Tuesday, February 7, 2017

Tim Price Bloggin' For D'Addario Woodwinds- A LESSON IN MELODY AND IMPROVISATION.

- Go to you tube- find one of these standard songs, and start to copy the melody exactly as the artist played it. Using his dynamics, articulations and tempo.These basics are most important these are particular technical areas that the jazz musician have to specialize in then feel free to present that information with some twists and turns of their own. All these people I chose have a great sound   technique that starts with melodies. This is not only is a basic tool for developing great technique, but also your time and knowing how to play along with the rhythm section. Not to mention sound production. Listening to these masters is essential to developing beautiful sound. Try to do everyone of these listed-if it takes a year - then you have something that is adding to your playing in a very internalized way.

This portion on my blog I also wanted to focus on the history of the saxophone showing you in a way,  that you really need to know these kind of standards,  featuring your instrument. By doing this it adds emotion and confidence to your music. Get started and watch what happens!

Lester Young - She's Funny In That Way

Coleman Hawkins - It's The Talk Of The Town

Charlie Parker - My Old Flame

Johnny Hodges - Night Wind

Lester Young - I'm Confessin' (That I Love You)

Chu Berry - On The Summy SIde Of The Street

Flip Phillips - Sweet And Lovely

Coleman Hawkins - Someone To Watch Over Me

 Jimmy Forrest- Night Train

Lester Young - Something To Remember You By

Ben Webster - I Got It Bad (And That Ain't Good)

Charlie Parker - Don't Blame Me

Chu Berry - A Ghost Of A Chance

Lester Young - East Of The Sun

Benny Carter - Stairway To The Stars

Coleman Hawkins - What Is There To Say?

 Jimmy Forrest- - Moonglow

Lester Young - Polka Dots And Moonbeams

Charlie Parker - The Gypsy

Coleman Hawkins - Sophisticated Lady

Charlie Ventura- Dark Eyes with Gene Krupa

Buddy Tate - Blue And Sentimental

Lester Young - These Foolish Things

Coleman Hawkins - I'm Through With Love

Here are some of the things you will learn from- JUST LEARNING TO PLAY THESE MELODY'S ABOVE :
  • A  clear understanding of  melody in relation to harmony, practically, harmony that will give you an advantage in every aspect of your musical life
  • The ability to understand music by ear and to play beautiful, melodic real melody's.
  • How to recognize how the chords move  to any song as easily
  • The mind set of those “musical geniuses” who can listen to any song once and immediately know how to play it
  • How to play directly from your imagination, expressing your own musical ideas exactly as you hear them in your mind- just as the artist did.
  • How to play standards with the freedom to be expressive and play in time.
  • How to  attend “jam sessions” and play jazz tunes by improvising together and not being stuck in a book, you will be able to recognize melody by ear and to play it instantly- because you have a hard drive in your ear from doing this! You will also learn to express your own musical ideas exactly as you hear them in your mind.
  •  HISTORY! ROOTS! Of what your instrument should sound like. Other aspects like- taste, control and telling a story.
  •  You need to stop worrying about “what mouthpiece someone plays” and just enjoy making music  knowing you developing internally a SKILL LEVEL and a set of roots, techniques on the language.

PLUS- It will enhance your phrasing! Phrasing should be internalized.

When you improvise a musical phrase, you are creating new melodies on the spot over an established chord progression. Therefore, knowing melody's is essential for creating a successful musical phrase.
 In Arnold Schoenberg’s   The Fundamentals of Musical Composition. He states;
  • “The term phrase means, structurally, a unit approximating to what one could sing in a single breath. Its ending suggests a form of punctuation such as a comma.”
  • “The mutual accommodation of melody and harmony is difficult at first. But the composer should never invent a melody without being conscious of its harmony.”

Get started learning these melody's- as the above artists played them. Make it part of what you shed everyday. This is a basic element to a solid foundation not only as an improvisor but also as a complete jazz player and beyond. See you next week - Tim Price

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