded by a lower and upper set of notes. There’s our ENCLOSURE.
The last note is a pickup to that great one note statement that starts the chorus.
There’s our first look at Irving Park Road. Don’t stop at learning it as it’s written. For each of these devices, create 2 other phrases that use a different course down that slalom. This is Greg Fishman’s piece. Learn what your own style is.
And one final thought: All these devices are not musical in of themselves. But one tasty blues line and you’ve got magic.
Have fun. Next up. The A section
David
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OK I did the last one (Part I, the blues etude), so you can compare and contrast with what everyone else came up with. Originally Posted by guido5
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Been reading the thread with some interest. Normally I'm not into deep analysis discussions, but in the spirit of learning I'm going to try and follow along.
I transcribed the solo into C concert. Here it is if anyone's interested. Beware there may be a mistake or two, or differing opinions of whether a note is sharp or flat.
New version added Jan 4 that corrected some earlier mistakes and added articulation marks.Last edited by Dana; 01-04-2018 at 10:04 AM. Reason: Updated pdf
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THANK YOU Dana! Originally Posted by Dana
Yes, I'm not so fond of theory as a means of social gathering, but an etude being a concentrated medium designed to enable one to play with a deeper level of understanding, I put this thread together. A lot of people copy and play at "face value". The hope is always to find satisfying tools with which to engage and play.
Thanks so much for the transposition. I was doing it long hand on my desk when you posted.
Now I can practice!
David
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So one thing I noticed straight away, is that there's a little voice leading thing happening in the first couple of bars. (And I'm aware I might be taking on the role of Captain Obvious here). You have G, the fifth of C^7, going to G# on the D7#11, and then to A on the D-7.
I'm not sure what, if anything, to make of the fact that the G# and the A seem to be emphasized, but the only time we see the G is on the second half of the last beat of the measure.
As I say, not sure the significance, if any. Just an observation. Seems like you'd have an opportunity to use that as a line in a way that might contrast with the usual 3/7 guide tone thing.
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David, Originally Posted by TruthHertz
This kind of thing REALLY helps me. I can talk "theory" in the abstract all day, but where I always need work is in practical applications. I've always been like this. In school, I could never learn a math principle properly until I'd seen the teacher work through an example or two.
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I think I hear a few Charlie Parker-isms. One of the first Bird solos I ever learned was 'Perhaps'. Compare measures 5 and 9 of 'Irving' with measures 2 and 13 of the solo of 'Perhaps'. Makes sense since they're both Alto players.
Also, compare measures 12, 23 of 'Irving' with measure 9 of the Bird solo 'Passport'. In the Omnibook it's line 11, 1st measure.Last edited by Dana; 01-04-2018 at 10:46 AM.
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Is it possible to study anything about bop language WITHOUT encountering a few Birdisms? Originally Posted by Dana
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Originally Posted by Boston Joe
Originally Posted by Boston Joe
Yeah, the way I've always learned was to hear, to be around people that speak the language and to hear how it goes together even before I knew the names, and long before I heard somebody's theory on it.
In days of big bands, the music was always first, but the variations were so vigorous night after night that you didn't just take one particular recording as the gospel. That's what I've been trying to do: Listen to recordings, as many as you can, get a feel, find your rules and then compare them with some device or technique I introduce. Only after that, do I think it's appropriate to learn the notes of the etude. Or at least that's the idea.
Ear first.
Fingers follow the ear.
Reference recordings/players show you what's possible.
You take the initiative and play.
Originally Posted by Dana
Originally Posted by Dana
Yes, especially for a sax player, Parker's use of the language through his own filters winds up being quite pervasive. You listen to Stitt, you can hear it, Jackie McLean too, but as they played an matured, they found their own way. I used to listen to Jimmy Mosher and he was SO Bird but SO different, and going to hear him night after night showed me the language long before I ever connected names with what he was doing. Still, the more I played, the more I saw the broader language.
It's one of the reasons I preferred to listen to Clifford Brown, Fats, Tom Harrell, and Lee Morgan. Same language, different shadows to work around.
Depends on what you think of as bop. I asked Mick Goodrick one time about how he thought of the music he made, it wasn't the type of jazz that I considered bebop; that was people like Joe Pass, Doug Rainey and Bruce Foreman. I asked Mick if he ever played bebop. He said "This is all bebop. This is the way I play it." Over the years, I came to understand the rules, and the same things we're learning in these etudes are the same things that shaped Mick's sound, especially evident when he was playing with Jimmy and they'd play standards all the time. Years later, I was having a talk with Sco, and he thinks of his music in the same way. Traditional jazz done his way. Originally Posted by Boston Joe
David
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Dizzy Gillespie immediately comes to mind. Oz Noy is a modern example. So is Adam Rogers. Originally Posted by Boston Joe
I suppose if you've never studied Bird solos, then you won't encounter any Bird-isms when you study bebop.
Last edited by Dana; 01-04-2018 at 05:30 PM.
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