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RESOURCES
EXERCISES - WARM-UPS - REPERTOIRE
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RESOURCES...
IMPROVISATION...
Listed below is one of many methods of approaching improvisation. Please keep in mind that these exercises are a part of a “well-rounded” jazz education. Listening to jazz, above all else, must always be the central focus. There is no way to learn jazz style without listening. A great way to rehearse jazz style (articulations) and reinforce improvisation skills is through playing scales/modes and simple scales patterns.
The method outlined below teaches students the sound of the changes, and trains students to focus on how to resolve melodic lines to each chord change. The emphasis here is on chords and chord-tones. There are no wrong notes, as long as students are playing the appropriate chord tone listed on beat one of each step. Students may choose any notes from the chromatic scale for improvised beats.
STEP #1 - Play the root of each chord as a quarter-note on beat 1 of every measure. Rest all other beats.
STEP #2 - Play the root of each chord as a quarter-note on beat 1 of every measure. Improvise quarter-notes on beats 2, 3, and 4.
STEP #3 - Play the root of each chord as a quarter-note on beat 1 in the measures in which the chord changes. Improvise quarter-notes on all other beats.
STEP #4 - Play the root of each chord as a quarter-note on beat 1 in the measures that the chord changes. Precede each chord change on beat four with the note which is a ½ step above the root you are resolving to. Rest all other beats.
STEP #5 - Play the root of each chord as a quarter-note on beat 1 in the measures that the chord changes. Precede each chord change on beat four with the note which is a ½ step above the root you are resolving to. Improvise quarter-notes on all other beats.
STEP #6 - Play the root of each chord as a quarter-note on beat 1 in the measures that the chord changes. Precede each chord change on beat four with the note which is a ½ step below the root you are resolving to. Rest all other beats.
STEP #7 - Play the root of each chord as a quarter-note on beat 1 in the measures that the chord changes. Precede each chord change on beat four with the note which is a ½ step below the root you are resolving to. Improvise quarter-notes on all other beats.
STEP #8 - Play the root of each chord as a quarter-note on beat 1 in the measures that the chord changes. Precede each chord change on beat four with the quarter-note which is a ½ step above OR below the root you are resolving to. Improvise quarter-notes on all other beats.
STEP #9 - Play the root of each chord as a quarter-note on beat 1 in the measures that the chord changes. Precede each chord change on beat four with the quarter-note which is a ½ step above OR below the root you are resolving to. Improvise eighth-notes on all other beats.
STEP #10 - Play the root of each chord as an eighth-note on beat 1 in the measures in which the chord changes. Precede each chord change on beat four with the eighth-note which is a ½ step above OR below the root you are resolving to. Improvise eighth-notes on all other beats.
REPEAT STEPS #1 - #10 but resolve to different chord tones.
The method outlined below teaches students the sound of the changes, and trains students to focus on how to resolve melodic lines to each chord change. The emphasis here is on chords and chord-tones. There are no wrong notes, as long as students are playing the appropriate chord tone listed on beat one of each step. Students may choose any notes from the chromatic scale for improvised beats.
STEP #1 - Play the root of each chord as a quarter-note on beat 1 of every measure. Rest all other beats.
STEP #2 - Play the root of each chord as a quarter-note on beat 1 of every measure. Improvise quarter-notes on beats 2, 3, and 4.
STEP #3 - Play the root of each chord as a quarter-note on beat 1 in the measures in which the chord changes. Improvise quarter-notes on all other beats.
STEP #4 - Play the root of each chord as a quarter-note on beat 1 in the measures that the chord changes. Precede each chord change on beat four with the note which is a ½ step above the root you are resolving to. Rest all other beats.
STEP #5 - Play the root of each chord as a quarter-note on beat 1 in the measures that the chord changes. Precede each chord change on beat four with the note which is a ½ step above the root you are resolving to. Improvise quarter-notes on all other beats.
STEP #6 - Play the root of each chord as a quarter-note on beat 1 in the measures that the chord changes. Precede each chord change on beat four with the note which is a ½ step below the root you are resolving to. Rest all other beats.
STEP #7 - Play the root of each chord as a quarter-note on beat 1 in the measures that the chord changes. Precede each chord change on beat four with the note which is a ½ step below the root you are resolving to. Improvise quarter-notes on all other beats.
STEP #8 - Play the root of each chord as a quarter-note on beat 1 in the measures that the chord changes. Precede each chord change on beat four with the quarter-note which is a ½ step above OR below the root you are resolving to. Improvise quarter-notes on all other beats.
STEP #9 - Play the root of each chord as a quarter-note on beat 1 in the measures that the chord changes. Precede each chord change on beat four with the quarter-note which is a ½ step above OR below the root you are resolving to. Improvise eighth-notes on all other beats.
