Opening your thoughts to the unknown realms of your own imagination. At this point in time in jazz, everything seems to be published and everything seems to almost be written down. We are in a great educational state. But where are the people who are really reaching within and trusting themselves to their own creative muse? This is the element that I am addressing here.
A cohesive solo flows together and has a sense of logic to it. Each part builds upon the last, whether rhythmically or melodically, as it guides you to the end of the solo. The sense of cohesion makes you feel like the solo is a deliberate and well-constructed piece of music.The opposite of a cohesive solo is one that meanders without any sense of direction or purpose. When listening to such a solo you'll probably wonder if the player is lost (i.e. doesn't know where they are in the song form), or maybe you'll keep wondering when they're going to stop playing. By the way, there is a syndrome amongst beginners that typically occurs when playing a meandering solo. You're unhappy with your ideas, but you keep playing chorus after chorus with the thought that maybe the next chorus will be "the one". If you've ever done this, or if you've listened to others doing it, you know how things typically turn out... MOTIF DEVELOPMENT!! TRY IT YOU'LL LIKE IT.There are several ways to build a cohesive solo, but I think the easiest method is through the use of motif development. A motif is a musical phrase that is repeated through the course of a solo. To avoid sounding like we're just playing the same phrase over and over again, we gradually alter that phrase rhythmically and/or melodically. This gradual development creates a cohesive solo because each phrase logically moves to the next; creating a sense that everything is connected.You can use motif development in a variety of ways when creating a solo. For instance, you could use one motif that you develop over the duration of your solo, or you could develop one motif for a while and then start another, or you can start with a motif and then play some random ideas, then come back to your motif. The possibilities are endless, and are ultimately determined by your own style and musical tastes.Motifs are also a great way to start a solo. I don't know about you, but I don't always know what I want to play when I put the horn to my mouth and start my solo (my best ideas come to me while I'm soloing). When this happens, I find it's best to just play a simple 3-5-note motif and develop that for a while. If I have a better idea during the development of the motif, then I (try to) smoothly transition to the new idea and go with it. If I don't come up with anything better, then I just stick to the motif.
Most people fixate on theory because it's relatively straightforward to learn and teach. This stems from its similarity to the subject of mathematics. Like math, theory forces us to learn a bunch of rules and formulas. The notation even looks mathematical, with its use of numbers, roman numerals, various symbols, and plus and minus signs. So, on this level, it's familiar territory and somewhat palatable to those of us who did well in math class. You read it, memorize it, and move on to the next chapter.I'm not saying jazz theory is easy to master. I'm just saying that for most people, it's easier and faster to learn than ear training skills. In a few months you could learn everything you need to know about theory (at least the basics), yet it might take several years/decades to similarly develop your ears.Adding to its unpopularity is the fact that ear training is unpredictable. While you'll certainly improve with practice, that rate of progress will differ greatly from one person to the next. You'll have good days and bad days.If you're serious about learning jazz improvisation, then I strongly suggest that you learn at least some jazz theory. In the study of jazz improvisation (both in books and schools), there are two major components that rarely get the recognition they deserve: ear training and rhythm. Instead, the bulk of jazz education focuses mostly on theory -- learning what notes to play over which chords. While knowing jazz theory will help you to become a better player,
I think (much) greater advances are possible through
strengthening ones ear and
rhythmic skills.
lunch for your ears- You should listen to this stuff. Start
here- and go through my list ;“Porgy and Bess” (Miles Davis),
“Ascension” (John Coltrane), “The Jazz Composer’s Orchestra” (Michael
Mantler), “Live in San Francisco” (Archie Shepp)Listening/tunes:
“Walkin’” and “Mysterioso” (J.J. Johnson), “Freddie the Freeloader” and
“Flamenco Sketches” (Miles Davis), John Coltrane Plays the Blues (all
tracks), “Cousin Mary” and “Mr. P.C.” (John Coltrane), “Sack O’ Woe”
(Cannonball Adderley), “Now’s the Time” (J.J. Johnson), any blues record
by Charles Mingus, Milt Jackson, Charlie Parker, Dizzy Gillespie,
Horace Silver, Jimmy Smith, Wes Montgomery.Then listen to- “Milestones”
(Miles Davis), “Fat Girl” (Navarro); Bird: The Savory Recordings/Master
Takes: Miles Davis’ solo on “Half Nelson”...Then isolate your ears with
recordings by Bud Powell, John Lewis, Horace Silver, Thelonious Monk,
Oscar Peterson, Wynton Kelly, Tommy Flanagan, only piano.
Using your intuition and feelings when improvising is most important be it at the most advanced level or just a basic beginner. To thoroughly approach this as an art form and something that has deep meaning is most important. The masters when they played, be it Johnny Dodds or Sidney Bechet or Bud Powell on through the greats like Wayne Shorter or Charlie Mariano all came from a very deep place. At times, this place is something that you must go to in a natural way. Nothing cosmic about it, it's almost like a trance. It's almost like when your telling someone a story and you close your eyes and you're taking them somewhere with you. Art Pepper wrote a song about this called "The Trip." Stan Getz called this frame of mind the "alpha state."Whether its experienced in dreams, altered states, or simply sitting in solitude, the artist must be aware of the visionary realm.
Opening your thoughts to the unknown realms of your own imagination. Many times musicians inquest to unlock the force behind this theory of the eye has shadowed their colleagues throughout ancient history. What I'm getting at here is nothing cosmic or nothing too whacked out...what I'm trying to bring your attention is music needs all the imagination from an individual it can get. When unconscious-unspoken communication, traveling at the speed of thought, becomes the only or at least the truest form of communication, you just know everything is clicking just like it should ... the energy is like a ball and bounces around through glances and body communication.It is awesome, it's the inner spirit of your mind in it's highest form. At this point in time in jazz, everything seems to be published and everything seems to almost be written down. We are in a great educational state. But where are the people who are really reaching within and trusting themselves to their own creative muse? This is the element that I am addressing here. As a student of music, take some time to think about using your intuition. As Bird said, "First you master the music, then you master your horn, then you forget all that shit and just play!"We need to keep that in the front part of our minds and make that a slogan similar to the many people who look to their "third eye." As you see, I'm trying to point out a parallel in creative paths. It's not easy. But it is easy when you bring it into your own consciousness and try to practice these aspects. Sure, licks, lines, inversions, and all that good stuff is of paramount importance.
But let us not forget to keep the magic in the music. Give all that you have and you shall receive more than you can imagine experiencing when playing jazz!Your gratitude empowers others to play even better. Remember fear destroys the souls ability to create. So start now and use the power of love to encompass all your decisions so fear has no room to exist in your life. Remove fear from your thoughts and you remove and limitations. All is illusion and all illusion is yours to control. So be connected. Everything happens for a reason. Chance is limited to a coin. Decision is limited to free will. We are limited to our decisions.....So there you have it. See you next week and hope some of this hits you.
Saxophone Study ...NYC, Skype & Reading, Pa. email me for details & to get started. Timpricejazz@aol.com
