trpt2345

My comments were meant for a beginner. Slonimsky lists 473,001,600 possible scales. What I object to are professional obfuscators who make up names for what are at bottom simple ideas and try to sell them as "jazz education".

Michael McLaughlin

Think like a wise man but communicate in the language of the people.
William Butler Yeats

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brian moon

There is an easy but well done series for beginning improvisers called "Standard of Excellence for Jazz Ensemble". It is aimed at Middle School level players. It is simple but very good.

http://www.kjos.com/detail.php?divis...prod_id=W31TP1

The focus is very much on rhythm, which is a much more important element in soloing than what notes you play.

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trumpettrax

Has anyone purchased and used Chase Sanborn's Jazz Tactics? It sound really good for begining improvisers (I'm thinking of purchasing it), but wanted others opinion first. He also has a book Brass Tactics.

Trax

If you don't already know you can find these at: www.chasesanborn.com

I would really be interested in the opinions on these books from some of the jazzers here.

eisprl

There are comments on his webpage as well about these books. A friend of mine Rick Rangno loves it. http://www.jazztactics.com/comments.html

Eric

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Eric Sproul
Practice is like filling a leaky bucket

Bb: Yamaha Xeno 8335
C: Bach Stadivarious 239L and 25A leadpipe (Owned by Eric Sholtz)
Flugel: Yamaha Bobby Shew 6310Z
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eisprl

You know what I did just now when I read this example of an archaic greek scale? I picked up my horn and played as many different combinations as I could think of as well as attaching different rhythms to it. That's what you gotta do.

I am also a huge fan of putting on some music and playing along. Not just transcribing solos but dueting with the greats (Arturo, Clifford, Miles etc). That way you always have the best rhythm section behind you and a soloist that teaches you alot IF you listen. (If you make a mix CD of everything from Louis to Trent Austin then you are also learning all kinds of different styles.

Eric Sproul

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Eric Sproul
Practice is like filling a leaky bucket

Bb: Yamaha Xeno 8335
C: Bach Stadivarious 239L and 25A leadpipe (Owned by Eric Sholtz)
Flugel: Yamaha Bobby Shew 6310Z
Mouthpieces: GR tech
www.stadband.ca

Liad Bar-EL

I'm posting this again for I think that this thread by Leon Merian seems to fit better here in this thread.

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Improvisation/creating/transcending/spiritualizing


Jazz musicians play the melody{or the head} and from that new melodies are created over the same harmonic structure.That's jazz--creating a logical beautiful melody which is your very own.You might play that same tune night after night and you will never get bored with it for it will come out differently every time.This engenders creative excitement--energy--because it is a spiritual thing.You are playing in the NOW...this very moment.You don't think about it. When you improvise you are completely in the now...this very moment.No time to think about it!! It has nothing to do with the intellect. As
a matter of fact it transcends the intellect. You simply have to "be".In other words jazz carries us as close as we can be to the SPIRITUAL.It sort of forces your mind to go only one way.You must be focused...you're not aware of yourself because you are right in the middle of the NOW.

There is really no mental activity going on.. You are not aware of yourself because you are totally absorbed in the music you are playing.
Your mind doesn't say to you,"I'm playing great tonight or I'm playing rotten tonight". It is NOT judgmental...please understand that...it is something that is happening with you...something that is taking place and it's EXCITING to be caught up in it !! That's enough.You have become one with the music YOU created...PERIOD!!! Forget Chet Baker,Dizzy, Miles, Hubbard. It's
Not a tournament or a competition. Have no fear. Just get in there and do it !
Jazz musicians have no fear of this "unknown world" which can be called
the unconscious.We frequent it continuously and have been doing so since our childhood. Children visit it quite often as they don't know what it is to fear it !!! It gives us a much more complete picture of our "self".Our PURE individuality !! Playing jazz {improvising} gives you this childlike spontaneity,energy,enthusiasm which most people seem to loose after childhood.Many times I have felt a part of me which made me turn my back
on receiving[taking in]too much information in playing jazz.I think that too much analyzation of jazz concepts and styles can be detrimental.Maybe that's why Erroll Garner never wanted to learn to read music [Buddy also].
I think that retaining this innocent childlike nature has a very positive effect on our creativity.To have this nonjudgmental state of mind, where we just play--simply play> I think that this is the TRUE improvisational process,
allowing anything and everything to just happen.Make things up just like a child.We all like playing just as we did when we were children. It's one of the ways we play with music...and maybe that's why we continue to do it !!!
Difficultiestanding improvisation arise from the fact that there are different kinds of improvisation. We can't offer a pat description of improvisation. What we all are seeking here ,is understanding improvisation as it has been practiced in performance. A dictionary definition=to compose on the spur of the moment---composing and performing simultaneously.Rhis tells us only part of the story. For me, I would say that improvisation must contain the unexpected,producing excitement and exhilaration that comes from spontaneity... I remember Milt Hinton saying that Dizzy's music was exciting for him because there were things that Diz tried to do that he couldn't do.Aaron Copland said "When you improvise, it is axiomatic that you take risks and can't foretell the results".