STEP #10 - Play the root of each chord as an eighth-note on beat 1 in the measures in which the chord changes. Precede each chord change on beat four with the eighth-note which is a ½ step above OR below the root you are resolving to. Improvise eighth-notes on all other beats.
REPEAT STEPS #1 - #10 but resolve to different chord tones.
- Resolve to the third of each chord on beat 1 of every measure
- Mix & Match between root - third
- Resolve to the seventh of each chord on beat 1 of every measure
- Mix & Match between the root - third - seventh
- Mix & Match between the third - seventh (no root)
LISTEN everyday to something that inspires you!
JAZZ ARTICULATION - STYLE...
SWING STYLE
ROCK/FUNK/LATIN
The same "rules" apply to these styles of music except that all eighth notes are even (not swung).
OTHER ARTICULATIONS
- quarter notes should be played separated (Dot... pronounced "Daht"), unless otherwise notated
- quarter notes on the beat should sound fat and be both long and separated
- downbeat eighth notes are always longer than the upbeat eight notes... even if the phrase starts on an upbeat
- tempo determines the relative length of the eight notes... slower tempos are more uneven - faster tempos are more even
- always slur from the offbeat eighth note to the downbeat eighth note
- all articulations are "D" articulations (Doo, Dot)
- all eighth notes followed by a rest use the Dot articulation and are accented
- downbeat eight notes followed by a longer note value on the up beat are played Do-Wah... Wah is accented
- notes longer than a quarter note are played full value
- connect all consecutive eighth notes, accenting the top note of an eighth note phrase
- the release of a note in jazz requires the use of the tongue
- know what/when to accent.
- maintain the volume of sustained notes, moving the air through the end of the note
- follow the contour of the phrase and "ghost" the lower notes for contrast
- quarter note (or two tied eighth notes) that start on the off beat should be short and accented, unless otherwise notated
- all syncopated rhythms should be separated, unless otherwise notated
- phrases that begin on the off beat should be accented
ROCK/FUNK/LATIN
The same "rules" apply to these styles of music except that all eighth notes are even (not swung).
OTHER ARTICULATIONS
- Doit
- Fall
- Gliss(ando)
- Shake
The best way to solidify style is to use your ears. LISTEN LOUDER!
ENSEMBLE GUIDELINES...
The ensemble must be willing and able to produce and maintain silence at anytime.
This is both a rehearsal deportment issue as well as a musical value. Silence is the opposite of sound. Silence is the canvas on which musicians “paint” their tone color and the subtleties of a great musical performance can only be cultivated by an attentive, well-disciplined ensemble.
Think of dynamics as growing from pp rather than descending from ff.
Appropriate balance, blend, tone color, and intonation will be the direct result of this mode of thinking.
Ever performer is responsible for the time, pulse, and “groove”.
Never “blame” another section… time is a group (shared) responsibility.
The “Groove” is essential.
The audience should want to get up and dance.
The soloist is a critical part of the composition.
The composer expects you to contribute to the development, mood, and form. Improvised solos must be rehearsed and performed. Everyone is a soloist. Everyone should be able to improvise.
Solve problems every day and improve every day.
To play a run-through without a “focus” is a missed opportunity.
Tune (and balance) everything.
Tuning is not optional! Tuning will impact Blend and Balance and vice-versa.
Solve technical problems through artistic means.
Approach difficulties creatively and musically rather than mechanically and mathematically. The mind and body want to dance and play…not calculate and process.
The drummer is a major voice in the band and is the conductor when the ensemble performs.
The role of the drummer is so much more than just keeping time.
Rehearse often with little or no amplification in the bass to maintain proper dynamic perspective.
Create an acoustic bass sound even if you are using an electric bass. The band should sound as good with amplification as it does without.
Ensemble is the epitome of Team.
If an individual cannot play something they have the responsibility to get help and/or practice the part! If an individual cannot play something you have the responsibility help them.
This is both a rehearsal deportment issue as well as a musical value. Silence is the opposite of sound. Silence is the canvas on which musicians “paint” their tone color and the subtleties of a great musical performance can only be cultivated by an attentive, well-disciplined ensemble.
Think of dynamics as growing from pp rather than descending from ff.
Appropriate balance, blend, tone color, and intonation will be the direct result of this mode of thinking.
Ever performer is responsible for the time, pulse, and “groove”.
Never “blame” another section… time is a group (shared) responsibility.
The “Groove” is essential.
The audience should want to get up and dance.
The soloist is a critical part of the composition.
The composer expects you to contribute to the development, mood, and form. Improvised solos must be rehearsed and performed. Everyone is a soloist. Everyone should be able to improvise.
Solve problems every day and improve every day.
To play a run-through without a “focus” is a missed opportunity.
Tune (and balance) everything.
Tuning is not optional! Tuning will impact Blend and Balance and vice-versa.
Solve technical problems through artistic means.
