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And if not, could you write one?
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07-21-2024 03:16 PM
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Not yet, but with the development of Musk's Neuralink implantable brain–computer interfaces (BCIs) and Grock generative artificial intelligence, one might anticipate Grock aggregating the content for instant learning modules, e.g., "Jazz BCI".
We who learned it the hard way over decades will probably be able to tell those who acquired it via BCI, like the way I can tell when someone has learned something from TAB vs music notation vs ear. If the BCI is maintained by subscription, it will be important to not let it lapse during a performance.
I guess all those teaching Jazz in the future will be mostly providing guidance in the fastest but safest methods of getting their students physically prepared (strength and coordination).
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The Autumn Leaves on Cannonball's record gets awful close.
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They always say ATTYA for standards changes.
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I don't understand the question.
What does 90% of jazz include?
How would you know if you got there?
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"they" ?
Originally Posted by Christian Miller
Can't really agree with them there.
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It is just a good number. But it is just a number, yes. Probably an emotional one. Originally Posted by rpjazzguitar
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The first 90% is foundational chops. Subbing a Db7 for G7 after that isn’t very hard.
However, the last 10% is the most important.
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So the real good question would be "what could be the tune to teach those last 10%"
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Cherokee in all 12 keys Originally Posted by emanresu
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Very strange question.
I have heard thousands of recordings and hundreds of Jazz concerts. Sometimes, rarely, some Great Musician has given me the impression of "teaching to Jazz" and not vice versa. I saw Dizzy Glillespie, Gary Burton, Pat Martino, George Benson, Paco De Lucia, Gonzalo Rubalcaba, Wayne Shorter and Bireli Lagrene. These Giants manage to "be obeyed by Jazz"......they decide.....Music must obey. It's very rare but it can happen. We normal people must obey Music and Jazz. For some it is the opposite.
Ettore
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No because Jazz is much more than simply tunes. Jazz is in a sense a musical setting that is wide and varied. It includes even the performers lifestyle and how they live and breathe. Jazz is also a culture that goes beyond simply the music and to me gets very much into personality and influences in other areas of life. Many tunes can be played that might include jazz and jazz tunes can be played in ways that are very un-jazz.
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Not a chance. The tradition is too rich and diverse. Interpreters are myriad.
Every time someone tries to nail down what jazz is they find themselves surpassed by developments.
Yesterday, I was reading through a 1934 Nick Lucas guitar book with a page intriguingly titled “How to Play Jazz.” I was hoping to have found the holy grail but alas it was not to be. The instruction was one paragraph:
"Jazz playing" is a particular style of
fill-in where the changes improvised stay reasonably close to the
original melody and the rhythm, usually in fox trot time, is strongly
accented and syncopated, yet with a dance style swing.
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Why not? Originally Posted by emanresu
"they" ?
Can't really agree with them there.
It’s got all the big moves
Cycle 4
Ii V Is
I IV IVm
iii-7 biiio7 ii-7 I
It doesn’t have I II7 V7 tbf.
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It doesn't have dom's to dom's. There are so many fast ones of those.
ATTYA covers 30% maybe.
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I think you may attribute the tune itself with more than it really is.
Jazz is a compositional art. YOU write the tune and YOU actually contribute more to the realization of that tune than Cole Porter, Charlie Parker, Wayne Shorter or Kurt Rosenwinkel.
In the jazz tradition, a head composer (original published or composed) serves as the guideline upon which the player chooses from a wide vocabulary of devices, melodic, rhythmic and harmonic options to "re-write" that essential framework into something that is your own.
It's not noodling on a standard like novices think, but rather, extrapolating the essence of ANY tune, and using your own knowledge to essentially "partner" with the composer to create something that is on par with and personally your own.
A blues form can be recomposed to something that is completely different in feel and impact from what was presented as the head.
What would be the one blueprint that would allow an architect to apply their knowledge to and form a building of lasting beauty? Basic form, thorough knowledge of options and consequences, sound materials, a personal concept of grace and line and an unteachable sense of space. The greatest buildings have those and at the core, it's just variations on a box. It's the blues.
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I'd answer the original Q as posed with a "no" - there isn't one tune that will teach you how to play, for example, free jazz and GASB and modal and fusion... but I did run into this youtube vid last night that addresses the spirit of the question pretty well: three tunes that use devices found in many standards.
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ATTYA is certainly played by jazz musicians but could be simply a pop tune of the day if you play it square. It has almost zero to do with Basie, Ellington, Monk, and some other serious jazz artist. Not to say that it is one of the most basic tunes to know in the repertoire, but that is hardly covers jazz in any great amounts. Just play some modal stuff and Coltrane a whole different bag, Originally Posted by Christian Miller
I am a preacher by trade, and you cannot but God in a "box" and my analogy is you cannot put jazz in a box.
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Nothing modal happening, all functional harmony so it gets you to 1965 or so. An excellent study for early jazz though. Originally Posted by Christian Miller
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I mean the question is obviously not set up to be answerable. Originally Posted by deacon Mark
But my followup would be … can I transcribe?
If so, then All the Things is fine. No need to put “jazz in a box.” Learn the tune in twelve keys, learn Bird, dizzy, and Bud Powell from Massey hall. That’ll keep you busy and you’ll be well out of any boxes.
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yes. in fact basically any tune will do. Originally Posted by emanresu
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They can't take that away from you. Originally Posted by emanresu
"they" ?
Can't really agree with them there.
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Originally Posted by deacon Mark
'Champagne, sorbet and cocaine. Who would have guessed, while falling under the spell of Cecil Taylor’s music at the beginning of the 1960s, that these formed the basis of the great pianist’s diet? From listening to Jazz Advance, “Excursion on a Wobbly Rail”, the “Pots”/”Bulbs”/”Mixed” session and the sublimely sombre trio reading of “This Nearly Was Mine”, I had him pegged as an artist of the ascetic variety. How utterly wrong.
Actually, I was given a clue at the end of a post-gig interview in London in 1969, when he asked if I could recommend a good discothèque.'
Richard Williams
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I'm inclined to agree with Christian Miller here.
No single tune teaches all of jazz, but if you're looking for a single standard that covers a lot of ground, more than most, it's hard to think of a better choice than ATTYA.
And if you go along with Herb Ellis (as I am wont to do), if you learn to handle blues, rhythm changes, and ATTYA, you're in good shape for most of what is standard / mainstream / straight ahead jazz. Yeah, there are other sorts of jazz, but no one tune is going to teach you the main moves of them AND standards.
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