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I’d totally forgotten about that sketch haha brilliant
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07-19-2023 02:21 PM
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Highly recommended.
Originally Posted by Christian Miller
Also for the more advanced student of practical theory, David Leibman's A Chromatic Approach to Jazz Harmony and Melody is kinda like the jazzman's version of Walter Piston's Harmony.
Both are very serious and well thought out in depth looks at the modern jazz language. Personally, I'd never recommend them to someone who hasn't internalized their own sense of chromatic ear training and solid working knowledge of diatonic harmony. Why? Because becoming proficient and coordinated between one's ear, hands and sense of harmony takes a lot of hands on dedication and because it's a non linear process, and it takes TIME and PATIENCE, no book can rush you along. As a matter of fact, I don't recommend theoretical studies in initial stages because it can be a distraction from establishing a good hands-on foundation essential to playing with meaningful musicality.
Heh, but that's another debate waiting to start.
Let's just say I've seen a lot of Berklee graduates who can play a lot of notes 'properly' but really struggle to make any sense out of what they're playing, or can't really tell the beginning of their solos from the end.
The duality of inherently sensibility driven solos and heavily theoretical (and affect/lick) driven solos is an undeniable one.
There's a place for everything, but timing and receptivity is important.
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Hey man thanks for the info. I will buy this books from amazon Originally Posted by TheGrandWazoo
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I have the green one - Comprehensive Technique for Jazz Musicians. It sure is comprehensive - it contains years and years worth of study. Another one of those that you just need to chip away at gradually (not that my recommendation means much since it's not backed up by any great playing ... yet)... Originally Posted by TheGrandWazoo
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I had the Comprehensive Technique one a long time ago. I loved it. It’s super systematic and has some dense terminology so maybe not suited to every learning style but I found it super helpful too. Originally Posted by James W
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This book is great.
Ps The photo I took of the book was straight on. I have no idea why it keeps posting sideways as the photo is straight on in my phone. You can see that I've tried to edit a few times. Anyway you can see the book clearly which is what matters. Enjoy!
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Belkin has a YouTube channel which posts fairly regularly
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Many books have some info on motivic development, but i still haven't found one that covers everything on this, especially with a jazz focus.
That Alan Belkin book looks interesting though, i have to check that one out.
If i remember correctly Jerry Bergonzis Developing a jazz language has some info on this, but i don't have the book in front of me now.
I find this an interesting topic and well worth spending some practice time on!
Many jazz standards have heads that are great examples of motivic development.
In Autumn leaves for instance the motive is moved around to fit the chords.
I find it a great exercise to come up with a motive and do the same thing, just moving it around to the various chord tones of a standard.
Then trying out rhythmic variations to make it more interesting.
And finally adding ornamentations to the motive by adding chromatics and approach note patterns.
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Jazz Guitar Improvisation Strategies - Berklee Press
Originally Posted by lukatherknopfler
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Love this. And that’s a great point about standards too. Autumn Leaves is my standard lesson for when I’m talking about sequences. Blue Bossa is another great one. All of Me. Tons of them. Originally Posted by PatrickWD
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Originally Posted by lukatherknopfler
There will be any number of good books lukatherknopfler, and given the list you have here already, there's enough to keep you busy, immersed and reading long enough to begin a masters thesis, not to say keep you from realizing its true utility in an improvisational way. Let me ask, what is your ultimate goal in your original question? If you'd like to get a well researched body of knowledge on motif and melody, you will find more and more the deeper you look, and most of it will follow with the concepts already alluded to so far in this thread.
If you want to know about motific use in jazz, in an improvisational context, as a tool that you yourself can actually use, then let me suggest some things that will deepen your understanding of the sources you have and how they will be of more use to you as a soloist.
Improvisational music, or jazz follows a set of parameters (that you'll find in books) but the book is constantly being re-written, updated, innovated upon, re-presented and revolutionized every time a performer with mastery on the instrument takes a solo. THIS is the book I don't want you to overlook.
Any masterful player will be aware of the concepts in these books/sources, but each of them will have volumes to share with you by your listening and digesting what is going on, with your ear and your perception to draw your own conclusions with.
THe more you play, the more you can hear. THe more you hear, the deeper the performer is speaking to you. The more you get from a performance in real time, the faster and truer you'll digest what is being presented in the literature.
Playing is the unspoken means by which the volumes of information, nuance and filtering is passed on in jazz.
There are many live performances available for free on the internet. Jerry Bergonzi has a FaceBook page where he has weekly hour long performances for anyone to watch. Lots of clubs do the same. By listening to the music in real time you can get things you can't from a book, like: What part of a quote might a performer chose as a figure to be turned into a phrase? Why? Where in a solo might shorter phrase variation be appropriate? Longer motivic ideas? Does the performer use other elements to contrast with this approach? How is solo development different in the second chorus than the first, or third? What is the impact of returning to a motif at the end of the development? At the end of the solo? Even in the NEXT solo on another song?
All of these things and more, too many to be laid out in any single publication, are all available to you by listening to the music in real time by masters.
Sure the books are great, even essential, but they will not serve you in learning the dynamics and priorities or considerations of real time performance.
If you have some facility on the instrument, write out some etudes or tiny exercises where you take two or three note ideas and transform them into a melodic form that can fit the harmony of a piece, or can complement or contrast a preceding idea. If you take this to your instrument and your instrument speaks to you, you will have the book of practical and progressive sound.
You will also have more questions. Ask them. And play your answers. There's deep truth in this process.
Just sayin'
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