Approach difficulties creatively and musically rather than mechanically and mathematically. The mind and body want to dance and play…not calculate and process.
The drummer is a major voice in the band and is the conductor when the ensemble performs.
The role of the drummer is so much more than just keeping time.
Rehearse often with little or no amplification in the bass to maintain proper dynamic perspective.
Create an acoustic bass sound even if you are using an electric bass. The band should sound as good with amplification as it does without.
Ensemble is the epitome of Team.
If an individual cannot play something they have the responsibility to get help and/or practice the part! If an individual cannot play something you have the responsibility help them.
THE RHYTHM SECTION...
The Director (aka... Back Seat Driver)
Tells you when you make a wrong turn or you are driving too fast. Guides the ensemble!
Tells you when you make a wrong turn or you are driving too fast. Guides the ensemble!
The Guitar Player (aka... Loud kid in the back)
The one you always need to tell to be quiet.
Make or break the quality of the ensemble by maintaining a steady pulse.
The one you always need to tell to be quiet.
Make or break the quality of the ensemble by maintaining a steady pulse.
GUITAR
- Similar to the pianist’s role, but usually in a supporting role
- Rhythmic Color
- If a pianist is present, then fill around the piano comping, or create a steady rhythmic pulse (Freddie Green)
- Use front pick-up
- Four to the Bar
- 3 note voicings (Skip the 5th string...Use 3rd, 4th, 6th)
- Avoid bar chords (power fifths of the 1st 2 strings)
- Use closed voicings
- Use inversions to avoid static repeats
- Volume (Set the amp volume in the lower third. Set the instrument volume in the upper third)
- Volume and Power come from the player, not the amp.
- Natural sound of your guitar through your amp of choice (Flat-toning)
- Turn way down…almost no amp.
- Cut off chords so they do not ring together. Release and repress strings for repeated chords.
- Closer to bridge = brighter sound. Further = Darker Sound
- No upstrokes
- Emphasize 2 and 4
- Reduce chords…do not try to play all of the chord tones
- Play in the holes, less is more (Always better to play too little, than too much)
- Let listening be your guide
The Piano Player (aka... Repair Technician)
Uses their toolkit to keep everything in good repair.
Provides a foundation.
Uses their toolkit to keep everything in good repair.
Provides a foundation.
PIANO
- Primary purpose is to comp, not keep time.
- Rhythmic Color
- Comping = Accompany + Complement
- No sustain pedal
- Percussive sounds
- Rhythmic playing
- Play in the holes, less is more (Always better to play too little, than too much)
- Rootless voicing
- 9 substitutes for the root
- chords can always be reduced by eliminating all numbers larger than 7
- 3 and 7 are the most important
The Bass Player (aka... Driver)
Sets the feel of the tune and moves forward or backwards.
Sets the feel of the tune and moves forward or backwards.
BASS
- Steady Pulse
- Harmonic foundation
- Volume (Set the amp volume in the lower third. Set the instrument volume in the upper third)
- Volume and Power come from the player, not the amp.
- Tone (Start with the tone controls in the middle and then add treble while decreasing bass until you reach the desired sound)
- Developing bass tone (Electric)
- Amps settings
- Developing Bass Tone (Acoustic)
- Anchor the thumb
- Start with the finger over the string, letting the finger fall through the string. The weight of the arm does the work.
- Learning to walk…
- Roots
- Chord tones
- Diatonic scales
- Chromatic passing tones
- Sketch arpeggios over slash notation
- Roots on 1
- 1/2 step approach to next chord (above or below)
- chord tones on 2, 3, 4
- add 7th to chord tones for variety/interest. Add 6th as well.
The Drummer (aka... Navigator)
Sets the style/Groove of the chart.
Where are we going and how do we get there.
Sets the style/Groove of the chart.
Where are we going and how do we get there.
DRUM SET
- Tasteful… with Sensitivity
- Hear everything and play “within” the ensemble
- Learn to use brushes
- Know why you do or not do play something
- Ride Cymbal and Hi-Hat are central
- Remove a ton of cymbals
- Remove a ton of toms
- Snare and Bass Drum = ROCK!
- Ride Cymbal and Hi-Hat = JAZZ!
- Quarter notes on the bass drum are OK (Feathering). If it is too loud, remove it entirely.
- Emphasize 2 and 4
- Time and Groove are most important
- Solo time... keep feet going while the hands solo
- Play under/behind the group
The Vibes Player (aka... Repair Technician in training)
Understudy to the Repair Technician.
Provides a foundation
Understudy to the Repair Technician.
Provides a foundation
VIBRAPHONE
- Refer to piano/guitar
The Aux. Percussion Player (Are we there yet?)
Wants to know when it is time for their solo.
Adds color
Wants to know when it is time for their solo.
Adds color
PERCUSSION
- Tasteful… with Sensitivity