In closing let me please say:
Imagination/Intuition/Inspiration are the result of experience and knowledge and in balancing all of these qualities will the spirit of creativity manifest itself. No, it is not a piece of cake...but you must do it as well as is possible ...you must keep on keepin' on....it is good for your musicianship. your facility and your mental health....

God Bless you all.

Leon Merian

Liad Bar-EL

Have you seen the book with play along CD set called How to Play Jazz and Improvise?
by jamey Aebersold

http://www.jazzbooks.com

He has many books on Jazz and a video called JAZZ: Anyone can Improvise!

Liad Bar-EL

dow30

If you use the Aebersold books this link might help you.

http://www.trumpetherald.com/forum/v...asc&highlight=

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Courage doesn't always roar, sometimes it's that little voice at the end of the day that says. "I'll try again tomorrow."

paul sapwell

As you can obviosly read well,take piece of music with a simple melody play it, get to know the tune then mess adout with the melody notes ,it does break the ice towards improvising

trumpetdiva1

I, too, used to play classical music extensively, then switched to lead trumpet, and now I’ve decided to completely focus on jazz improvisation. Here is what I have learned on my journey to the study of jazz improvisation, and believe me I have still have got a lot to learn.

* Listen, listen, and listen to jazz trumpet recordings (see Pat Harbison's website or John McNeil's "Art of Jazz Trumpet" for recommendations).
* Recommended books: Aebersold Vol. 1, Chase Sanborn's "Jazz Tactics," Mark Boling's "Jazz Theory Workbook" (edited by Jerry Coker), John McNeil's
"Art of Jazz Trumpet," and Jim Snidero's "Jazz Conceptions" (there are books for different levels from easy to advanced)." Visit the Aebersold website for most of these books. There is also some free materials on the site.
* Practice all major scales in the circle of 4th's (C-F-B-flat, etc.) using quarter notes; tongue first note and "smoothly" tongue (not choppy) the next two notes and follow this pattern all the way up to the 9th and back down to C. Try "Clarke Technical Studies" #2 using the circle of fourths. A lot of jazz is based on 4th's from what I’ve heard.
* Work on modes (start out with Dorian; D Dorian=C Major if you start out on D or flat the 3rd and the 7th ; Ionian= Major); work on patterns such as 1-3-5-7-9-8-7-6-5-4-3-2-1/1-2-3-4-5-6-7-8-9-7-5-3-1) in all keys
* Start out with the an easy transcription such as Chet Baker's "But Not for Me" and gradually work on more difficult solos; may want to try memorizing a jazz solo. If you become stuck or frustrated with a transcription, put it down for a little while and pick it up again and come back to it later or move on to another section. Learn solos that you are really into and love. Pick up on the inflections and sound in addition to the notes and rhythm that the soloist is playing.
* Learn the B-flat concert and F concert Blues in Aebersold's Vol. I; sing a chorus and then play a chorus; alternate between the two
* Do not be afraid to make mistakes. (This is a big one for me coming from a classical background where everything is written out for you where the notes are all written out for you).
* Try practicing without a music stand and learn to play more by ear.
* Keep a positive frame of mind and a relaxed body when playing.

Best wishes! Hope that this helps!

Janell

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Janell Carter